In the early 1980s, a subscription collection called 'The Greatest Recordings of the Big Band Era' was issued with two recordings of the Tom Gerun orchestra. Recording #46 has two numbers featuring Woody Herman on vocals. The recordings were originally on Brunswick and were made in 1932 in New York. The songs are "Lonesome Me" and "Sentimental Gentleman from Georgia". Among the text describing the band is the name of Gerun, originally Gerunovitch, who was based in San Francisco. One of his side-men was a trumpeter named George "Fat" Wendt (could he be the father of actor George Wendt from Cheers fame?) Another was saxophonist, Al Morris (Jr.), who gained fame when he turned to singing as Tony Martin. The band was a "hot band" in the style of Ben Pollack. Tom Gerun later drifted away from the band business and opened and ran the Bal Tabarin night club in San Francisco.

In August of 1941, Gerun was entertaining troops at Ford Ord, where as owner of Bal Tabarin nightclub, he provided the whole show as part of the celebration. The bands taking part in the show were Carl Ravazza and his Palace Hotel Band; Bob Saunders and his band from the Bal Tabarin, and Robert Nurok and his group from the Alcazar night club. Among the performers were 'Senor Wences', ventriliquist from the Bal Tabarin, famed actress and vocalist Gertrude Niesen, the Duncan Sisters, and others. This also seems to indicate that Gerun was running his Bal Tabarin Club before the US entered WWII.
Thanks to Mr Jim Shaw for this additional information on Tom Gerun.

   [ Glen Garr Orch. ]
Currently no information available.
Theme Song: "I Love You Truly"

   [ Dick Gasparre Orch. ]
Currently no information available.

   [ Charlie Gaylord Orch. ]
Charlie learned the business from playing in the Paul Whiteman Orchestra. Here's a photograph of a somewhat relaxed Gaylord Arranging.

   [ Caroll Gibbons Orch. ],'30s.
Listed In the British Bands Database

   [ Georgia Melodians ]
This band, active from ca. 1923 through 1926, was originally formed in Savannah, Georgia. It is believed that the group was really co-led by Ernie Intelhouse and Hill Hutchins, although violinist Charles Boulanger, who 'fronted' the band, is usually listed as the "leader". The "original" band actually broke up in Dec. 1924, but the name was continued (mainly by the Edison Recording Company) into 1926. In the Spring of 1923, the band was resident at Lynchburg, North Carolina, a coastal resort town, where they spent the summer season playing in a ballroom at nights and giving concerts at the beach on Sunday afternoons. Reedman Merritt Kenworthy joined them at this time.

In February, 1924. they arrived in New York City, after working at various venues on their way up the coast. As far as can be determined, the personnel at this time included the nominal Leader, Charles Boulanger (violin), -he had already led a mid-western band in the early 1920s, Carl Gerrold (drums), Elmer Merry (banjo) and George Troupe (trombone -- who was soon replaced by Herb Winfield.) The pianist was Oscar Young (he had come to New York in 1911 as part of a trio that included Ted Lewis and Jack Rose). As an aside, it is interesting to note that Charles Boulanger was manager of the Jack Teagarden Orchestra during the early 1940s. after which he retired to Newington, Connecticut, where he owned a restaurant, and where he died ca. 1980.

Their New York booking agent, Verdi Fuller - a former Edison employee; not only got them a gig at the Cinderella Ballroom (48th Street and Broadway) playing opposite the Paul Van Loan Orchestra, but was probably also instrumental in getting them their first recording date for the Edison Company. The band on those 1924 (and possibly some 1925) recordings consisted of Charles Boulanger (Leader/Violin); Vernon Dalhart (Vocals); Ernie Intelhouse (Cornet); Herb Winfield (Trombone); Merritt Kenworthy (Clarinet/Alto and Baritone Sax); Clarence Hutchins (Clarinet/ Alto and Tenor Sax); Oscar Young (Piano); Elmer Merry (Banjo, Guitar); and Carl Gerold (Drums). In addition, on some of their 1924 Edison recordings, Trumpeter Micky Bloom was a member of the band. Abe Lincoln (trombone) has told interviewers that he and Red Nichols were on the October 10, 1924 Edison recording session. Trombonist, Charlie Butterfield recalls being present on some sessions while another trombonist, Al Philburn, noted that he replaced Butterfield on one session. The personnel on sides recorded in 1925 are more difficult to identify.

In the summer of 1924, bandleader Paul Specht replaced Fuller. Specht not only led his own orchestra, but was also acting as a band agent, and already represented many other bands. In early September 1924, the Melodians left the Cinderella and moved to the Strand Roof, where they played opposite the Henri Gendron Orchestra. (Incidentally, they were replaced at the Cinderella by the Wolverine Orchestra, with Bix Beiderbecke.) They apparently left the Strand shortly later, and it seems that a booking for a New Year's Eve Ball at the Hotel Alamac, New York, was the original group's last booking. It is not known why, but after the Hotel Alamac booking, they disbanded, and the two leaders departed for other ventures.

In 1926, New York bandleader W.C. Polla had become a full-time arranger, having disbanded at the end of 1925. Some historians believe that members of his band joined forces with the remaining Melodians to form a 1926 group called The Mountaineers, then playing at the Rosemont, in Brooklyn, NY. Violinist Charles Boulanger led the group which was managed by their bassist, Rex Gavitte. (Since Edison files show payment for Melodians' recordings in 1926 to Gavitte, it seems quite probable that The Mountaineers actually recorded these last sides - which the Edison Company attributed to The Melodians on their label.)

By the end of 1926, even the name had disappeared, leaving us some really fine dance-band music, -all recorded in New York City on Edison records, including:
I Can't Get The One I Want 7-14-1924
Why Did You Do It? 7-14-1924
Red Hot Mama - 9-2-1924
Charley, My Boy - 9-2-1924
Everybody Loves My Baby 9-24-1924
San 9-24-1924
Doo Wac A Doo (A 'Wow-Wow') 10-10-1924
I'm Satisfied (Beside That Sweetie O' Mine) 10-10-1924
I'm Bound For Tennessee 11-10-1924
My Mammy's Blues 11-10-1924

Give Us The Charleston 7-7-1925
Yes Sir, That's My Baby 7-7-1925
Red Hot Henry Brown 7-28-1925
She's Drivin' Me Wild 7-28-1925

Spanish Shawl 1-15-1926
Charleston Ball 1-15-1926
Hangin' Around 4-7-1926
I Found A New Baby 4-7-1926
Rhythm Of The Day 4-9-1926
Ev'rybody's Charleston Crazy 4-9-1926

   [ Terry Gibbs Orch. ]
Currently No Further Information available.

   [ Don Glasser Orch. ]
Theme: "You Call It Madness, I Call It Love"
Tagline: "Music Smooth As Glass"
b. August 28, 1920 in Derry, PA, USA. d. April 26, 2004, Birmingham, AL, USA. Age: 83.
Overview
Glasser gained a good deal of big band experience when he worked with the Ray Pearl; Jerry Gray and the Art Kassell orchestras. In 1938, Don started his first band in Derry, Pennsylvania, but soon made Chicago his home base. The band toured extensively throughout the mid-west appearing at such notable venues as the Peabody Hotel in Memphis, TN, and The Club in Birmingham, AL. Here's a nice photo of the 1959 Glasser Orch., playing at the Peabody Hotel Glasser often played on the East coast as well, with many engagements at the famed Roseland Ballroom, in N.Y.

The band is still active; operating primarily in Florida. Here's a good close-up photo of Don Glasser, who has had a stroke (2003), and who now sits at a table and visits with friends while his wife, singer Lois Costello, leads the band. (Early in her career, Lois had been the vocalist with the Will Back orchestra.) In 1996 and 1997, Don and orchestra made Florida tours, and probably will do so again in 1998. They had a three week engagement at The Club in Birmingham following their 1997 Florida tour. They also did a midwest tour in 1997.

In private correspondence, Mr. Joseph Enroughty, President of the Guy Lombardo Society,
(http://snow.prohosting.com/lombardo/indexguy.html ) has advised:
       "....(Glasser) started his most successful band in 1953 with his wife Lois Costello
       after having played in the bands of Art Kassel, and Ray Pearl, (where he met
       Lois - she was Ray's vocalist). He broke the attendance record at New
       York City's Roseland Ballroom when over 3000 people showed up one night to
       listen and dance to his orchestra. He was also the last big band to
       broadcast over the CBS Radio Network in 1971.   95% of the band's
       arrangements were penned by Don and he was an excellent saxophonist and
       clarinetist with a style as distinct as Carmen Lombardo."

Mr. Enroughty noted that the Glasser orchestra continues to entertain (6/2004) under the direction of his vocalist wife, Lois Costello.
Thanks to Mr. Doug Booth, and to Mr J. Enroughty, for this information on Don Glasser.

   [ Jackie Gleason Orch ]
Robin Lenhart Notes that:
Although Gleason loved big bands and promoted them on his TV shows he never led one. In his biography, Gleason states that although he selected MOST of the musicians for those Capitol 'mood music' LP's, he NEVER conducted the band and NEVER was present in the recording studios when any of those records were being made. He allowed Capitol to use his name and imply he conducted the 'band' as a marketing gimmick.

Did you know that "Melancholy Serenade," the TV theme song for the hit show The Honeymooners was written by Jackie Gleason? Unknown to many, Gleason was a talented, well respected songwriter.

Born in Brooklyn in 1916, Jackie grew up with desires to help make the world happy, even though his childhood was a sad one. His father left when he was a young boy, and Jackie was forced to work hundreds of odd jobs before working on Broadway and on Radio in the 1940's. However his most successful medium was Television. "The Jackie Gleason Show" and "The Honeymooners" were two of the top rated programs in TV history. His comedy became legendary!

After signing a large TV contract with CBS, Gleason hired a studio orchestra to fulfill another dream, - becoming a bandleader. His band recorded over ten albums of dreamy mood music. Jazz sidemen like Bobby Hackett, Billy Butterfield and Milt Hinton were featured on the Sy Oliver arrangements.

Gleason wrote a number of the songs including "Lover's Rhapsody," "Glamour," "To a Sleeping Beauty" and "On the Beach." These albums came as a surprise to the record companies as each one of his albums sold millions of copies. Gleason seemed unstoppable, everything he did was gold!

The biggest surprise to most fans was finding that Jackie never received any musical training. W. J. Weatherby wrote, "He picked out the tune on a piano with one finger, then hired a professional arranger to put it on paper for him. Jackie and the arranger had many agonizing sessions, with Jackie Gleason crying 'No, that's not it! Listen!' Then he'd try again to convey the melody running through his head. But this was no amateur hobby: he wanted the whole world to hear his music the way they listened to his jokes."

His first record was not backed by a record company, so he borrowed $8,000 to cover all the costs. His orchestra was one of the most organized studio bands of the era. He set up twenty-four violins and one rotating soloist, cornet, trumpet and one tenor saxophone. The first album was a risk, in fact, he would have to sell 60,000 copies just to break even. The album, Music For Lovers Only sold over 500,000 copies! He soon recorded others including "Music to Remember Her" and "Music, Martinis and Memories". Sales for his albums were incredible, Gleason said, "and, it never once hurt records sales to have a plug on my show."

His next goal was to set up a series of TV programs featuring top bands. During the summers he needed a replacement program while the Honeymooners took a vacation. So, Gleason created a show that presented name bands including Tommy and Jimmy Dorsey.

In 1946, Jackie featured the Tommy Dorsey Orch on his show. When TD died in 1956, Jackie Hosted a tribute sh w to Tommy in which a huge number of musicians and conductors participated (incl. Paul Whiteman). The show included two songs he wrote just for the program including "Just One More Yesterday."

The Dorsey Brothers program, called "Stage Show," has since become part of TV history as a program which allowed unknown performers to make their TV debut, including Elvis Presley.

Paul Whiteman hosted the summer Gleason replacement show in 1955. Buddy Rich hosted Gleason's 1967 summer replacement show.
To the best of my knowledge, Gleason's band only played for recordings. I do not think that they ever had any other 'real' working gigs.

Jazz bassist Milt Hinton once said, "Jackie added integrity to his music, the feeling of warm lovely music can not be created if you don't feel it Jackie always felt it!"

His career as a comic and actor always over shadowed his career as a bandleader and songwriter, however he was clearly proud of his musical success. Jackie Gleason died of colon cancer at the age of 71 on June 25, 1987.
Above notes courtesy of Mr. Dan DelFiorentino

   [ Lud Gluskin Orch ]
b. Dec. 16, 1898, New York, New York, USA, d. Oct. 13, 1989, Palm Springs, California, USA
né: Ludwig Elias Gluskin
Please see the "EURO - France" Database for a full entry on Lud Gluskin.

Let's watch this old film-clip.   VIDEO: "Dinah"  , with vocal chorus by "The Kentucky Boys". Regretfully, the images are rather dim, but it is Jazz history nevertheless. It is a wonderful illustration of what a "Hot" American band touring Europe sounded like, in the early days of Jazz. In the early 1930's, Lud Gluskin's band was filmed somewhere in Europe. Gluskin was the only American bandleader of the 1920's and 30's who continously toured Europe (though 'homebased' in Paris, France).
Here is Lud's band playing What Do I Care, as digitally re-engineered by Mr. Verne Buland. The Lud Gluskin Orchestra was the only American orchestra continuously based in Europe during the late 1920s and early '30s. While their recorded output was basically of the commercial dance band variety, nearly all of the members were primarily "hot" men and could - and did - play excellent jazz. The large majority of Americans in the group were from Detroit, and the Goldkette influence is evident. According to local laws, at least one-fourth of the orchestra was required to be French, and the very best of these musicians were always used by Gluskin. The first recording session was on December 30, 1927, and the records were labeled as by "Lud Gluskin and His Versatile Juniors".

Record producer Warren K. Plath put an album together in 1980 titled "BLACK AND WHITE JAZZ IN EUROPE, 1929". The album featured the music of three great 'European' bands; Lud Gluskin, Sam Wooding and Gregor. Here are Plath's Liner Notes :
    "The three orchestras portrayed here were among the best in Europe
    for the period, and were hired basically because they put forth
    excellent dance music. Yet each band was able to incorporate
    jazz solos within their dance music, hence these cuts will be of much
    interest to the jazz fan. Fortunately, Wooding and Gluskin had any
    number of good jazz men and - in Brun and Cohanier - Gregor had two of
    the best available. The contrast in styles is interesting: the easy
    going Harlem sound of Wooding; the crisp Goldkette atmosphere created
    by Gluskin; and (excepting Brun and Cohanier) the handicap of the
    Gregor group with the use of French musicians who were not acquainted
    with the American dance music idiom. These three bands crossed paths
    during their respective careers. Gluskin and Gregor played opposite each
    other during summer, 1929, at Le Touquet, Paris-Plage, while Wooding
    followed Gluskin at the Roof Garden of Haus Germania in Bern. Gluskin
    closed 1929 at the latter location; Wooding and Gregor were in Paris;
    and the ensuing years had all three decreasing the jazz solos and
    settling down to more straight dance music."

"The first quarter of 1929 was a busy one for the Gluskin Orchestra. (His orchestra was then known as 'Lud Gluskin and his Ambassadonians'). In addition to playing at 'The Ambassadors' in Berlin for the tea dances, and dancing and floor shows at night, the band made several short subjects and signed "exclusive" contracts with five different record companies. Record collectors often refer to January, February and March, 1928, as a "marathon" recording session for the Paul Whiteman band which recorded over 20 titles. During the same period in 1929, Gluskin recorded over 110 tunes."

"The four examples in this album are each from a different record company.
"Tiger Rag" still uses the Goldkette arrangement though comparison with the two tracks on Wolverines #1 and #2 will indicate entirey different solos.
"I Wanna Be Loved By You" is a typical pop number of the day with a fine alto sax solo by (Gene) Prendergast in the last bridge."
"That's My Weakness Now" is taken at a breakneck tempo with a bridge by Christian and Prendergast and Ritten riding out the last chorus. This was originally recorded for the Artiphon Company in 1929; and the masters were used by the Phonycord Company in 1930 to press pure vinyl, flexible discs.

"That's A Plenty" is easily the rarest of all the Gluskin European records (only one copy is known), appearing on a 12" disc made to be used as sound with an early UFA short subject, featuring Black dancer Barbara La May. Here's a late photo of Spencer Clark, holding his wonderful Bass Sax....who makes himself heard on the record, taking the only solo. Listen carefully to the end of the record and you will hear the UFA extras dutifully applauding as La May finishes her number."

Listen now to "Crazy Rhythm", another 1929 release by 'Lud Gluskin et son Jazz' (Meyer - Kahn) Polydor 22041., and the lively tune "Doin' The New Low Down", played by the Lud Gluskin Orch. (L: Dorothy Fields, M: Jimmy McHugh) Polydor 22833. NOTE: Do not confuse with the song "When The Folks High-Up Do The Mean Low-Down", sung by Bing Crosby in the 1930 film 'Reaching for the Moon' Bing wasn't actually in the film, he was just interpolated for that one song.) and finally, let's hear the song "Moanin' Low", played by the Lud Gluskin Orch. (M: Howard Dietz - Ralph Rainger) Rec'd: Berlin. October 24th 1929

The sidemen at this time consisted of:
Eddie Ritten, Faustin Jeanjean, trumpets; Emile Christian, tro mbone; Gene Prendergast, Georges Charron, Maurice Cizeron, Serge Glykson, Spencer Clark, reeds; Fred Zierer, violin; Paulie Freed, piano; Howard E. Kennedy, banjo; Arthur Pavoni, bass; Bart Curtis, drums.

Berlin, January 17, 1929
"Tiger Rag" (2188) Tri-Ergon 5463

Berlin, January 25, 1929
"I Wanna Be Loved By You" (480) Homocord 3043 (vocal, Bart Curtis backed by Ritten, Christian and Kennedy)

Berlin, March 1929
"That's My Weakness Now" (3513) Phonycord 235

Berlin, during first quarter of 1929
"That's A Plenty" (4070) British Phototone 4070 (12")

This information on Lud Gluskin was kindly supplied by Ms Eugenie J.(Prendergast) Wing.

   [ Jack Golden Orch. ]
Currently No information available. Operated circa 1930. Backed vocalist Harry Richmond on some records.

   [ Jean Goldkette Orch ]
b. March 18, 1893, d. 1962
Overview
Jean Goldkette was a concert pianist. Born in Greece, raised and educated in Russia, He then came to America, and started his career as a pianist at Lamb's Cafe in Chicago. In time, he became an entrepreneur who owned Detroit's best night spot Greystone Ballroom, and he also acted as a 'band agent'. At any given moment, there were usually several "Goldkette" orchestras playing. One band Goldkette Orchestra could be perform at the Greystone Ballroom; one (or more) could be on the road touring, while yet one more could be performing nearby at the Book-Cadillac Hotel and, sometimes. As a band agent, Goldkette also booked other bands for venues other than his own. Among these bands were McKinney's Cotton Pickers and The Orange Blossoms (later called The Casa Loma Orchestra). Many early Jazz greats were a part of his organization, at times, including Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Eddie Lang and Tommy and Jimmy Dorsey. Interestingly, Goldkette usually did not take an active role in leading his band. Here's a photograph of Goldkette's legendary and star-studded orchestra, (and see below for a better view of the 1926 musicians,) Interestingly, Jean Goldkette's band(s) had thrilled millions of Americans, yet Jean's band had basically ceased operations before the Swing or Big Band era had even begun. Still today, musicians, dancers and listeners all recognize it as one of the greatest bands of the era.

Jean was born in Patras, Greece, March 18, 1893 to Angelina Golkdkette. The Goldkettes were a traveling theatrical troupe. Angelina married John Poliakoff, a Russian, and Jean settled into Moscow life. He attended the Moscow Coservatory of Music, and in 1910 immigrated to the U.S. Jean then attended the Lewis Institute in Chicago and from 1916 to 1921 he attended the American Conservatory of Music, also Chicago. Probably, March, 1916 was Jean's first entry into the real music world when he was featured in the Imperial Player Roll Company bulletin as "The International Dance Sensation"; playing a fox trot titled "La Seduccion." Price - 50 cents.

Although his first love was classical piano, Jean was a real promoter, and recognized that the money was to be made in jazz. In 1921 he became music director for the prestigious Detroit Athletic Club. In 1924 he took over the Graystone Ballroom, and also formed the Victor Recording Orchestra. He published the "Graystone Topics," a newspaper promoting his activities. During these years he composed several numbers for his orchestras.

He became what is called a 'band agent' and not only booked other bands for various jobs, but started forming his own 'name' bands. He often had more than one Goldkette Orchestra touring at the same time around the country. In the '20s, he decided that he wanted a band as good as Paul Whiteman's. So he put together a band, and what a band. The original band had Don Murray, Howdy Quicksell, Irving Riskin, Frank Trumbauer, Spiegle Wilcox, Bill Rank, Ray Ludwig, Chauncey Morehouse, Bix Beidebecke, with arrangers Bill Challis, Steve Brown and Fred Farrar. Here's a photo of that legendary 1924 Band, during a period when Russ Morgan was the nominal leader. The personnel consisted of (left to right): Russ Morgan (director); Steve Brown (bass, tuba); Bill Rank (trombone); Spiegle Willcox (trombone); Howard Quicksell (banjo); Fuzzy Farrar (trumpet); Chauncey Morehouse (drums); Lou Longo (piano); "Doc" Ryker, (alto-baritone sax, clarinet); Don Murray (clarinet, tenor-baritone sax); Ray Lodwig, (trumpet); and Jimmy Dorsey, (clarinet, alto sax). Between 1924 and 1927, other sidemen such as Joe Venuti and Eddie Lang; Pee Wee Russell; Russ Morgan; The Dorsey Brothers, and Danny Polo migrated in and out of the band. Here's a photograph of the Goldkette Band, at the Ballroom, while this is a great view of the 1926 Band on their Touring Bus. On 12 September, 1926 the Jean Goldkette orchestra left Chicago by train for an Eastern tour. The tour started in New England with headquarters in the Hillcrest Inn, Southboro, Massachusetts. The orchestra travelled by bus to every engagement. Band members seated on top of the bus are from left to right: Bill Challis, Spiegle Willcox, Irving Riskin, Bix Beiderbecke, Don Murray, Howdy Quicksell, Doc Ryker, Chauncey Morehouse, Fred Farrar, Ray Lodwig, Bill Rank. Steve Brown is sitting on the hood, holding a cigarette lighter that looks like a gun. Lets go back to 1926, and listen to the boys seated on top of the bus playing "Sunday". This great "Roaring Twenties" - Flapper era tune has it all, the "Keller Sisters and Lynch" vocalizing with a little "Vo-Do-Do-De-Oh-Do" thrown in, a ukulele, and all that Jazz.

The 1927 edition of "The Orchestra World" reported :

       "Jean Goldkette's Victor Recording Orchestra consisting of 15
       men, has played a four week engagement at Marshall's New Castle
       Farm (Ohio) following a four week tour through Ohio, Indiana,
       Michigan and Pennsylvania, and two weeks in New York making

       Victor discs." "The Leader and Arranger of this unit is Eddie
       Sheasbie. The members are Frank Trumbeaur,(sic) sax, clarinet
       and bassoon; Don Murray, sax, clarinet, oboe, ophiclied; Stanley
       Riker, sax, clarinet, and flute; Freddie Farrar, first trumpet;
       Ray Ludwig, second trumpet; Bix Biederbecke (sic), third trumpet;
       Bill Rank, first trombone; Lloyd Turner, second trombone; Steve
       Brown, String bass and tuba; Howdie Quicksell, banjo; Chauncey
       Morehouse, drums and tympani; Irving Riskin, piano and harp; Chris
       Fletcher, violin and vocalist; and "Red" Ingle, violin and vocalist."

The June 11, 1927 edition of The Billboard carried an article by William Sachs on the Goldkette band, -"Goldkette Band at Castle Farm". The article reported that the Goldkette organization had just opened a 4 week stay at A. J. "Toots" Marshall's New Castle Farm in Cincinnati, Ohio. The last two paragraphs of that article are of historical interest:

       "Prior to that (...playing some college proms. . ed.), the boys
       played a lengthy engagementat the Greystone Ballroom in Detroit,
       owned by Goldkette. The Goldkette organization recently spent two
       weeks in New York, recording for Victor."

       "Goldkette does not travel with the orchestra, but is kept busy in
       Detroit, where he is the president of five corporations including a
       finance company. He is also operating three LakeResorts in Michigan."

In 1928 he turned his attention to straight promotion, but never left classical piano. In the late 30's he formed the American Symphony Orchestra and in 1939 conducted the orchestra at Carnegie Hall featuring Edward MacDowell's compositions along with Gershwin and other composers. The program featured the Charioteers in two spirituals, and Golkette's Swing Ensemble.

During the 40's his time was devoted to band promotion, but in the 50's he toured the midwest extensively as a classical pianist. Among his close friends were bandleader/arranger Johnny Green, and vocalist Frankie Laine. Johnny Green was helping Jean promote a screenplay about his life, "The Jean Goldkette Story." (It's most enlightening to read Green's biography.)

While it all started in Detroit, the band's fame spread across America. It was a great band playing great music in a driving, exciting manner, with great esprit among the musicians. His 1920's music was so good, that in 1959, he assembled an all star band to recreate his original music in stereo.

The band ended in New York City when it played the Roseland Dance Hall (still going strong in 1995) in it's farewell appearance in 1927. It is said that it was the high priced and prima donna sidemen that convinced Jean to call it quits. Many of his men went with Paul Whiteman. Jean stayed active leading units of varying sizes around the country, into the mid-forties. But the glory days were over.
I am indebted to Mr. Alann Krivor for much of the above information on Jean Goldkette.

   [ Al Good Orch. ]
b. 1917, d. March 5, 2003, Oklahoma City, OK, USA. Age: 86. (heart attack)
Here's a photo of Al Good, on the cover of one of his record releases. Besides appearing in many local venues, this Oklahoma-based Swing and Ballroom orchestra was also seen on numerous radio and TV shows backing such entertainers as Lena Horne, Bob Hope, Anita Bryant, and Mike Douglas

   [ Al Goodman Orch. ]
Born August 12, 1890, Nikopol, Russia. Died January 10, 1972, New York, NY, USA.
Al Goodman's father smuggled five year old Alfred and the other members of his family out of Russia. The family settled in Baltimore where Alfred attended the Peabody Conservatory on a scholarship.

He first played piano and plugged songs for Earl Carroll in 1916. The two collaborated on the score and book for the Broadway Show "So Long Letty", which became a smash hit. His second hit came in 1918 with Al Jolson's "Sinbad." While rehearsing for the show Jolson joked, "Mammy, I can hear every bit of the old southland in this music!" Goodman remarked how the word "Mammy" would be a great title. Indeed it was, a song was soon written with Jolson's new phrase and the song became his trademark.

Goodman put great care in assembling just the right band for each show, but not all of his bands stayed on Broadway. He formed a few smaller bands to try out some of his new song ideas. Just after returning from Hollywood where he worked on the Al Jolson movie "The Jazz Singer" in 1927, Goodman formed a jazz combo for night clubs. "That early jazz combo may have been Al's way of promoting the Jolson film." Bandleader Les Brown went on to say, "Al love to lead, but we all knew his greatest talent was promotion."

After working with Irving Berlin; the Ziegfeld Follies and Fred Allen, Goodman formed a new band that toured very little but recorded often. The band's most popular recording was "Lonesome Little Doll." His other successful songs included, "I'm just a Vagabond Lover"; "Or what have You?" "The Desert Song", and "When I Grow too Old To Dream." By the 1950's he was recording "long-play" albums dedicated to "The Music of Irving Berlin," hits from "My Fair Lady" and "South Pacific". His orchestra backed the vocalist Norman Brooks on two albums.