[ Frank Dailey & his Stop and Go Music ]
Frank Dailey is basically remembered as the owner of the popular night spot in the New York City area, called "Frank Dailey's Meadowbrook". Frank had several bands. One was called the "Stop and Go Orch". (It stoped once, but never 'went' again.) Another of his orchs had arrangements by Joe Mooney. Louise Wallace was the girl singer.

   [ Arvin Dale Orch. ]
His real name was Marvin Dale, but after being discharged from the Army at the close of WW2, he dropped the leading 'M' in his given name (which he had used in pre-WW2 days). He did have a pre-war band, and sometime after his Services discharge re-formed the orchestra. He played at the Melody mill in Chicago with an 11 piece band, and later at the Biltmore Hotel in Los Angeles in 1951 with a smaller band. In private correspondence, Mr. Charles Claycomb (trumpet with the Dale band) has recalled again seeing Arvin in 1961, when Arvin had the house band at California's "Disneyland".

The January 15, 1947 band,- playing at Lejcar's Melody Mill in Riverside, IL., had:
Trumpets: Charles Claycomb, Joe Roeder
Trombones: Art Oosterveen, Hank McCarthy
Saxes: Bob Glenn, Don Tuttle, John Brewer, Art Compratt
Rhythm: Fred Gollner -Piano, Clarence Corella - Tuba, Art Linden - drums
Vocals: Arvin Dale, Art Oosterveen
Arrangements: Bob Glenn

Reedman, Bob Glenn, who had been instrumental in re-building both the Jan Garber and Don Reid orchestras, joined the new band. His arrangements worked up an interesting and unusual blend of baritone sax and tuba that made for a fuller and more melodious sound than most '11 piecers' achieve. His 'book' stressed dance-ability, with all of the big hits of the day, the usual standards, latin tunes, and even some two beat Dixieland. Leader Arvin Dale had a nice smile, quick wit, and was good at both vocal and instrumental salemanship.
The BigBands Database Plus thanks Mr. Charles Claycomb, lead trumpeter with the Arvin Dale Orch., for his help with these notes.

   [ Duke Daly Orch ]
Currently No available info. (Possisbly a Canadian Orch.)
In private correspondence, Mr Larry Kloess has recalled that "Horace Henderson (Fletcher's brother) did the arrangements. I think that Bobby Dukoff was on sax. (Tenor)" Mr Kloess continued:
       "Daly played many times at the Playland Casino in Rye, New York, a town
       next to the town where I grew up. Our high school played ice hockey at
       the rink there. When Duke Daly came to town, the older high school kids
       like myself, and college kids from the area, flocked to the Casino to hear
       him play and dance. His music was loud and exciting whether for
       jitterbugging or the lindyhop. Duke Daly later joined the Royal Canadian
       Air Force and shipped out to Europe during WWII. I heard later he was shot
       down and never returned. I don't know if he was Canadian or not."

Mr. Kloess further recalls:
       "...(Daly) was a most popular bandleader at Playland in Rye, New York
       where we senior high achool kids would join the college crowd and pack
       them in on week-ends. Duke recorded for Elite Records owned by "The
       Classic Record Company of New York City. His two main vocalists were
       Gloria King who recorded "I Don't Want To Walk Without You" (from the
       Paramount movie, 'Sweater Girl'), and baritone Joe Marne who recorded
       among other things the song, "We're The Couple In The Castle, (also
       from a Paramount movie, " Mr. Bug Goes To Town").
The Big Bands Database Plus thanks Mr. Larry Kloess for sharing his recollection of the Duke Daly Orch.

   [ Putney Dandridge Orch. ]
b. Jan. 13, 1902, Richmond, VA, USA. d. Feb 15, 1946, Wall Township, NJ, USA.
His career started in 1918 when he became part of a revue known as the 'Drake and Walker Show', and he soon became one of the most active players on the Buffalo music stampede. In 1930, he was the accompanist for famed tap dancer Bill "Bojangles" Robinson. He next toured the Illinois area, and in 1932 finally became resident in Cleveland, OH, leading his own band. In 1934, he disbanded, and formed a solo act which he first tried out in Cleveland before taking it to New York City. In New York, he had residencies at several clubs, -the best known of which was his stay at the 'Hickory House' on 52nd Street. In March 1935, he was a band member in Adrian Rollini's group, working in Rollini's own 'Taproom' in New York's Hotel President.

In the mid 1930s, "Fats" Waller's records were "selling like hotcakes", and every label was seeking someone with the same exuberance. By and large, Dandridge was still an unknown name to the general public, but in 1935, he finally achieved some level of fame when he was signed by Decca Records.

For the next 2 years, Dandridge was busily engaged in recording - almost always vocals - with numerous small pick-up groups, (mostly sextets and septets), consisting of whoever was then in town. He even worked with Fat's Waller's own sidemen Herman Autrey, "Slick" Jones and Gene Sedric. Other musicians with whom he worked include such men as Joe Marsala, Eddie Condon, Teddy Wilson, Roy Eldridge, Red Allen, Chu Berry, John Kirby, Big Sid Cattlett, Cozy Cole.

Most of Putney's recordings were done in the mid-1930. When he died in 1946, he was only 44 years old.

   [ D'Artega and his Orch. ]
né: Alphonso D'Artega
D'Artega, born of Spanish parents, came to the United Stated, at the age of eleven. For many years, he studied composition and orchestration with Boris Levenson, a pupil of the famed Rimsky-Korsakov. He is a graduate of the Strassberger Conservatories.

A conductor, arranger and composer of wide and varied musical experience, D'Artega has conducted orchestras for radio, television, transcriptions, recordings, concert stage and motion pictures. He portrayed the role of Tchaikovsky in the United Artists production Carnegie Hall, and also conducted the sound track for the film.

D'Artega has dedicated himself to the popularization of classical music. For many years, he has been an outstanding figure in the musical life of America, through the medium of his "Pop" concerts. In 1946 he originated and conducted in Carnegie Hall, the Pop Concerts, with the members of the New York Philharmonic. He has appeared as guest conductor with the Buffalo Symphony, Miami Symphony, Lewisohn Stadium Symphony, at Stoney-Brook, Long Island, and with the Symphony of the Air. His "Pop" concerts throughout the country, have always been sell-outs.
The above information on Alphonso D'Artega gleaned from the jacket of Epic SN 6034.

In addition to conducting, D'Artega also composed well over 50 Pop compusitions, - sometimes alone, and sometimes in collaboration with others. Perhaps his best known work was "In The Blue of Evening" (on which he colloaborated with Thomas Montgomery Adair. It was a hit recording for singer Frank Sinatra, the Tommy Dorsey Orch., and others.

   [ Jack Davies & his Kentuckians ]
No information currently available.
Jack Dailey (aka Daily) was playing cornet and bass sax with the band on their 1930 recordings. The band MAY have been known also only as 'The Kentuckians'.

   [ Lew Davies and his Orch. ]
b. Sept. 25, 1911, Ashland, KY, USA. d. Dec. 11, 1968, New York, NY, USA
Another of the 'Easy-Listening' era (1960-79's) conductor/arrangers. There's a strange absence of information on Lew. In his early years, Davies attended the Cincinnati Conservatory of Music. Later, he studied composition with the noted teacher, Tibor Serly. Jazz was everywhere in the 1920's, - the Jazz Age, and like many other musicians, he began, in 1928, working in the new 'radio' studios, and arranging for dance bands.

Davies knocked around the music business until in the late 1950s, Enoch Light hired him for his new record company Command Records. He soon became that label's primary arranger where many of Command's early releases included one or two of his original compositions, as well as five albums under his own name. He produced one album for Columbia Records, but that label only credited him in the liner notes.

Davies primarily collaborated with Enoch Light, but did occasional arrangements for such well known stars as Perry Como, Lena Horne, and Lawrence Welk. He had the unique ability to write arrangements that were very listenable; had real musical mood, and good stereo effects. It was this capability that made his records in such demand at that time, - the start of Stereo recording.

His Records include:
"Delicado, Command RS 846 SD
Stereo Dialogue for Brass, Columbia CS 8290 (As The Stereo Brass Choir)
"Strange Interlude, Command RS 829 SD
"Two Pianos and Twenty Voices, Command RS 33-813
For Lawrence Welk
"A Cheerful Earful, Command RS 861 SD
"The Kissing Cousins Sing With Lew Davies & His Orch., Project 3 PR5001SD

   [ Johnny 'Scat' Davis Orch ]
b. May 11, 1910, Brazil, Indiana, USA, d. Nov. 28, 1983, Pecos, TX, USA. (heart attack)
Trumpet/Leader/vocals/actor
né: John Gustave Davis
This Trumpeter, scat singer and comedian got his first big job with Fred Waring and his Pennsylvanians, and went on to work in other big bands; lead his own band, and to a career as an actor in Hollywood.

Here's a photo (source unknown) of a young "Scat" Davis. Born into a very musical family, and growing up during the 'Roaring'20s', Johnnie was already playing the cornet while still a young child. His grandfather, John Davis, was a former director of the Royal British Navy Band, was a pioneer director of the Brazil (Indiana) Concert Band, America's oldest continually-existing community band, founded in 1863. His father, J. Gus Davis, could play all instruments and was a gifted composer, also led the concert band. Uncle Charles Schmidt was an accomplished pianist, and older brother Nelson, a trumpeter, was the student leader of the Indiana University marching band.

In 1924, at age 13, Scat joined the 'Brazil Concert Band', and in 1925, uncle Schmidt helped him to get a professional job with Jack O'Grady and the Varsity Entertainers, at the Grand Opera House in Terre Haute, western Indiana's entertainment hub. Just age 16, he was still attending classes at Brazil High School during the day, and playing with the band in the evenings. After O'Grady, he joined Paul Johnson's orchestra at the American Theater, and then with Leo Baxter at the Liberty theater. Johnnie's younger brother Art also worked for Baxter.

With Hollywood's introduction of "talkies", Davis began playing one-night stands at the Trianon and Orpheum ballrooms in Terre Haute, IN, and at times worked in Greencastle, Bloomington and Indianapolis. During all this time, he had still been attending school, but in 1928, after graduation from high school he joined Jimmy Joy's orchestra in Louisville, KY. He subsequently played with Sammy Watkins' band in Cleveland, and Austin Wylie's orchestra in New York, before reuniting with his old Terre Haute friend Claude Thornhill. In 1933 Ernest "Red" Nichols urged Davis to join the Park Central Hotel orchestra.

In the mid-1930s, Davis joined the Fred Waring band, which took him to Hollywood, where he soon became a household name. Starting with Varsity Show in 1937, he made 15 films over the next seven years (see below). His most famous role was in Hollywood Hotel, where he introduced the song "Hooray for Hollywood." His lively rendition helped make the song a big hit and a Tinsel Town's anthem.

Today, Johnnie is probably best recalled for his acting and singing career, but his band did tour widely, and at the time was quite popular. In the early 1930s, he made a number of recordings with his own Trio and also with some larger groups. In the mid-1930s, Davis joined the Fred Waring band, which took him to Hollywood, where he soon became a household name.

He appeared in 15 films beginning in 1937's "Varsity Show" and ending with 1944's "Knickerbocker Holiday" (that starred John Huston as Pieter Stuyvesant - singing the hit "September Song"). Some other shows included 1938's 'The Cowboy From Brooklyn', 1939's 'Slapsie Maxie's', and 1942's 'Sarong Girl'.

In 1937, Johnny Mercer helped write the music for the film 'Hollywood Hotel', and his song, "Hooray for Hollywood," was sung by Johnny "Scat" Davis, whose lively rendition went a long ways to making the tune a big hit of the day.

In 1939, Davis formed his own orchestra. A young Buddy DeFranco (clarinet: b. Feb 17, 1923, Camden, NJ --was age 76 on Feb. 1999) was just 16 (1939) years of age when he began working with the Johnny "Scat" Davis orchestra (and went on to work with such others as Gene Krupa, Charlie Barnet, Tommy Dorsey and Boyd Raeburn). Davis' own brother, Art, played and wrote the arrangements.

In 1943, Johnny's band accompanied Striptease artist Ann Corio's traveling show. ( Ann Corio: b. Nov. 29, 1914, Hartford, CT, USA, d. March 1, 1999, Englewood, NY, USA. Husband: Michael P. Iannucci). Johnny's band toured coast to coast in the U.S., appearing in the Fox West Coast Theater in San Diego, CA, and in The Bandbox on Randolph Street in Chicago, IL . Here's a photograph of his "girl" singer in 1946, Nadine Vaughn, as she appeared in a newspaper clip that year. (Photo courtesy of Ms. Hampton, Nadine's cousin).

In 1951-52, Scat was working at WXYZ-TV in Detroit, MI. He had a morning program with a trio/quartet. On Friday evenings, he was seen in a program called 'Jazz Nocturne'. He subsequently relocated to Texas, and continued to lead his own outfit until retiring in the late 1960s. Johnnie died at age 73, after suffering a heart attack during a hunting trip in Pecos, Texas.

His nickname of "Scat" came about due to his proclivity to extend and improvise the vocal phrases of any tune he would sing. He had a very happy and lively personality. Possibly his best musical 'gig' was as trumpet player in the Benny Goodman Orch.

   [ The Charlie Davis Band ]
Here's a photograph (courtesy Mr. Peter Doyle) of Charlie Davis, whose band started in Indianapolis, IN, during 1923 and toured through the 1920's and '30's. They headlined at the Paramount Theatre in New York City in 1930. Their vocalist was Dick Powell, who later made a name for himself in Hollywood. Charlie (with some help from Bix Beiderbecke) composed "Copenhagen" which is in the Jazz Hall of Fame. Charlie wrote a book about his band in 1982 entitled, "That Band from Indiana", which was published by Mathom Publishing Company of Oswego, NY. (The book is on sale at the Indiana Historical Society.)
Dave Smith kindly submitted the above note on the Charlie Davis band.

   [ Meyer Davis Orch(s) ]
Here is a photograph of Meyer Davis, who was not really a big band leader, in the normal sense. Meyer was basically a supplier of orchestras for "society" galas; debutante coming-out parties; Presidential Balls and such. Meyer could have several 'pick-up' bands out on dates at the same time. For just one example, an ad from the January 1955 crossing of the trans-Atlantic ocean liner, the "S.S. United States" stated "There are acres of deck space, a gym, swimming pool, three Meyer Davis orchestras, and first-run movies every night." "High Society" loved him and he prospered catering to society. His bands are still greatly in use by present day 'society'.

Meyer was active all throughout the 1920s, in fact his orchestra was so successful that ca. 1926, he was able to purchase 'The Willow Grove Park' in Pennsylvania, where his own orchestra often performed for dances at the Park. To amuse his patrons, Davis added many new innovations including performances by elephants, a tropical fish exhibition, a 'Perfect Foot Contest' sponsored by the Chiropody Society of Pennsylvania, the 'Inez Wood Diving Nymphs', balloon rides, 'The Tokio Café, and even performances by other bands such as Paul Whiteman's Orchestra (the "Sultan of Jazz").

Meyer also led the orchestra for director Otto Preminger's 1962 film "Advise and Consent", starring Charles Laughton, Henry Fonda, and an all-star cast.

Today (2005), Meyer's son, Emory Davis (clarinet, aka: Emery Davis), continues the musical tradition.

   [ "Wild Bill" Davison and his Commodores ]
b. Jan. 5, 1906, Defiance, OH, d.
né: William Edward Davison
Here's a photograph of Wild Bill Davison, came about his nickname of "Wild Bill" rather naturally due to his wild music and personal life, - especially with women and booze. Starting In the early 1920's, Bill began his career working with various bands including Ben Meroff's Chicago-based orchestra, where he first met guitarist Eddie Condon, - a friendship for both men that would be lifelong.

His gifted natural ear for pitch and an infallible memory for every song he heard was combined with a knack for instant harmony improvisation that led him to a reliance more upon improvising skills rather than on reading. This was rather common with other early jazzmen, such as Sidney Bechet who never did learn to read music. Even Louis Armstrong and Bix Biederbecke were poor sightreaders but sensational musicians.

Wild Bill spent most of the 1930s in Milwaukee, where he was known as "Trumpet King" Davison. In 1939, he suffered a lip injury when he was hit in the mouth by a flying beer mug. It was appropriate enough for Bill's boozing habits and for being in Milwaukee.

In 1941, he was working at Nick's, a New York City Jazz club, where this writer enjoyed many evenings listening and talking to him. A little later, he re-created a version of the Original Dixieland Jazz Band for the Katherine Dunham radio show. This resulted in his recording 12 sides for Milt Gabler's Commodore label, just one week before his 38th birthday in 1944.

In 1945, after recording some brilliant sessions with George Brunis, he joined Eddie Condon's house band (Eddie Condon's Club). An interesting sidenote is that Brunis' real name was George Brunies, but he dropped the "e" after a numerologist told him that the "e" portended evil happenings. With steady work at Condon's, Wild Bill was able to formulate a style of his own, and became a commanding and reliable lead cornetist upon whom Condon could rely, in spite of his "indiscretions". He was now recording with Condon and also had some quartet dates of his own.

In the 1960s, Davison began touring with his own band. And, between 1965 and 1975, he appeared with over 100 bands and recorded 20 new albums. He toured England where he recorded with Lennie Hastings, Fred Hunt and Alex Welsh. In the 1970's, he moved to Denmark.

In 1983, after a short illness, Davison remained active and continued his globetrotting. He played in some 1985 jazz festivals, and in 1986, again toured England. He was almost unbelievably revered in Japan, where in 1986, he received accolades from his jazz peers, naming him an unofficial "Living National Treasure of Japan". Three years later, "Wild Bill's" days ended on November 14, 1989, at age 83.
Here's a picture of Bill Davison, taken near the end of his career.

   [ Bobby Day Orch ]
Electric Guitar. A band local to the New York City Area. No other info.

   [ Peter Dean Orch ]
Operated in the 1940's. Peter was a scat singer and dancer. The band's, then unknown, girl singer was Dinah Shore. No further info avail. now.

   [ Milton DeLugg Orch. ]
b. Dec. 2, 1918, Los Angeles, CA, USA.
Instruments: Piano and Accordion
Another musician of the 'Easy Listening' era, DeLugg's career encompasses both bandleading and composing. After matriculating at UCLA, he found work in radio and film studios as a leader, orchestrator, arranger and composer. From 1966 through 1967, Milton was the Musical Director for the Tonight Show (Johnny Carson was the host). He was the Musical Director for 'Dagmar's Canteen', an early TV show featuring a real Canteen for US Servicemen. Dagmar was a very buxom "statuesque" blond who had come to fame on Jerry Lester night time TV show as a sex symbol. He was also a composer. He wrote the 1951 tune "Shanghai" which hovered near the top for 14 weeks. Many of his compositions were used as Radio and TV themes, among which are 1960's game show "Two For The Money" with comedian Herb Shriner, and themes for two Chuck Barris Productions, "The Dating Game" and the "Gong Show." His song ,"Roller Coaster", was the theme for one of the first network TV Quiz Shows in the U.S.--"What's My Line?".

A prolific composer, he is well remembered today for such songs as:
"Shanghai" --reached #3 on the charts.
"Hoop Dee Do" (polka)
"The Happy Wanderer (Val-der-ri, Val-der-ra)"
"Just Another Polka"
"Orange Colored Sky"

   [ Jack Denny Orch ]
Theme Song: "Under the Stars"
Please see Jack Denny's entry on our Canadian Big Bands, database.
Frances Stevens sang with the band. Denny played old-fashioned, dull arrangements at Montreal's Mount Royal Hotel before the big band era. He showed up later in New York's Pennsylvania Hotel with Stevens and then slowly faded away.

   [ Martin Denny Orch. ]
b. April 5, 1911, New York, NY, USA, d. March 2, 2005, Hawai'i Kai, Hawaii, Age: 93.
Overview
Denny influenced several generations of 'Lounge' performers. His early Liberty Record releases featured a 'honey sound' - standard easy listening fare. But Denny will always be remembered for scoring "exotica's" greatest hit record -The Les Baxter Orchestra recording of "Quiet Village", with it's animal and jungle sounds. In addition, due to his contractual differences, two other key figures in exotica got their big breaks --Arthur Lyman and Julius Wechter.

As a child in New York City, Denny studied classical piano . He was already working professionally in the 1930's, and spent four years with the Don Dean Orchestra touring North and South America. During WW2, he served in the U.S. Army Air Force. Following his discharge, he continued his studies at the Los Angeles Conservatory where he worked with Wesley La Violette, who had influenced many West Coast jazzmen.

During this time, he continued working in clubs with small combos. In January 1954, he was hired to play at Don the Beachcomber's, -Honolulu's most popular club. Not too long afterwards, steel and shipping magnate Henry J. Kaiser hired him to work in the Shell Bar, the night club of Kaiser's Oahu resort 'The Hawaiian Village'.

While working at the Shell Bar, something occurred that was to be a big influence on Denny's career. The bar was next to a pond, where the croaking of frogs and insects outside were easily heard by the patrons and the band. Soon, Denny was working these sounds into his arrangements. and the sidemen began adding bird calls and other jungle screeches. The concept was successful and the club's customers began to demand the sound effects. In this way, Denny's accidental discovery became his trademark.

In 1956, Denny left Kaiser's employ due to a contractual dispute. He then toured the West Coast before getting some extended bookings in Las Vegas, NV, with the Flamingo and Sands Hotels. He also began recording for a new label then starting in Los Angeles, -Liberty Records. He continued to record for Liberty until 1969, yet had only a few singles in the Pop Charts. Denny returned to Oahu but continued to tour the States where he also appeared on network television variety shows throughout the 1960s.

Looking back, it is interesting to note some of the musical shifts that occurred when Denny left Kaiser. After Denny's first album, "Exotica", was released, Henry Kaiser hired Denny's vibes player, Arthur Lyman, who took over Denny's gig at the Shell Bar. When Denny's hit single "Quiet Village" started climbing the Top 40 charts, another fledgling LA label, Hi-Fi Records, engaged Lyman who began recording his own albums, -all heavily influenced by Denny's sound. Meanwhile, Denny had replaced Lyman with percussionist Julius Wechter. In 1964, Wechter also left to form the very successful Baja Marimba Band for Herb Alpert's new label, A&M.

   [ Dave Dennis Orch. ]
né: David Herman
Joe Adams recalls:
"In the 1960s, when I was reading the obits in the NY Times, there was a small item about the death of Dave Dennis, who was found dead in the Hotel Walnut in Philadelphia- a bad ending. The obit mentioned his one claim to (limited) fame: a wonderful series of transcriptions for Muzak-Associated in which with an unusual string orchestra, he recorded magnificent versions of standard tunes and three brand-new LeRoy Anderson compositions, "Fiddle Daddle", "Jazz Legato" and "Jazz Pizzicato". Dennis recorded them before Anderson himself or the Boston Pops Orchestra, which had a series of hit records of Anderson compositions.

The instrumentation of this string orchestra was unusual - no piano, guitar or drums. It had one harp (which frequently soloed), about eight violins/violas, three or four cellos and two or three basses. This produced a sound that was slightly bottom-heavy but also mellow, darker and pleasant as opposed to the usual higher, almost syrupy sounds of other string orchestras such as that led by David Rose. Except for the Anderson compositions, the songs were American standards played at slow, relaxed tempo. The arrangement were very soothing, among the earliest of what came to be called "mood music".

I know only a few things about Dave Dennis. His real name was David Herman. He had played violin in a few dance orchestras such as that of Abe Lyman. He had a brother who was a shoe salesman in White Plains, N.Y. His recordings, though not on sale to the public, made enough of a small impact to earn him an obituary in the New York Times. He died alone in a room in the Hotel Walnut (but then, we all die alone.)
The Big Bands Database Plus thanks Mr. Joe Adams for this information above on Dave Dennis.

   [ Doc Daugherty Orch. ]
Currently no information available on this "White" territory band working out of Philadelphia, PA, in the late 1920s and early 1930s. Daugherty is perhaps best remembered as co-composer of the song "(I'm) Confessin' That I Love You". His band achieved national prominence with several recordings on which they played Blues, ballads, and some good up-tempo music.

Mr. Tony Standish, in private correspondence, has recalled:

      "While I cannot add much about his band activities, he was, in
      the 1950s, the genial owner of the 'Club Hangover' in San Francisco.
      I spent many nights there listening to the bands of 'Kid Ory' and
      'Earl Hines' in 1955, 1957.As an Australian visitor, Doc introduced
      me to the musicians and treated me royally. A lovely guy."

   [ Harold "Duke" DeJan's Olympia Brass Band ]
Alto sax, clarinet, and bandleader
b: Feb. 4, 1909, New Orleans, LA, USA; d: July 5, 2002, New Orleans, LA, USA. age 93, (a series of Strokes).
Please also see our February (4) Calendar Entry
Dejan was a 'Creole' (French and African-American descent) whose father was a successful drayman. As a very young child, his interest in music was piqued when he would listen to the early "Jazz" Bands, touting some upcoming event by touring the city on a horse-drawn wagon. He was thus exposed to the music of such early stars as cornettists Buddy Petit, "Kid" Rena, Chris Kelly and "Punch" Miller.

In 1913, at age 14, he began to study the clarinet, and was soon marching with the 'Holy Ghost Brass Band' for "Jazz" funerals. He followed this, when together with his trumpet playing brother, Leo, he formed the 'Moonlight Serenaders'. He was also playing with such men as clarinettist George Lewis and Chris Kelly. He next found work with the 'Clarence Desdunes Band', touring the Southern states.

By 1930, he was back in New Orleans, leading 'Dejan's Rhythm Boys' on board the steamer S. S. Dixie for excursions from the Crescent City (New Orleans) to New York. Subsequently, DeJan found work with "Kid" Rena at the 'Gypsy Tea Room', a night club with a floor show where Dejan's wife Rose was one of the "Gypsy" chorus girls. In 1936, he had resumed playing on the SS Dixie. (Photo courtesy of the Hogan Jazz Archive, Tulane University. Dejan (seated) with pianist Lester "Blackie" Santiago (left) and guitarist Casimir Paul.)

In his 1989 book, Everything Is Lovely!, Dejan recalled those trips with great fondness:
      "On the steamer Dixie we was making 22 dollars and 50 cents when
      we hitNew Orleans, and 17 dollars and 50 cents when we got to New
      York. But we had everything free. And we used to make nice little
      tips, too, on that boat. Every time I git to New York, I come back
      to New Orleans with new clothes on." The band played for dancing
      at night and then gave a lunchtime concert at noon. "But some
      nights the sea'd be rough. And when the sea'd be rough, the captain
       said, 'No, no dancing.' So, no dancing. And we'd go out to the
      pantry and make us some sandwiches and go on deck and have our
      little party at night."
Nevertheless, the economic depression of the '30s was such that Dejan was forced to take a day job with the Lykes Lines steamboat company as a chauffeur. The Lykes company permitted him time off to play for funerals.

From 1942, Dejan served with the U.S. Navy during World War 2. He played in the all-Black 'Algiers Naval Station Band'. After receiving his Service discharge, Dejan returned home to New Orleans, often parading with the 'Eureka Brass Band', and was part of 'The Mighty Four', a quartet that played small New Orleans clubs. He then formed his own 'Eureka No Two' brass band. It was the seminal moment, for this band propelled Dejan to international fame when it metamorphosed into the highly successful 'Olympia Brass Band', a group that often played over 200 jobs per year. One of the offshoots of the band was the 'Olympia Serenaders', a group that played the city's historic Preservation Hall for 20 years.

Barry Martyn, a British drummer and researcher, had earlier recorded the Olympia on his Mono label, and, in 1965, was instrumental in bringing DeJan's band to Britain. The visit was a great success and the Olympia would make more than two dozen trips to Europe in the late 1960s and '70s. It is interesting to note that once, while speaking to Barry Martyn about "Kid" Rena, Dejan remarked, "Drunk or sober, Rena blew the devil out of that horn."

In 1990, partly incapacitated by a stroke, and unable to play, he reinvented himself as a vocalist, while still fronting his band every Sunday at Preservation Hall.