[ Jerry Gray Orch ]
Theme Song: "Desert Serenade"
Currently no information available. Please see our Tunesmiths database for more information on Jerry Gray.

   [ Glen Gray and The Casa Loma Orch. ]
b. June 7, 1906, Metamora, IL, USA. d. August 23, 1963, Plymouth, MA, USA.
né: Glen Gray Knoblaugh (sometimes: Knoblauch).
Nickname: "Spike"
Theme song:
Early On: "Was I To Blame For Falling In Love With You" (before 1932)
Later On: "Smoke Rings" (Their 'real' signature song.)
America's First Co-op Orch.
Kenny Sargent, Voc.

Overview
"Glen Gray and the Casa Loma Orchestra".
That's the name that everyone knows. But it really should be called "The Casa Loma Orch., - led by Glen Gray." The Casa Loma band was America's first co-operative orchestra. An immensely popular band, with a great deal of musicianship, their style helped pave the way for many of the orchestras that followed.

Glen first started his own band in 1919 (age: 13), called "Spike's Jazz Band", but his career really began in 1926, whe he became part of the saxophone section of Jean Goldkette's, Detroit band, 'The Orange Blossoms'. Soon, the 'Orange Blossoms' would morph into the Casa Loma Orchestra, -the band with which Glen would spend his entire career.

EARLY HISTORY:
It was originally formed in Detroit (mid-1920's) by a group of musicians out of the various bands that were then managed or booked by Jean Goldkette. The band was named 'The Orange Blossoms'. They played under the 'Orange Blossoms' name until 1929, when the band re-organized and then called themselves "The Casa Loma Orchestra, managed by Francis O'Keefe". (Rockwell-O'Keefe Booking Agency also handled the Bob Crosby and the Bobcats, orchestra, among others.)

On Labor Day, 1925, Goldkette's 'Orange Blossoms' consisted of:
Henry Biagini (trumpet & leader); Ed Arnold (trombone); Gene Prendergast
and Ray Eberle (altos); Reggie Comben (tenor); Tommy Gargano (drums);
Oscar Legassey alternating with Irish Henry (tuba); Al Cox (banjo) and Ed Murray (piano).

During this time, Goldkette also booked and/or managed 'The Breeze Blowers'; 'Freddy Bergen'; 'Detroit Athletic Club Band'; 'Owen Bartlette Orchestra' at The Book Cadillac; 'Marion Rollins', and of course the 'Victor Recording Orchestra.'

During the winter of 1925-26, while the band was at Webster Hall, Detroit, Comben was transferred to the Detroit Athletic Club. His replacement was Spike Knobloch (also spelled Knoblauch, and later known as Glen Gray ). However, Spike's tenor saxophone so intrigued Gene Prendergast that in no time it was in his possession and Knoblock was in the alto chair.

At the beginning of summer, 1926, The Orange Blossoms played at Lake Orion, outside of Pontiac, Michigan, and in Mid-summer were shifted to the Bob-Lo Boats, cruise ships operating in Lake Erie, later playing at the Graystone Ballroom, in Detroit. They opened The Commodore Perry Hotel in Toledo during winter 1926-27 with the following men:
Clem Johnson (trumpet); Ed Arnold (trombone); Glen Gray (alto);
Gene Prendergast (tenor); Vic Polant (violin); Itsy Ritskin (piano);
Dimitri "Doc" Sayor (string bass); Howdy Cox (drums).

The Orange Blossoms reorganized in early 1927 and returned to Detroit, with:
Gene Prendergast as leader and on tenor; Henry Biagini and Clem Johnson on trumpets; Walter "Pee Wee" Hunt on trombone; Doc Snyder and Larry Teal on altos; Knox Pugh replacing the recently deceased Tommy Gargano on drums; Marlin Skiles on piano; Bill Maitland on tuba; Francis Grinnell on banjo. All of the Goldkette Victor Recording Band personnel were very much in evidence, and Bix sat in frequently though mainly on piano.

LATER HISTORY:
In 1927, the Prince of Wales was to visit Canada, and a brand new club called the "Casa Loma" was built just for his visit. The Orange Blossoms then were booked into the Casa Loma Hotel in Toronto on Labor Day 1927, but the club never opened. (It is probable that Jean Goldkette arranged the booking for the 'Blossoms'.) Bandsmen Skiles and Johnson left and joined Marion McKay in Louisville and were replaced by Charles Wolcott (piano) and Larry Sloat (trumpet).

Here are some very private and very rare photos of the "Orange Blossoms" during their visit the the new Casa Loma in Toronto, Canada. The Database thanks the Estate of Mr Grinnell for permission to use these wonderful pictures. Here is photo of the Orange Blossoms Arriving, during a snow fall. Here is another of the Blossoms Relaxing in the Lounge/Library, - I love those Spats that some of the band are wearing, and here are the Orange Blossoms on the Bandstand.

(Some additional notes on Gene Prendergast:
Prendergast also left in 1927 to play with Lud Gludskin's band in Europe until 1934 when Hitler came into power. This cut off the German bookings as Gluskin was of the same religious faith as Benny Goodman and Artie Shaw, and it was made known to the band that they would no longer be welcome in Nazi Deutschland.

Gene continued stateside with Gluskin, who added a harp and more strings. Some of the records at that time featured up and coming Buddy Clark. In 1936, while playing with Allan Liefer at 'Tavern On The Green' in New York City, Russ Morgan - who knew Gene from the Goldkette days - dropped in to see if Prendergast could still play. The answer resulted in an eight-year association.

The "Orange Blossoms" decided to rename themselves (1929) the "Casa Loma Orchestra". This was a historic moment in Big Band history. The bandsmen dismissed Biagini and formed a corporation. All the members of the band received stock in the corporation. Glen Gray was named as president; Pat Davis was named secretary-treasurer. The bands new booking agent, Francis O'Keefe was named as manager. And, Mel Jenssen (fiddle) was designated as the Leader.

LATER PERSONNEL CHANGES:
In the beginning, "Spike" Glen Gray (né: Knoblauch) was just the Sax man. Henry Biagini was the leader. In 1927, "PeeWee" Walter Hunt and Billy Rausch (Trombones) and "Joe the Horse" Howie Hall, pianist, joined. In 1929, Gene Gifford (guitarist/arranger/composer) and Pat Davis (tenor sax) along with Bobby Jones (trumpet); Tony Briglia (drums); and Stan Dennis (bass) were with the band.(This is when they incorporated.) In early 1931, Kenny Sargent (sax and vocals) and Clarence Hutchenrider (clarinet) along with Hutch's friend, trumpeter Grady Watts were all hired by the band's co-leaders - Gray and Jenssen. In early 1932, Sonny Dunham (trumpet) joined.

In 1934, Danny Andrea (sax) joined. In the same year, Murray McEachern (Goodman's lead trombonist); Tommy Dorsey's Dick Jones (arranger), along with Art Ralston (brass horns) and Jacques Blanchette (guitar/fiddle) and Fritz Hummel (trombone/fiddle) all joined the Casa Loma.
By the spring of 1935, Gene Gifford's booze habit had made him very unreliable and he was replaced by Larry Clinton as lead arranger. Gifford's contribution to the successs of the band should not be under-estimated. A talented composer, he wrote, among others, "White Jazz"; "Black Jazz" and the band's theme "Smoke Rings".

In 1937, Glen dismissed their leader Mel Jenssen and decided to front the orchestra himself. (Mel had never held any stock in the corporation.)

In 1938, Larry Wagner joined the band to write some songs.
The 1938 Casa Loma, when Kenny Sargent and Peewee Hunt were the vocalists, consisted of:
Saxes:
Art Ralston, Pat Davis, C. Hutchenrider, Kenny Sargent, Dan D'Andrea, Glen Gray
Trumpets:
Frank Zullo, Grady Watts, Sonny Dunham
Trombones:
Bill Rausch, Peewee Hunt, Murray MacEachern
Drums: Tony Briglia
Guitar: Jacques Blanchette
Bass: Stan Dennis
Piano: Howard Hall
In 1942, Arrangers Tutti Camarata (from the Tommy Dorsey orch) and Henry Rogers (from the Artie Shaw org.) join the band. The LeBrun Sisters vocal group arrive. Corky Cornelius (trumpet); Don Boyd (trombone) and Lon Doty (tenor Sax) are in the band.

In 1943, Kenny Sargent left the orch. to become a DJ (Memphis, TN) and Eugenie Baird was hired as the band's first girl vocalist. Trombonist Billy Rausch also left the band to become a 'studio' musician in NYC.

In late 1943 and early 1944, several others join the band for brief stays. These included Red Nichols (trumpet) and Herbie Ellis (guitar) and even Bobby Hackett (trumpet) was with the band for a few months.

ADDITIONAL HISTORY:
In 1929, Manager O'Keefe booked the band into New York City's Roseland Ballroom. While at the Roseland, the band began recording for Okeh Records. After about 6 sides on the Okeh label, the band left Okeh and started recording for Brunswick Records, under the name of "Casa Loma Orchestra". The band's reputation was so great now, that RCA Victor Records also started recording them under the name of "The Glen Gray Orchestra". The band then began recording exclusively for Brunswick under the "Glen Gray and the Casa Loma Orchestra" name. They continued to use this name for the remainder of their history. In 1934, the band left Brunswick and started recording exclusively for Decca Records. The famous vocalist, Lee Wiley, recorded with the Casa Loma in 1934.

Probably, we can call 1930, the start of the band's real fame, a period that was to extend throughout a 15 year period up to 1945. In 1930, Gene Gifford's arrangements set the 'tone' of the band. As noted, it was during their stay at the Roseland Ballroom, that the band started recording, first for Okeh, then Brunwick, RCA Victor, and in 1934, Decca. If one listens to these records today, you can see how exciting the band was. It is almost impossible not to tap your feet in time with the band.

In 1933 and '34, the band 'winter-ed' at New York's Essex House while they 'summer-ed' at the Glen Island Casino, in New Rochelle, N.Y., where they also received a good deal of Radio exposure.

By 1935, the big band era was soon to start, but the Casa Loma was already famous throughout the land. They were the first band to appear on a radio program that featured a swing orchestra, the "Camel Caravan". Their theme song "Smoke Rings" was a natural for the show. And, this popular program further increased their reputation. Here's a photograph of the late 1930s Casa Loma on stage at New York's famed Rainbow Room at Rockefeller Center

By 1940, some of their popularity began to wane. The Casa Loma was still exciting, but they were playing music in much the tone of the early 30's, while the "new" "big bands" were playing the newer "swing" style of music. The kids wanted to hear Benny Goodman's swinging orchestra, and the Dorsey Brothers, and such. In 1943, Billy Rausch, who had drilled the band to perfection, decided to call it quits. (He became a "studio" musician in NYC.) And Kenny Sargent also left to go back to Memphis, TN (and become a DJ and Eugenie Baird was hired as girl vocalist).

An interesting footnote to the band's history was the fact that the Casa Loma orchestra was the very first orchestra to inaugurate the Paramount Theatre's, new policy of placing the band on stage as part of the show. This policy was a huge success. In their 1944 appearance at the Paramount, the band was only allowed to play 3 numbers by itself. A very sad commentary to the decline in their popularity.

By 1945, it was all over for the great Casa Loma Band. In the mid-50's, Capitol Records put together a studio orchestra for Glen to conduct. He played reproductions of the music played by the other big bands of his period. The recording were commercially very successful.
Glen Gray died in Plymouth, MA., on August 23, 1963. Cancer.

Much of the material for the 'Orange Blossoms' was kindly supplied by Ms. Eugenie (Prendergast) Wing. Mr. Gid Loring has advised us that 'The Archives Div. of Northeastern University' in Boston, MA, has an extensive collection of the Business records and some music of the Casa Loma. Their WebURL is: - http://www.lib.neu.edu/archives/collect/findaids/m31find.htm

   [ Johnny Green Orch ]
Theme song: "Hello My Lover, Goodbye"
Please see our Tunesmith link for more information on Johnny Green.
Johnny's band was short-lived. He is recalled today as a popular composer. Later in his career, he wished to emphasize the seriousness of his composing and began asking folks to call him John Green.

Among his best remembered songs are:
       "Coquette"
       "Hello, My Lover, Goodbye"
       "Body and Soul"
       "I'm Yours"
       "I Cover The Waterfront"

   [ Jimmy Grier Orch ]
Theme song: "Music in the Moonlight"
Here's a photo of Jimmy Grier, and here's a better photo of Jimmy, who was a happy go lucky person who liked life and liked to entertain. Here's a photo of the 1932 Grier Orch. Jimmie never took himself too seriously. Played Clarinet and Sax. He got his start as the arranger for Gus Arnheim's Cocoanut Grove Orch. When the Arnheim Orch. moved out, Jimmy's orch moved in to the Cocoanut Grove. Here's a photo of vocalists Donald Novis and Loyce Whitman. Other singers who appeared with the band were Dick Webster (later became a Hollywood Agent); Harry Barris (singer Loyce Whiteman's husband and one of the original Paul Whiteman Rhythm Boys along with Bing Crosby and Al Rinker); Larry Cotton (later to the Horace Heidt Orch) and Pinky Tomlin who recorded the hit song "The Object of My Affection".

   [ Francis Grinnell and the 8 Melody Boys ]
[ Francis Grinnell Orch. ]
b. April 17, 1905, Bay City, MI, USA. d. Sept. 1991, Green Valley, AZ, USA.
Instrument: Banjo; Guitar
Here's a ca. 1925 photograph of Francis Grinnell, born in Bay City, MI, the son of Jay Grinnell who was President of Detroit's Grinnell Brothers Music Company. Francis started his career in 1922 while still in high school, as banjoist and leader of his own orchestra, - Francis Grinnell and The 8 Melody Boys. ("and they all played melody", Francis wrote). He quit high school to play around Detroit at the Greystone Ballroom, Detroit Athletic Club, and on-stage at several theatres. Eventually, he took the orchestra on the road, Vaudeville-style, but he went broke. In 1927, as a result of that misfortune, Grinnell joined the 'The Orange Blossoms' (then managed by Jean Goldkette, and led by Henry Biagini.) Later (1929) the Blossoms renamed themselves 'The Casa Loma Orchestra for the opening of the new Casa Loma Hotel in Toronto, Canada. While with the Orange Blossoms, Pee Wee Hunt and Francis became good friends. Pee Wee gave Grinnell his own guitar (after Pee Wee began to specialize in trombone), and Francis then used the guitar in preference to the banjo.

Here's a truly wonderful and also very rare photo (reproduced here by the kind permission of the Grinnell estate) of the Orange Blossoms Orchestra, in the Dining Room of the then brand new Casa Loma Hotel. The Bandsmen shown are:
The Casa Loma Orchestra (ca. early ''30s) (posed for DownBeat Magazine)
FRONT ROW (Left to Right)
Spike Knoblauch (Glen Gray), sax
Larry Teal, Sax
Ray Eberle, Sax
Hank Biagini, Leader
Phil Levinson, Violin
CENTER ROW
Red Ginsler, Trombone
Clem Johnson, Trumpet
Ken Ferguson, Trumpet
Francis Grinnell, Banjo/Vocals
BACK ROW
Mike Kelly, Bass
Knox Pugh, Drums/Vocals
Howard "Howdy" Hall, Piano

And here's photograph of the Circa 1933 Grinnell Orch.. (Reproduced with the kind permission of the Francis Grinnell estate.) In 1950 , while in Tucson, AZ, Grinnell joined a new orchestra led by Nat Brusiloff (of NBC Studio New York fame) who had moved to Tucson. During his career, Grinnell played with many greats, including the Dukes of Dixieland in New Orleans, Red Nichols, and others.

In 1978, at a real estate convention in Las Vegas, Grinnell was invited on stage by Wayne Newton. Wayne asked what instrument he played. Grinnell said, "Banjo". Wayne asked the orchestra, "Do we have a tenor banjo back there?" When one was produced, they gave Grinnell a chair and Wayne asked him, "What do you want to play?" - his answer: "Twelfth Street Rag". A few of the musicians provided backup. He brought the house down. Wayne then asked Grinnell "What else you you like to play?", and Grinnell answered "Accompany you singing while I play the guitar." They performed for about 30 minutes - with no orchestra accompaniment - and brought down the house.

In time, Grinnell became a consultant to the Gibson Corp., Battle Creek, MI, for not only their banjos -- he owned American Model Serial #1 (now owned by his grandson, Michael) -- but for guitars also. Grinnell invented what he coined "Vibrarest" and sold the design and name to Gibson.

Grinnell had met his wife, Adele, while still in grade school, and they were married in 1926. His sister, Ruth, passed away in March 2000 (Akron, OH). In 1980, Adele died of cancer, in Pinetop, AZ, their home since 1968. Grinnell later met and married Gloria Flom, a widow, in 1981 at age 76. At the end of his career, Francis (now known as Frank) Grinnell lived and eventually passed away in Green Valley, AZ, as did another famous bandleader, Larry Clinton.
The BigBands Database thanks Mr. F. H. Grinnell, Francis Grinnel's son, for his kindness in providing this information on the Grinnell orchestra, and for giving us permission to show these wonderful and rare photographs.

   [ Dave Grusin Orch. ]
Dave composed movie music and led studio groups on many records/CD's but never had a big band of his own. No Further Info currently available.

   [ Frank Guarente And The Georgians ]
b. 1893, Montemiletto, Italy, d. 1942
Here's a photo Frank Guarente and his Georgians, And here's the Georgians playing "Doodle Doo Doo", Composed by Art Kassel and Mel Stitzel. It was one of the great hits of the very early 'Roaring Twenties'. This version was digitally re-engineered by Mr Verne Buland.

Frank was born in Italy but his folks moved to Allentown, PA in 1910 and then to New Orleans in 1914 where Frank took trumpet lessons from Joe 'King' Oliver. Frank served in the Army during WW1. While leader of The Georgians, Frank took the band to Europe where they gave many Europeans their first taste of the new "American Jazz." Frank played in a variety of orchestras throughout his career including the famed Dorsey Brothers' Orchestra.

'The Georgians' ensemble was actually a jazz combo out of Phil Specht's dance orchestra, that in 1920 was playing in the ballroom of the Hotel Alamac in New York in 1920. The Georgians played in the hotel lounge after the ball room closed. The Georgians were active from 1922, through 1923. In the 1930s, Guarente played trumpet with the Dorsey Brothers Orchestra.

   [ Joe Gumin and his Orch. ]
In the early '30s, Joe Gumin led one of the territory bands that worked the Illinois/Wisconsin area. He recorded just one (78RPM) record for Columbia, ("I'll Think of You" and "Jingle Bells"). "I'll Think" was quite danceable while the "Jingle Bells" arrangement was quite novel. The band cut a few more records for the now rare 'Broadway' label out of Grafton, Wisconsin. (Some of the vocal choruses were in 7 languages - if one includes 'Pig Latin' and 'fake Chinese' as languages: English, fake "Chinese", German, Pig Latin, Polish, Italian and Yiddish.)

   [ Green Brothers Novelty Orch. ]
Here's a photograph of the Green Brothers, and another Close Up Photograph, of the brothers: Joe Green is at the right and George Hamilton Green on the left.

George Hamilton Green
At age 11, Green began playing. At age 13, he was performing solos with his father's band, and at just 19 he was playing vaudeville, where he was soon recognized as one of the world's best xylophonists. During his career, he worked as a composer/arranger, and soloist, with many groups including Green Brothers' Xylophone Orchestra, and Green Brothers Novelty Band, and the All Star Trio, A fine teacher, he also authored a Xylophone instruction book with 50 lessons, As a composer, his solo xylophone compositions including "Charleston Capers","The Ragtime Robin", and "Caprice Valsant" remain popular today. In 1946, he retired from music and filled his later years working as an artist, illustrator and cartoonist.

Starting in 1916, George Hamilton Green began to record. (He and his brother Joe recorded over 150 "sides" for the Edison Record Company, before going on to record for Victor, Columbia and many other labels.) Brother George started it off with a series of six xylophone solos for Edison. He and his brother Joe Green would go on to record many hundreds of sides, leading their own groups, and using many different names as shown below.

Joe Green:
Brother Joe Green not only played the xylophone, but was an excellent drummer too, who had earlier played with Sousa's band and with the Victor Talking Machine Co, as a sessions man.
It is certainly fair to say that the brothers were the finest xylophone performers of their time.

The Green brothers co-led their own groups (all featuring the two brothers playing xylophones and other percussive instruments) that recorded for both U.S. and Canadian labels including Brunswick, Apex, Melodisc, Victor and Columbia, under a diversity of names such as:
Joe Green's Novelty Orch. (USA Edison Diamond Disc) Listen to the Novelty Orchestra playing "Last Night On The Back Porch" - for Edison.
The Blue and White Marimba Band (USA)
Joe Green's International Novelty Orch. (USA Victor)
Joe Green's Ambassadors (Canadian Melotone)
Klein's Serenading Shoemakers (USA). Listen to the Shoemaker's playing "Black Clouds (are Passing By)"
Joe Green's Continental Marimba Band (Canada)
Joe Green's Marimba Band. (Canada)
Joe Green's Royal Orchestra (Canada)
Joe Green's Vibraphone Dance Orch.

The original Greens' Novelty Orchestras were so popular that, over their career, they would record many hundreds of "sides" for American and Canadian labels.

   Lloyd "Tiny" Grimes And His Rockin Highlanders
July 7, 1916, Newport News, VA, USA, d: March 4, 1989, New York, NY, USA
Here's a photo of "Tiny" Grimes, holding his Guild 4-string Tenor guitar (from the front cover of his album "One Is Never Too Old To Swing"). "Tiny" -shy,unassuming, and talented - was a drummer and a pianist, working Washington, D.C., before he began playing the unusual electric 4-string tenor guitar in 1938. In 1940, Grimes joined 'The Cats and The Fiddle' group (playing guitar and vocal. The group recorded for Bluebird). From 1943-'44, he was a part of the Art Tatum Trio, that also included "Slam" Stewart on string Bass. Tiny was heard on a number of the Tatum Trio recordings especially on the Asch and Comet labels. In September 1944 he led his first record date, using Charlie Parker.

In late 1946, after leaving Tatum, Grimes put together his own group which he called 'The Rockin' Highlanders'. Grimes was featured on the electric guitar, and the vocal chores were handled (during '48-'52) by the tenor of Red Prysock. On one release, 'Grimes And His Rockin Highlanders' featured one of Rock and Soul's most theatrical figures - and outrageous performers - 'Screamin' Jay Hawkins.

In addition to recording with his own groups in New York, Tiny also recorded with many other musicians such as Ike Quebec, Cozy Cole, Leonard Feather and Buck Clayton. Tiny continued to lead his own groups into the late 1970s. In 1972, he was playing (and touring) with the Earl "Fatha" Hines group. Over his career. He has also recorded with Coleman Hawkins, Illinois Jacquet and Roy Eldridge, and worked with greats such as Johnny Davis, J.B. Summers and Lionel Robinson among others.

He was selected to record with the famous 'Metronome All Star Band' (On the recording of "Look Out", he shared the guitar duties with Billy Bauer.) During this same period, he made four recordings with Charlie Parker that are considered excellent examples of early bebop jazz; "Tinys Tempo", "Red Cross", "Romance Without Finance", and "Ill Always Love You". Some writers have dubbed Tiny, the 'father of BeBop'.

   [ Elmer Grosso and his Versatile Orch. ]
b. August 5, 1887, New York, NY, USA, d. Oct. 1970, Fort Lauderdale, FL, USA.
Trumpet/Violin/Leader
Elmer, a trumpet and violin player, fronted several bands during his lifetime including; 'The Champion Dance Kings', 'Elmer Grosso's Mount Royal Orch.', 'Elmer Grosso and his Greenwich Village Orch.', 'Elmer Grosso and his Crusaders', and another one using the name 'Elmer Gross and his Versatile Orchestra'. Elmer also played trumpet and violin with a Jazz group called "The Happy Six". This group had Tom Brown on trombone and Alcide "Yellow" Nunez on clarinet, -not too shabby. Here's the sheetmusic for "I Ain't Go Nobody", with Elmer Grosso on the cover, and this is a closer view of Elmer's Photo, on the cover. Here's another sheetmusic cover for "Linger Awhile", with Elmer's orchestra shown on the cover.

Listen to the band's 1924 recording of "Ma", an instrumental, and here's another (with vocal) of the band playing (under the name of Champion Dance Kings) "My Sweeter Than Sweet" both digitally re-engineered by Mr. Verne Buland.

In private correspondence, Mr. Edw. Grosso, nephew of Elmer Grosso, has provided some additional information:

       "Elmer Grosso was my uncle. He left the music business and New York, to go into the real estate business in
       Hollywood, Florida. He was very successful in that business, and was a member of the Associciation for the
       Preservatiion of Barber Shop Quartette Singing in America."

       "Elmer's father, John Grosso, was a clarinet player, (I was told that he played in John Phillip Sousa's
       band), was CPO/ Bandmaster at the (New York) Brooklyn Navy Yard when in died in 1932."

       "Elmer's brother, Eddie Grosso - my father, had a long history in New York radio/TV and advertising commercial
       scene with such bands as Russ Morgan, Geroge Olsen, The Rex Cole Mountaineers (in the late 1920s and with
       the 'Korn Kobblers'. He was also staff at various times with NBC and CBS."

   [ Hal Grayson and his Orch. ]
Currently no information available.
Here's a photo (source unknown) of Hal Grayson, whose orchestra, with singer Dixie Lee, opened at the new Embassy club in July 29, 1931. Dixie (née: Wilma Winifred Wyatt. b. Nov. 4, 1911, Harriman, Tennessee, USA d. Nov. 1, 1952, Holmby Hills, California, USA. -ovarian cancer) went on to a somewhat tragic end. She married singer Bing Crosby (they recorded "A Fine Romance" together), who at the time was suffering from Alcoholism. Although the names were changed, the (1947) movie 'Smash-Up: The Story of a Woman' is based on her life. She suffered from acute alcoholism, contributing to her early death. Her four sons also suffered from long term effects of drinking; two of them eventually committed suicide. (We leave the sad story of that marriage for a later time.)