Timely Tunes C-1585 – Henny Hendrickson’s Louisville Serenaders – 1931

Another entry in Old Time Blues’ continuing series on the territory jazz bands that once dotted the United States, we look upon the obscure history of Henny Hendrickson’s Louisville Serenaders.

Details about the Louisville Serenaders are scarce, it would appear that the band made little mark on history.  They were led by reed man Clarence “Henny” Hendrickson.  In spite of their name, they did not hail from the vicinity of Louisville, Kentucky, but rather toured the Delaware, Pennsylvania, and New Jersey area.  The same stunt was pulled by Johnny Hamp’s Kentucky Serenaders, who also hailed from Pennsylvania.  Perhaps the Louisville Serenaders chose their name in an attempt to emulate the successful Victor recording orchestra (purely speculation).  In any event, they had three sessions for the RCA Victor Company in Camden, New Jersey in 1930 and ’31, yielding a total of fourteen sides, eight of which were released.  Half of those were issued on the Victor label, while the other half appeared on their short-lived budget label Timely Tunes.  No sides from their first session on July 21, 1930 were issued, while all of those recorded at their second and third sessions, on June 10 and 17, 1931, were.  Among those sides are a memorable rendition of “I Ain’t Got Nobody” and a peppy version of Harold Arlen’s “Buffalo Rhythm”.  I can find no information concerning the life and times of bandleader Clarence “Henny” Hendrickson.

Timely Tunes C-1585 was recorded on June 10, 1931 at Victor’s church building studio near their Camden, New Jersey headquarters.  Among the Louisville Serenaders are Herb Facemyer and an unknown player on trumpets, Johnny Lingo on trombone, Clarence “Henny” Hendrickson on clarinet, soprano sax, and alto sax, Don Shook on alto sax, Eddie Friebel on tenor sax, Bill Wallace on piano, Wyatt Haynes on banjo and guitar, Art Maxwell on tuba and and unknown drummer.  The trio that sings on both sides is made up of Facemyer, Maxwell, and Friebel.

The first song which the Serenaders will serenade us with is Cliff Friend and Dave Dreyer’s “I ‘Wanna’ Sing About You”.

I "Wanna" Sing About You

I “Wanna” Sing About You, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Next, they play a mighty fine rendition of the old classic “I Ain’t Got Nobody”.

I Ain't Got Nobody

I Ain’t Got Nobody, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Vocalion 3401 – Don Albert and his Orchestra – 1936

In their heyday, Don Albert’s orchestra was called “America’s Greatest Swing Band”, a title which they perhaps deserved.  Today, however, their renown, however great it may have been in the 1930s, has faded.

Don Albert was born Albert Anité Dominique in New Orleans on August 5, 1908.  He was the nephew of trumpeter Natty Dominique, and also reportedly a relative of Barney Bigard.  Albert took up the trumpet to join in on the Crescent City’s famous brass bands, and was instructed on the instrument by Milford Piron, brother of the renowned bandleader Armand J. Piron.  Sometime in the middle part of the 1920s, Albert relocated to Dallas, where he joined Alphonso Trent’s orchestra at the Adolphus Hotel (later the Gunter Hotel), with whom he toured across the southwestern United States.  After departing from Trent, Albert joined Troy Floyd’s orchestra of the Plaza Hotel in San Antonio, with whom he remained until forming his own band in 1929.  Initially calling themselves “Don Albert and his Ten Pals”, Albert’s new band played the Texas State Fair in 1929, and supplanted Floyd’s band at the Shadowland speakeasy in San Antonio.  In the 1930s, Albert’s orchestra toured across twenty-four of these United States, and billed themselves as “America’s Greatest Swing Band”, but only recorded eight titles in one San Antonio session for the American Record Corporation.  In the 1940s, Albert opened an integrated club, Don’s Keyhole, in San Antonio, which closed in 1948, at which point he returned to New Orleans for a short period.  Once back in San Antonio, Albert opened another club, and following harassment from authorities, filed a restraining order against the city, taking his case all the way to the Texas Supreme Court and winning.  Aside from his musical work, Albert was also employed as a civil servant at Fort Sam Houston from the late forties or early fifties until retiring in 1974.  Don Albert retired from performance in the late 1950s, but continued to play sporadically for the rest of his life.  He died in San Antonio on March 4, 1980.

Vocalion 3401 was recorded on November 18, 1936 in San Antonio, Texas.  Don Albert directing Billy Douglas, Alvin Alcorn, and Hiram Harding on trumpets, James “Geechy” Robinson and Frank Jacquet on trombones, Herbert Hall on clarinet, alto sax, and baritone sax, Gus Patterson and Harold “Dink” Taylor on alto sax, Louis Cottrell on clarinet and tenor sax, Lloyd Glenn on piano, Ferdinand Dejan on guitar, James Johnson on string bass, and Albert Martin on drums.

The “big” sound of Albert’s “Rockin’ and Swingin'” exemplifies that of Texas jazz in the 1930s (compare to Boots and his Buddies’ “Rose Room”).

Rockin' and Swingin'

Rockin’ and Swingin’, recorded November 18, 1936 by Don Albert and his Orchestra.

On the other side, Merle Turner sings the vocal on this band’s swinging version of the seven year old (at the time of recording, that is) popular song from The Dance of Life, “True Blue Lou”.

True Blue Lou

True Blue Lou, recorded November 18, 1936 by Don Albert and his Orchestra.

Victor 21710 – Slim Lamar’s Southerners – 1928

Slim Lamar, from 1930 Victor catalog.

Slim Lamar, from 1930 Victor catalog.

Details regarding the life of territory band leader Slim Lamar are scarce, and there doesn’t appear to be any biography of him available on the web.  As such, I’ve rewritten and republished this article in an effort to shed some light on the obscure musician’s life.  A special thanks goes out to Messrs. Joseph Scott and Paul Lindemeyer for their research on Lamar, without which this article would not have been possible.

Slim was in fact Henry Elbert Lamar, born in Galveston, Texas on October 27, 1905, the son of John and Lucille Lamar.  By the 1920s, the Lamars had taken up residence in the cradle of jazz, New Orleans.  Slim played reeds, and apparently moonlighted selling musical instruments.  At least as early as 1927, Lamar was leading the Southerners, an exceptional territory jazz band which included the talents of Tony Almerico and Sunny Clapp among its ranks.  He would seem to have been associated with the cabal of influential territory band leaders that included Clapp and Blue Steele.  In September of 1927, the Southerners played the Edgewater Gulf Hotel in Biloxi, Mississippi, and made their first recordings a year later, during a Victor field trip in Memphis, Tennessee.  While in Memphis, Lamar also recorded with Mart Britt’s orchestra, and may have accompanied Irene Beasley on one session that yielded no issued recordings.  Following those sessions, Lamar’s Southerners ventured to Indianapolis for a two week engagement at the Indiana Roof Ballroom, reported in the Indianapolis Star as the band’s first trip north of the Mason-Dixon Line.  After Indianapolis, they played at the Egyptian Room of the Kosair Hotel in Louisville, Kentucky.  Lamar’s band recorded several more sides in February of 1929 in Camden, New Jersey, after which Slim Lamar is not known to have made any further recordings.  In 1938, he relocated to Florence, Alabama, where he married Edna Reams and started the Lamar Furniture Company.  Henry “Slim” Lamar remained in Florence until his death on June 3, 1989.

In the 1930s, Henry Lamar’s younger brother Ewell Ayars Lamar (1911-1992), a pianist known as the “Greyhound of the Ivories,” took up the moniker of “Slim” and led a dance band called the Music Gentlemen in Indianapolis, which reportedly included some former members of Joe Sanders’ orchestra, and featured a vocalist named Helen Folk.  Ewell had composed “My Castle of Love”, recorded by the Southerners in 1928, but not issued, and played piano in his older brother’s band in its first year.

Victor 21710 was recorded on September 6 and 4, 1928, respectively, at the Memphis Auditorium in Memphis, Tennessee, the Southerners’ first and third sessions.  In the band are Tony Almerico and Irwin Kunz on cornets, Sunny Clapp on trombone, Slim Lamar and Jim Rush on clarinet and alto sax, Bedford Brown on clarinet and tenor sax, Dick Wilson on violin, Adrian J. Larroque on piano, Jack Cohen on banjo and guitar, Bonnie Pottle on string bass, and Bobby Turley on drums.  The band is directed by Bob Nolan, composer of “Goofus”, and the band’s usual vocalist (though he doesn’t sing on these sides).  It was issued in January of 1929.

“Goofus” was immortalized in a comic by R. Crumb, in which he describes his saga of finding the record, only to have it snatched away, leaving him hunting for years before winning a copy in an auction.  He aptly descries it as “crazy, eccentric jazz.”  The scat quartet is made up of Tony Almerico, Jim Rush, Dick Wilson, and Jack Cohen.

Goofus

Goofus, recorded September 6, 1928 by Slim Lamar’s Southerners.

On the other side, though “Happy” may not be as well known as the previous, it doesn’t disappoint, offering an encore performance of more of this band’s unique hot style.

Happy

Happy, recorded September 4, 1928 by Slim Lamar’s Southerners.

This record was originally posted on August 16, 2016 in honor of cornetist Tony Almerico’s birthday.  The article has been rewritten and republished with content relevant to bandleader Slim Lamar.

Bluebird B-6063 – Boots and his Buddies – 1935

In out latest entry thus far in our series examining  territory bands originating from the state of Texas, we look at Boots and his Buddies, one of Texas’ leading swing bands of the 1930s.

Clifford “Boots” Douglas was born in Temple, Texas, likely on September 7, 1906 or 1908.  He began playing drums in his teenage years, and first played professionally in 1926 as a member of Millard McNeal’s Southern Melody Boys of San Antonio.  Douglas formed his own band, called “Boots and his Buddies” (perhaps deriving their name from the comic strip Boots and her Buddies) at some point in the first half of the 1930s, and played gigs around the state of Texas, occasionally venturing into neighboring states.  Boots’ Buddies began recording in 1935 for RCA Victor, with their recordings issued on the Bluebird label.  They continued to record until late in 1938.  With Douglas arranging, they seem to have had a tendency to “borrow” music from others and play it under their own titles.  Their regional popularity rivaled that of fellow Texas swing man Don Albert, and while their phonograph records gained them some greater recognition outside of their home state, they never were never widely known outside of Texas.  Though the end of the swing era saw a steady decline in the band’s popularity, Boots and his Buddies were still playing through the end of the 1940s.  In 1950, Douglas finally disbanded his Buddies and relocated to Los Angeles, California, where he worked for the county, still playing on the side.  According to social security records, he died in 2000, at the age of either 92 or 94.

Bluebird B-6063 was recorded August 14, 1935 in San Antonio, Texas by Boots Douglas and his Buddies.  The personnel consists of Thaddeus Gilders, Percy Bush, Douglas Byers, and L.D. Harris on trumpets, Johnny Shields on trombone, Alva Brooks and Jim Wheat on alto sax, Baker Millian on tenor sax, A.J. Johnson on piano, Jeff Thomas on guitar, Walter McHenry on string bass, and Boots Douglas on drums.  It was the first issued record by Boots’ Buddies, and the first and third sides from his earliest session.  This pressing dates to the late 1930s, early pressings would have appeared on Bluebird’s “buff” label.  I purchased this copy from a local fellow in Arlington (the same guy that provided my Fred Gardner’s Texas University Troubadours record), it has likely spent its entire life in the state, since its arrival from the pressing plant.

First up is “Wild Cherry”.  This side is pretty well beaten, but still plays well thanks to the high quality of these Bluebird records.

Wild Cherry

Wild Cherry, recorded August 14, 1935 by Boots and his Buddies.

On the other side, they play a sizzling rendition of “Rose Room” (which we last heard played by Duke Ellington’s band).  This was Boots and his Buddies’ first recorded side.  This may be the loudest side I’ve ever played, I had to turn the volume way down to transfer it properly.

Rose Room

Rose Room, recorded August 14, 1935 by Boots and his Buddies.

Banner 32551 – Gene’s Merrymakers – 1932

Born on this day 117 years ago was bandleader Gene Kardos, whose orchestra made quite a few decent selling records in the 1930s.

Eugene Kardos was born June 12, 1899 in New York City.  He formed a territory band in the early 1930s, and first recorded for Victor, with his earliest output appearing on their short-lived Timely Tunes label, a number of further issues were on Electradisk.  By 1932, he had moved to ARC, using a wide variety of pseudonyms, as well as his own name, and made a few records on the side for Crown under the name of his piano player, Joel Shaw.  Kardos’ band tended to play on the hot side, and was competent with popular songs as well as the occasional jazz piece, though they adopted a “sweeter” style later in the 1930s, as did many bands of their type.   In 1939, Kardos married and retired from music to pursue a career with the United States Post Office.  He died in 1980.

Banner 32551 was recorded August 25, 1932 and December 18, 1931, respectively.  Gene Kardos’ Orchestra assumes the name “Gene’s Merrymakers”, which they commonly used on their ARC releases.

On the first side, the Kardos band plays an excellent rendition of “High Society”.  Thanks to a tip from Mr. Paul Lindemeyer, the probable personnel for Kardos’ band on this side has been identified as Sam Caspin and Red Hymie (Rosenblum) on trumpets, Pete Salemi on trombone, Moe Cohen and Nat Brown on clarinet and alto sax, Gabe Gelinas on clarinet and tenor sax, Joel Shaw on piano, Sol Sussman on banjo, Max Goodman on tuba, and Smith Howard on drums, with an arrangement by Bernie Green.

High Society

High Society, recorded August 25, 1932 by Gene’s Merrymakers.

Strangely, though credited to Kardos, “Clarinet Marmalade” is actually played by the Casa Loma Orchestra.  I believe it was their only side issued on the ARC budget labels.  I defer to the expert below (): it’s one of at least three Casa Loma sides appearing on the ARC dimestore labels, plus a later reissue of their 1931 “Alexander’s Ragtime Band”.  Rust lists the personnel as Joe Hostetter, Grady Watts, and Bobby Jones on trumpets, Pee Wee Hunt and Billy Rauch on trombones, Clarence Hutchinrider on clarinet and alto sax, Kenny Sargent and Glen Gray on alto sax, Pat Davis on tenor sax, Mel Jenssen on violin, Joe Hall on piano, Gene Gifford on banjo and guitar, Stanley Dennis on bass, and Tony Briglia on drums.

Clarinet Marmalade

Clarinet Marmalade, recorded December 18, 1931 by Gene’s Merrymakers.

Updated on June 24 and September 24, 2016, and May 29, 2017.