[ Carl Hoff Orch ]
Theme Song: "I Could Use a Dream"
Carl had a cheerful personality and his good humor made him a hit wherever he appeared. In 1940, Carl was the orchestra leader for the Lucky Strike Hit Parade radio show. In 1941, he left to form his own band, and toured the hotel and ballroom circuit. Two of his singers were Louanne Hogan and Bob Haymes, Dick Haymes' younger brother.

The following year, 1942, several other singers were with the band including Al Nobel; Betty Norton and the Murphy Sisters. Later, one of the sisters, now known as Betty Evans, became one of advertising's top jingle writers. Carl also found a fine pianist in Ray Barr.
Above notes courtesy of Mr. R. Lenhart.

  [ Hoosier Hotshots ]
Overview
The original (1923) band was called "Ezra Buzzington's Rube Band" (sometimes also called "The Rustic Revelers" and later, "The Hoosier Hotshots"). Here's a photo of the "Ezra Buzzington's Rube Band", all of whom really were "Hoosiers" (from Indiana). This photo, submitted by a friend, who mistakenly attributed it to 'Jon Shaffer', grandson of Mark Shaffer, who played the Bass Banjo and was the groups nominal leader. However, in private correspondence, Mr. Mark Harris, Jon's brother, has advised that
        "Actually, my brother Jon's last name is Harris. Jon is the youngest child of our
        late mother Rachel Shafer Harris. Rachel was the youngest child of Mark. Interesting
        to note, Jon is an actor in Hollywood (2004) and goes by the name...Ezra Buzzington."

In the band were Ken Trietsch and his brother Paul "Hezzie" Trietsch, as was "Hezzies" wife, Bessie, and Charles and Frank (Trietsch ?). This band toured the midwest vaudeville circuit for about eight years. Later, band members Gabe Ward (Alexandria, IN) , with Ken Trietsch and Paul "Hezzie" Triesch of Arcadia, Indiana, formed the "Hoosier Hotshots", -- a forerunner to "Spike Jones and his City Slickers". This group appeared regularly on the National Barn Dance radio show from Chicago. They made more than 250 records and appeared in 20 films.

Beginning in 1923, 'Ezra Buzzington's Rube Band' was working the midwest vaudeville circuit. Members included Ken Trietsch, his brother Paul (Hezzie) and Paul's wife Bessie, and Gabe Ward. The group recorded 2 numbers for the old Gennett Record Label (one of which was much later reissued on the Yazoo label, --"Brown Jug Blues" and "Ruckus Juice and Chittlins" - (Vol 2) Yazoo 2033). Click to hear Ezra Buzzinton's 1925 Gennett recording of Brown Jug Blues.

In 1930, with the advent of the Great Depression, - job-less and with Vaudeville dead, they disbanded. Brothers Ken and Paul "Hezzie" Trietsch, and Gabe Ward found "regular" work while still doing local area "gigs". Later Mark Shaffer did reactivate as an un-paid radio show 'house band' (with totally different band members). The band worked at station WOWO in Ft. Wayne, Indiana, (as the Trietsch brothers and Ward). This exposure culminated in an association with WLS and the National Barn Dance that lasted from the early 1930s to the mid 1940s. They began a prolific output of records, beginning with the Banner Label, and continuing on with Columbia, Okeh, Vocalion, Circle, Conqueror, Perfect and Decca, with 'guest' vocalist Skip Farrell frequently heard on some of their output. (In the early 1990s, Columbia and Circle issued some compilations.)

Here's a mid-1940s photo of Hoosier Hotshots. In all probability, Gil Taylor is on Bass, Gabe Ward on clarinet, Ken Trietsch on guitar, and Ken's brother Paul "Hezzie" Trietsch on slide whistle/washboard. Listen to them playing Jingle Bells. (Photo courtesy of trumpeter Irvan Stumph, and audio file digitally re-engineered by Mr. Verne Buland.)

One of the vocalists who recorded with them was "Carolina Cotton". In a (ca. 1950) radio interview, "Carolina Cotton" said that she "........(recorded) over at Columbia with the Hoosier Hot Shots ". Here's a photo of Carolina Cotton, when she was appearing with the Spade Cooley Band

In 1947, they had left Indiana and become resident in California, having signed a picture deal with Columbia. They were also working the clubs and radio. The band included Gil Taylor on Bass, - Frank Kettering, their original bass had left, but Gabe Ward on clarinet, Ken Trietsch on guitar, and Ken's brother Paul "Hezzie" Trietsch on slide whistle/washboard were all still in the group.

By the 1960s, their movie and recording career had ended. They continued playing the clubs well into the 1970s (Nate Harrison and Keith Milheim had taken Gil Taylor's place as bassist). In 1979, Paul Trietsch died and brother Ken, and Gabe Ward departed. Ken died in 1987, - Gabe in 1992. In retrospect, the band had a long and glorious run, entertaining millions, and making a legion of loyal "country" music fans.

  [ Claude Hopkins Orchestra ]
b. August 24, 1903, Alexandria, VA, USA. d. February 18, 1984
Theme song: "I Would Do Anything for You".
Howard University Grad. Piano.
In the mid-1930's his was a well established (14pc) band with Jabbo Smith, and Shirley Clay (trumpets); Ed Hall, (Clarinet) and Vic Dickenson, (trombone). At one time, Claude had been the intermission pianist at Jimmy Ryan's, a well known 52nd Street ('Swing Street') club.
Vocalists were Ovie Alston (trumpet) and Orlando Robeson.

  [ Harry Horlick & his A&P Gypsies ]
During the big band era, there were a number (large number) of bands that were called 'studio' orchestras, because they only worked in the radio stations and recording studios. Often, they adopted the names of their sponsors. Harry's was one such band. Others were Harry Reser and his Clicquot Club Eskimos, and Sam Lanin and his Ipana Troubadors.

  [ Eddy Howard Orch. ]
B: Sept. 12, 1914 Woodland, CA, USA. D: May 23, 1963 Palm Desert, CA, USA
né: Edward Evan Duncan Howard
InTheme: "Careless" (Majestic 1070, reissued Mercury 5233)
OutTheme: "So Long For Now" (Mercury LP MG20112)
Instruments: vocalist, guitar, trombone
Howard's father was a doctor and it was his intention to follow in his father's profession. After graduating from San Jose State he enrolled at Stanford Medical School however during his college days he worked part-time as a singer on local radio and music soon became his main passion. He began working weekends on Los Angeles radio and then on a San Francisco Station, KRFC.

His first job with a big band was with Eddie Fitzpatrick. He caught the attention of Tom Gerun(ovich) who signed him to sing both on weekends and during summer recess (he made no records with Gerun's band). In 1932, Howard left school to pursue a big band career, joining Ben Bernie's orchestra.

It is interesting to note that Tom Gerun replaced him with Al Morris (later known as Tony Martin). Howard's big break came in 1933 when a friend helped him get a job with the Dick Jurgens band. Jurgens needed a trombonist and although he soon found out Eddy wasn't an accomplished player his job was saved because he was so popular as a vocalist.

"Eddy, with Jurgens as co-composer, wrote many of the bands biggest selling records. Among them were "If I Knew Then (What I Know Now)", "My Last Goodbye", and "Careless". Eddy would later use "Careless" as his theme song. He also wrote (without Jurgens) "A Million Dreams Ago" which was a big seller for Glenn Miller."

Howard left Jurgens in 1940, and, for a few months was a member of George Olsen's band. After leaving Olsen he made a few records for Columbia with a studio group that included Charlie Christian and Teddy Wilson.

In 1941 he got the chance to lead his own band when he was asked to take over the 'Buddy Baer Orchestra'. This was a Milwaukee based band and Eddy's first engagement as a leader was at the Casa Loma Ballroon in St Louis. The band eventually became a staple at Chicago's Aragon Ballroom, where the hotel's radio hookup gave it national exposure. Most of the bandsmen were drafted during World War II, but Eddy continued working as a solo act. In 1946 he re-assembled the band and was signed to a recording contract by Majestic records. Subsequently, that label was bought by Mercury records, and Howard was one of the few artists offered a contract by Mercury. He continued recording for them until 1957. Among his many hit records with these labels were "To Each His Own" (1946), and "It's No Sin" (1951). Both these songs became #1 on the charts and each remained #1 for eight weeks. Other hits were "My Adobe Hacienda", "Ragtime Cowboy Joe", "I Love You For Sentimental Reasons", "Room Full Of Roses", "A Penny A Kiss", "Be Anything But Be Mine", and "I Wonder, I Wonder, I Wonder".

In private correspondence, Mr. James Snook has recalled:
        "My memories of the Eddie Howard Orchestra was in Denver, Colorado, in the late 1950s. He and family stayed at
        Max Moscow's Motel on west Colfax Avenue (US 40) while he was playing at Elich Garden's, where he and band
        members played each summer for several summers."

        "My family lived within a block of the Motel/Bowling Lane establishment (Holiday Lanes) owned by Mr. Max Moscow.
        I met their daughter and we had some wonderful times together during the families stay for the few weeks a summer
        that Eddie and family stayed there."

        "Everyone enjoyed the music that Mr Eddie Howard provided there in Elich Gardens each summer."

During the big band era, the common technique was for a band to become better known via remote radio broadcasts from some ballroom or hotel. Then the band's agent could book them on a multi-city tour. Mostly, all the bands followed this pattern, and spent three quarters of the year constantly touring. This took a lot out of the musicians, and often, after a few years of constantly being on the road, many musicians left the band, and had to be replaced. However, some bands were able to work out a pattern that gave them a steady "Summer" venue, as well as a steady "Winter" venue. Mr. Snook's memory nicely illustrates that. Apparently, Howard had a nice steady "summer" gig at Denver's Elich Gardens for some years.

After a brief retirement, Eddy made a comeback in 1960 working the Las Vegas nightclub circuit with summers spent at Catalina Island. He died in his sleep of a cerebral hemmorrhage on May 23, 1963.
The BigBands Database thanks Mr. Robin Lenhart for his kind contribution on this Eddy Howard entry.

  [ The Don Hoy Orch. ]
This band, based in Des Moines, Iowa, was most active in the late 1970's and early '80s. They regularly traveled to Iowa, Missouri, Minnesota, Illinois, Wisconsin, Kansas, Colorado, Oklahoma, & Arkansas. On some occasions, the band toured to New York and Atlanta, and once even played as the resident band on a cruise ship.

"The only vocalists while I was with the band were Don Hoy, Rick Wynant (drummer) and a novelty group he called "The Boys Choir." It consisted of myself (Pat McFarland)(6'2"), our lead saxophonist (@ 5'6"), and a tenor saxophonist (@ 5'7"). Naturally, I was in the middle and we only had one microphone. I was told it was a sight to behold. Our specialty was a hard-swinging version of "Shanty Town." We had a theme song and I can hear it in my head. I can't remember the title (age will do that to a person). It was an original written by Don.

Eventually, Don retired to Kansas City and sold his "book" to John Morgan, in Des Moines.
This information on the Don Hoy band was graciously supplied by Mr. Pat McFarland; trombonist with the Don Hoy orch.

  [ Dean Hudson Orch ]
Theme Song: "Moon Over Miami"
On pp. 29-30 of his book, The Biggest Boom in Dixie: The Story of Band Music at the University of Florida (Jacksonville: Paramount, 1968), Harold B. Bachman wrote, "It was customary in those years [1930s] for dance orchestras, or bands as they were later called, to be identified under the name of the leader. They were popularly known as 'name bands.' A disadvantage of this [for campus-based groups] was that after the leader graduated, the musicians remaining had to seek a new identity and build a reputation under a new name.

"Some of these men formed a group calling themselves 'Dean Hudson and His Florida Clubmen.' Dean Hudson was a fictitious name selected as a result of a contest. The musicians reasoned that the fictitious name of Dean Hudson would always remain regardless of the changes in leadership and personel.

"The first man to head the band under the name of 'Dean Hudson' was Eli Katz, now a lawyer from Miami. The second 'Dean Hudson' was Marion (Bud) Brown from Lake Worth. While he was the leader the entire band left school and played professionally under the auspices of Music Corporation of America. Banzai Currie says that [And here, Bachman quoted a 1/9/67 letter from a former musician who had headed another University of Florida-based band during the late 1920s and early 1930s, F. A. "Banzai" Currie:]`this was probably one of the last of the large name bands at the University of Florida.'

"[Leon] Robbins [who headed yet another Florida campus-based band] says that Brown continues his music in the business under the name of 'Dean Hudson' and runs a booking agency out of Atlanta, Georgia."

This was written, of course, in 1968. A check with a good music library, however, will show that "Dean Hudson" made recordings even after WW II.
The above notes on Dean Hudson kindly supplied by Mr. Les Smith.

  [ Will Hudson Orch. ]
b. March 8, 1908, Barstow, CA, USA. d: 1981, USA.
Theme Song: "Hobo On Park Avenue"
Please also see the Will Hudson, entry on our 'Tunesmiths' Database.
Overview
Will Hudson is best remembered as a bandleader and composer. In the late 20's, Hudson wrote scores for a great many famous bands of the day, including Cab Calloway, Don Redman, Fletcher Henderson, Ina Ray Hutton, Jimmy Lunceford, Earl 'Fatha' Hines, Erskine Tate and McKinney's Cotton Pickers. In the mid to late 1930's, he was active as an orchestra leader, first by himself, and then in partnership with Eddie DeLange. In 1934, the Jimmy Lunceford Orchestra was featured at New York's famed Cotton Club, and it was Will Hudson who did Lunceford's arrangements, including the wonderful "White Heat" and "Jazznocracy".

Hudson's family moved to Detroit, MI, and it there in the mid 1930's that he formed his first band. In 1936, he and Eddie De Lange formed a band. Eddie was very extroverted and Will was just the reverse, very quiet. Due to this personality difference, the two did not get along and they disbanded in 1938, somewhat acrimoniously. In 1939, Will formed his own Will Hudson Orchestra, which lasted until 1940. In 1941, Hudson and DeLange again formed a band, but it was short-lived. Interestingly, Will studied Composing at New York's Juilliard School of Music in 1948. Never-the-less, he was musically inactive during the 1950's decade.

As a team, Will Hudson's songs with Eddie DeLange's lyrics were "Deep in a Dream"; "Remember When"; and perhaps their most successful work, "Moonglow". Among the other 'hit' songs with DeLange's lyrics are "Deep In A Dream", "Do You Know What It Means To Miss New Orleans?", "Lost April", "Moonglow", "Shake Down The Stars", "Solitude", and "String of Pearls". Separately, Will Hudson wrote some very successful instrumentals, such as: "Sophisticated Swing"; Love Song of a Half Wit";"Monopoly Swing"; "Eight Bars in Search of a Melody"; and perhaps his most successful was "Organ Grinder's Swing".

Irving Mills published their music, recorded it on his Master Records label, and took a little "piece of the action" by making them put his name on the music as one of the composers. That was the way the industry operated in those days. Irving did the same thing with the Duke Ellington Orch., and others.

  [ Hudson - DeLange Orchestra ]
Please also see the Edgar DeLange, entry on our 'Tunesmiths' Database.
Theme Song: "Eight Bars in Search of a Melody"
Born to a playwright/lyricist father and a mother who performed in Broadway musicals, DeLange attended the University of Pennsylvania, After graduating, he moved to Hollywood where he found work as a stunt man, and got bit parts in several movies. However, lyric writing was his passion, and while working in California, he continued honing his writing skills. In 1932, he returned to New York with over 100 lyrics in hand. His first published tune, "I Wish I Were Twins" (1934), was co-written with Frank Loesser. His two most popular songs, "Moonglow" and "Solitude," came within the next year. From 1936-1938, he fronted the swing and ballad-oriented Hudson-DeLange Orchestra with Will Hudson and featuring vocalist Ruth Gaylor. Here's a photograph of (L-R) Will Hudson and Eddie DeLange, as they appeared on a 1937 edition of Billboard Magazine.

Operating in the mid 1930s, songwriters Will Hudson (melodies) and Eddie DeLange (lyrics) co-led this Orch.., with Eddie out front. Will Hudson (see entry above) would travel with the Orchestra maybe one week per month. It has been reported tht during one two year periods, they played over 300 dates.

Among their vocalists were Nan Wynn , (b. May 8, 1915, Wheeling, WV, USA, d. March 21, 197, Santa Monica, CA, USA. she later dubbed Rita Hayworth's singing in the movies) Ruth Gaylor, and Fredda Gibson. Fredda later changed her name to Georgia Gibbs, ("Her Nibs, Miss Georgia Gibbs") and became a recording star. Another of their vocalists was petite Elisse Cooper. A visitor to our site has sent these two photographs (sources unknown), one showing Elisse Cooper and Eddie DeLange, and the other showing the Hudson-DeLange orchestra with both leaders, and their vocalist who is believed to be (L-R) Will Hudson, Ruth Gaylor, and Eddie DeLange, between them.

Eddie was ebullient and full of fun. Will was very quiet and laid back. It became difficult for them to get along with one another and so they split up in early 1938, -unpleasantly. After this, DeLange led his own band for a while and was lyricist/librettist for the short-lived 1939 Broadway musical 'Swingin' the Dream'. He focused strictly on songwriting during the 1940s, collaborating with such composers as Josef Myrow, Jimmy Van Heusen, Louis Alter, Sam H. Stept, and more. DeLange's music can be heard in movies, including When Johnny Comes Marching Home (1942), If I'm Lucky (1946), and his final project for New Orleans (1947 One of his tunes was "Do You Know What It Means to Miss New Orleans", co-compossed with Louie Alter).. In 1941 they teamed up again after having failed as leaders of their own individual bands. But this new band did not meet with success. Will became the arranger for Glenn Miller's Army Air Force Band. Eddie died in 1949 in Hollywood, where he had settled, writing music for films.

As a team, Eddie's successful lyrics were "Deep in a Dream"; "Remember When"; and perhaps their most successful work, "Moonglow". Separately, Will Hudson wrote some very successful instrumentals, such as: "Sophisticated Swing"; Love Song of a Half Wit"; "Monopoly Swing"; "Eight Bars in Search of a Melody"; and perhaps his most successful was "Organ Grinder's Swing".

Irving Mills published their music, recorded it on his Master Records label, and took a little "piece of the action" by making them put his name on the music as one of the composers. That was the way the industry operated in those days. Irving did the same thing with the Duke Ellington Orch.

  [ Ina Ray Hutton and her Melodears ]
b. March 13, 1916 Chicago, IL, USA. d. Feb. 19, 1984, USA.
née: Odessa Cowan: Singer, Dancer, Bandleader.
Theme Song: "Gotta Have Your Love"
Here's a close-up photo of Hutton, and another one of Ina Ray, who, with her bleached Platinum Blond hairdo and svelte figure, made an alluring band-leader. She couldn't play any instrument, but dressed in a form-fitting silver-lame gown, she exuded sex-appeal. Her tagline was 'The Blonde Bombshell of Rhythm'. Even as a child, Ina was already on stage, tap-dancing in the revues of the great vaudevillian Gus Edwards.

Ina, elder sister of June Hutton (Tommy Dorsey's Pied Pipers), was 18 years old and had been dancing in Broadway revues such as The Ziegfeld Follies and the George White Scandals. In 1934, band agent Irving Mills hired her to front an all-girl orchestra that he had formed. It was a propitious moment for such a venture, and the Mills' publicity machine, was able to get Ina lots of bookings. Instead of 'leading' her band as her male counterparts would do, she would weave around the stage with a sensual movement. The band was basically a dance/show band, with a good sense of Swing. While the band's playing could be called routine, a few of the 'sidemen' did manage to stand out, including Mardell Owen on trumpet, Betty Sattley on tenor sax; Alyse Wells, a multi-instrumentalist, and Betty Roudebush on piano. Never-the-less, the band lacked any real soloists.

Let's watch Ina Ray Hutton and Her Melodears at 'work':
  "The Suzi-Q"   Here's Ina Ray doing the leading and dancing. This song (and dance) was originally heard in the Cotton Club Parade (27th Edition) 1936. Music and Lyrics by Benny Davis and J. Fred Coots (film clip: nedsparks)

  VIDEO: "Part 1- Film 'Star Reporter'"   (film clip: nedsparks) From film, "Star Reporter"

  VIDEO: "Part 2- Film 'Star Reporter'"   (film clip: nedsparks) From film, "Star Reporter"

From 1936, the band's repertoire was in the capable hands of Eddie Durham. During this time, Ina led the band in some Hollywood films, and also did some recording. In personal correspondence, Ms Maredell "Owen" Winstead, lead trumpet with the orchestra during 1936-'38, has recalled the band members:
Arrangers: Will Hudson, and Eddie Durham. There was one other, Bill (she doesn't recall his last name) (possibly Bill Holman --mlp.)
       Pianists:   Ruth Lowe, Gladys Moser and Betty Roudebush.
       Sax:   Betty Sattley, Nadine Friedman and Marjorie Tisdale.
       Trumpets:   Mardell Owen, Kay Walsh, Estelle Slavin. There were two others -- Julie and Marney (can't remember last names).
       Trombone:   Fy Hesser, Jesse Bailey, Alyse Wells.
       Bass:   Marge Rivers.
       Guitars:   Marion Gange.
       Drums:   Lillian Singer and Virginia Myers.

Linda Dahl, in her book Stormy Weather: The music and lives of a century of Jazzwomen (New York: Pantheon Books, c1984, p.51) quoted a 1940 interview, in which Ina Ray looked back on her career as leader of the Melodears:

       "I wanted to lead a band. It looked simple. Just waving a baton and waving.....
       You know. The boys liked it. We played the provinces. I guess I saw all the men in
       America out front. Some of them tried to get backstage-some sent mash notes. But
       I kept the sex in the saxophones. There were a lot of laughs, and some tough
       breaks, too. One night in Flint we had a long haul to the next job. So we piled in
       the bus and started driving. It was wet out-both rain and drunks. A car hit us and the
       bus turned over. It was a mess. I had to crawl out a broken window. Then a
       woman asked me, 'Are you Miss Hutton? I'd like your autograph.' Everything happened on
       one job in Nebraska. My wristwatch and bankroll were stolen. The girls lost their
       instruments. And a firecracker blew off a couple of my fingernails."

In 1939, Ina severed her connection (or vice-versa) with band agent Irving Mills, got rid of the girls, and commenced weaving in front of an all male big band, shown here as they appeared in the film 'Ever Since Venus'. Joe Servello is the first trombonist (left), top row. George Paxton was the saxist/arranger for this all male band. Others in the band were guitarist Jack Purcell, trumpeter Randy Brooks and Stuart Foster on vocals. Later, the band added Hal Schaefer, a jazz pianist, and, in 1943, the Kim Loo vocal trio.

Paxton's role with the band, and with Ina Ray personally, became progressively more important. Eventually, he became the band's musical director. The musicians considered him to be the leader. But in time, things changed. Ina Ray married Randy Brooks; Stuart Foster married one of the Loo sisters, and Paxton was to leave and form his own orchestra (in 1944).

In 1944, when Television called, Ina got rid of the 'all male' band and returned to an All Girl format. She was also in another film. Incidentally, Ina's pianist, Ruth Lowe later went on to write two great Frank Sinatra hits - "I'll Never Smile Again" and "Put Your Dreams Away".

The 'Melodears' were probably the best known 'All-Girl' band, but for sheer musicianship, they may have been out-classed by another 'All-Girl' orchestra called 'The International Sweethearts of Rhythm', then based in Washington, DC., -but without a doubt, Hutton's 'Melo-Dears' were one fine band, and the young ladies were all excellent musicians.

  [ Jack Hylton Orch ]
Theme Song: "She Shall Have Music"
A very popular English Orchestra that never toured America. See the Jack Hylton, entry in the British Bands Database.

  [ Dick Hyman ]
b. March 8, 1927 New York, NY, USA.
Overview
Like so many other musicians, Dick Hyman started with studies in classical music, which, in time broadened to encompass many other types of musical enterprise, with jazz becoming his career. His virtuoso jazz piano performances display both an extraordinary technique and a true love of music, - Jazz and Classical.

Hyman was born into a musical family. He received some instructions from both his mother and his brother. Later he was to study with his uncle, Anton Rovinsky, who was a concert pianist during the 1920's through the 1940's.

In the late 1940's, he began playing piano in the clubs of his own home town, New York. Here he worked with many musicians who would later gain fame, including such beboppers as Dizzy Gillespie and Charlie 'Yardbird' Parker. During this period, Hyman had piano appearances with such other great keyboard artists as Raplh Sutton, Derek Smith, Roger Kellaway, and the late Dick Wellstead.

Early on in the 1950's, his world expanded to become a studio musician where his efforts included leading orchestras; arranging; playing the piano, and even composing. In between times, he often organized his own independent jazz dates, performing with his own quintet as well as solo.

He became very interested in Jazz and especially jazz piano. And, while performing with the New York Jazz Repertory Orchestra, he encouraged public interest in the music of such early greats as James P. Johnson, -stride pianist and boogie-woogie specialist; Jelly Roll Morton, who claimed to have invented jazz; Thomas "Fats" Waller, and Louis "Satchmo" Armstrong.

Hyman's enormous eclectic taste in music, and his technical abilities, permitted him to range from ragtime to freeform with complete confidence. During his 'freeform' period, he formed a small group called 'The Perfect Jazz Repertory Quintet'. He began playing electric piano. Later he added the organ to the instruments at his command. At this time, he recorded some duo albums with another fine musician, cornetist Ruby Braff, that included "Cincinati Fats' and "New School Concert". In another of his duo albums with Braff, 'A Pipe Organ Recital Plus One', Hyman played the 'mighty' Wurlitzer organ. It was both a popular and a critical success.

Over his career, Hyman has written for both small and for large ensembles. His compositions include Ragtime Fantasy, Piano Concerto, and Sonata For Violin And Piano. He composed the score for the film, 'Scott Joplin'(1976).Dick Hyman has also composed and performed Ballet scores, including 'The Bum's Rush', choreographed by Twyla Tharp for the American Ballet Theater; 'Ivory Strides' for the Ballet Jazz de Montreal, and the Cleveland Ballet's 'Piano Man'.

Over the course of his career, Hyman has acted as music director for such television programs as Benny Goodman's final appearance; for Arthur Godfrey, and for 'In Performance At The White House'. He also orchestrated the Broadway musical 'Sugar Babies' that starred Mickey Rooney and famed tap dancer Ann Miller. Since 1985, he has has been artistic director of the widely acclaimed 'Jazz In July' concerts at New York's "92nd St. Y".

He was music director (and pianist) for such Woody Allen films as:
       'The Purple Rose Of Cairo'
       'Stardust Memories'
       'Zelig'
       'Radio Days'
       'Broadway Danny Rose'
       'Hannah and Her Sisters'
       'Bullets Over Broadway'
       'Mighty Aphrodite'

His other film scores include:
       'Moonstruck'
       'Alan and Naomi'
       'The Lemon Sisters'

During his career, Hyman has won seven Most Valuable Player Awards from the National Academy of Recording Arts and Sciences. He has received Emmy's for his work on the PBS "Eubie Blake' special; his scoring for 'Sunshine's On The Way', and another for a day-time drama.

Hyman's broadcasts; lectures, and enthusiastic examples have helped to foster public interest in, and appreciation of, Jazz. In 1995 Mr. Hyman was inducted into both the New Jersey Jazz Society and the Rutger's Institute of Jazz Studies 'Jazz Hall Of Fame'.

In 1997. this oustanding pianist is alive, well, and active in the Sarasota, FL Jazz Club. Other active members of this club are Jerry Jerome (tenor sax), with BG and Artie Shaw: and Bob Haggart (bass) with Bob Crosby.

[ Saxi Holtsworth's Harmony Hounds ]
Currently no information available.
Here's a photo of The Hounds, a band that was active ca. 1919 to 1925, recordingr the Gennett and Emerson labels. Listen to the Hounds playing "Bow Wow", originally recorded in New York City in July 1920, and here digitally re-engineered by Mr. Verne Buland.

  [ Lloyd Hunter's Serenaders ]
One of several black territory bands based in Omaha, Nebraska from the 1920s to the 1940s. (Lloyd had also worked with Jessie Stone in Kansas City.)

In 1924, Trumpeter Lloyd Hunter formed his own 6 piece band. In 1927, it had become an 8 piece band; Lloyd Hunter,trumpet; Elmer Crumbley, trombone; Noble Floyd, clarinet, alto sax; Bob Welch, trombone, tenor sax, bass sax; Burton Brewer, piano; Julius Alexander, banjo; Wallace Wright, tuba; Amos Clayton, drums. As was usual, the band toured their southwestern area playing one nighters. By 1929, the band was heard on radio stations KGBZ, York, Nebraska; KFAB, Lincoln, Nebraska; and WOW, Omaha, NB. The 1931 (12 piece) band undertook a national tour that featured Victoria Spivey, a very well known blues singer. At the time, Spivey was married to Hunter's second trumpet Rueben Floyd. The tour was less than successful and by 1932 Hunter was back in Omaha, which would be his homebase for the next 10 years. However, the band did record for Vocalion label in New York City. Later, drummer Johnny Otis and saxist Preston Love, were in the band.

  [ Paul Howard's Quality Serenaders ]
Currently No Information Available.
Lionel Hampton is shown playing the Drums in this 1930 photo of Paul Howard's Quality Serenders. Other members' of the band included (L-R) Lawrence Brown, Harvey Brooks, George Orendorff, Earl Thompson, Lionel Hampton, Charlie Lawrence, Thomas Valentine, Lloyd Reese, James Jackson, and Paul Howard. Listen to the band's April 30, 1930 recording of "California Swing". As you listen, do recall that this was recorded 5 years before Benny Goodman's great orchestra brought Swing to the World in 1935, at California's Palomar Ballroom. Three months later, on July 25, 1930, the Quality Serenaders stepped into the recording studio and put down this track of "Burma Girl". A year earlier, April 28, 1929, Paul and the Serenaders cut "Moonlight Blues". Lionel Hampton is on drums and vocal.

  [ Lloyd Huntley's Isle O' Blues Orch. ]
Overview
In it's April 9, 1967 edition, the Syracuse Herald-American ran an article on Huntley noting that during his 67 years, he had achieved distinction in three separate careers. "During the 1930s, he led his internationally famous 'Isle O' Blues Orchestra' .....and played the top entertainment capitals from Canada to the Caribbean." During the WWII years (early 1940s), he worked as an executive at a steel company. The paper reported that "In 1947, he became director of student activities at his alma mater, and in this capacity became best known as 'the guardian of the cheers, the songs, the traditions and the spirit that is Colgate.'"

Mr. Dale Brown, son of Dana Neal Brown, a musician who played with the band, has graciously permitted us to reproduce some photos of the band.
    The Isle O' Blues Orch., early publicity photo. Dana Neal Brown is with the Tuba and Bass.
    1932 in Atlantic City, NJ, at the famed "Steel Pier". Dana Brown is center. (Tallest)
    On a motorboat in Pittsburgh, PA, probably on the beautiful Ohio River.
    1928 in Coral Gables, FL, at the venue that launched them on a national career.
The Caption reads:
      This was the era of the big bands when Lloyd led the famed "Isle O'' Blues Orchestra".
       Photo was taken in 1928 at Coral Gables Country Club at Miami.
      (Photo courtesy Syracuse Herald-American)
    Lloyd at Colgate, where he served for 20 years as director of student activities.
    1935 at the Statler in Buffalo, NY , a young singer, Phil Brito, is on extreme left, Linda Lee center. The caption below the photo reads:
      "Huntley's orchestra opens at Statler. Playing to a near-capacity crowd,
      Lloyd Huntley and his Islo O' Blues orhcestra opened their Winter season in
      the Hotel Statler Terrace room, Thursday night, the program including the
      band's first loacal broadcast over WBEN. At the extreme left is Phil Brito,
      baritone. In the cnter group, left to right, are Mr. Huntley, Linda Lee vocalist,
      and Edward Cullen announcer. " (Photo courtesy Buffalo newspaper.)

Huntley was born in New York City, the son of Baptist minister Rev. James Austin Huntley, who was a 1905 gradute of Colgate University in Hamilton NY. As a minister, his father moved about quite a bit, and Lloyd first attended Erasmus Hall High School in New York city, then a high school in Calgary, Alberta province, Canada, and finally graduated in 1920 from Troy High School (in Troy, NY). That Fall season, he entered Colgate University majoring in Literature and Minoring in Sociology and subsequently graduating with the Class of 1924.

Huntley had a background in music as a pianist, and this led him into various musical activities while at Colgate. Along with serving as editor of 'The Maroon', the campus newspaper, and being a member of the Political Science club, he also was a member of the school's Glee Club (the 'Colgate 13'), and also helped found the "Colgate Collegians" orchestra. The "Roaring Twenties" was the era of the "Flapper", the "Raccoon Coat", and Prohibition. And, in the 1920s Jazz Age era, every college had a major dance band on campus. By the time of his graduation in 1924, the band had become quite popular at non-college functions, and was known as the "Isle O' Blues Orchestra". - named for a popular ballad of the day. The band was traveling around the U.S. in cadillac motor cars, and had made two European tours. Bandsmen were making between $90 to $200 per week. Though it had been conceived as a student venture, the nine man group remained together after graduation as a serious business venture.

During the 1925-'26 season, the band again toured Europe, and upon their return in 1927, opened at the 'Bear Club' in Lake Placid, NY. Huntley later told reporters that it was their 'big break'. Based on their performance in Lake Placid, they were invited to play at the 'Coral Gables Country Club' in Florida. It was there that the "Isle O' Blues Orchestra' found national recognition, and became one of the most popular American dance bands. By 1930, the band had grown from the original 9 men to 17 members. The band was recording for the Brunswick label, and was also heard on the 1932 Lucky Strike Radio Hour Show'. Years later, Lloyd told Syracuse Herald-American reporters that "We gave them what they wanted: music for dinner, dancing, and some Jazz too." He said that among the songs people were hearing were "Same Old Moon - Same Old June", "One Word of Consolation", "You're Giving Me A Song and Dance", "There Goes My Attraction", "Bye Bye Baby", "So Rare", and "You Can't Pull The Wool Over My Eyes".

Also in 1930, July 13 to be exact, he married Kathryn Seabury, a girl he had dated during his under-graduate days at Colgate. They were wed at the Broadmoor Hotel in Colorado Springs, CO.

With the end of the 1930s, Huntley also ended his musical career when he completed his last engagement, a four year stint at the Mount Royal Hotel in Montreal, Canada. The 'Battle of Britain' was already raging, and Europe was in flames. Huntley had tired of the constant touring over the preceding 20 years during which time he had appeared not only in every major Canadian city, but in every state and major city in the U.S., and several European tours.

In 1940, he joined the Bethlehem Steel Company as their personnel manager, and eventually headed up the Incentive Department at Bethlehem's Higham Shipyards in Massachusetts.

In June 1947, Colgate president Everett Needham Case apointed Huntley to coordinate Colgate's massive "Rally In The Valley", a rally that brought together the entire Colgate Alumni body to regenerate the spirit of the pre-war days. Then on September 1, 1947, after the success of that rally, President Case appointed Huntley to the position of Director of Student Activities, - a post that he would hold for the next twenty years.

During those 20 years, Huntley would find still more honors. In 1964, New York's Governor Nelson Rockefeller awarded Huntley a citation for his contributions the New York State exhibit at the 1964 World's Fair. In 1967, Huntey ended his third and last career at Colgate University.
[ The BigBands Database Plus thanks Mr. Dale Brown, for all his help in making this entry on the Isle O' Blues Orchestra possibe. ]

   [ Alex Hyde Orch. ]
b. Feb. 17, 1898, Hamburg, Germany, d. July 7, 1956, Santa Monica, CA, USA
Instruments: Violin; Band contractor.
Please also see the Alex Hyde entry on our Composer and Lyricists Database, for still more information..

When his family emigrated to the USA, Alex Hyde became a U.S. citizen while still an infant. Growing up, he received violin lessons from a professional violinist, and subsequently performed in New York cafés. It is known that he played with 'Mike Denzi's Red Devils'. After the cessation of WWI hostilities, it seems that Hyde toured Germany entertaining U.S. military personnel in the occupied Rhineland. In the early 1920s, he led the Romance of Rhythm Orchestra, which was one of Paul Whiteman's numerous offshoot bands. Here's a photograph of Alex Hyde leading the Romance Of Rhythm Orchestra. In 1923, Hyde's first recordings were made with this group in Montreal, Canada, and subsequently issued on the Victor label. From Dec. 1923 - April 1924, Hyde was resident in London, England, where he led a British jazz band at the Piccadilly Hotel, sharing the bill with Jack Hylton.

On May 1, 1924, the Alex Hyde Orchestra debuted at the 'Tivoli Variete' in Hanover, Germany. Due to financial difficulties (they were not paid by the Tivoli management), the engagement was about to become a disaster. However, a Russian dancer named Ivan Bankoff suddenly appeared andpaid all of Hyde's debts, and then assumed responsibility for the band. The band became a huge hit in Germany. Some music historian feel that Hyde's enormous popularity was due to the introduction of buzzer mutes and Besson B flat trumpets in an environment where only rotary valve C trumpets had been regularly used, -as well as for his snappy arrangements and "doo-wacka-doo" hot novelty dance music.

In June 1924, after playing Munich's 'Deutches Theater' Hyde disbanded, sailed for the U.S.A., and in 1925, returned to Germany with a more authentic hot jazz ensemble. This places him in Berlin at just about the same time as 'Sam Wooding's Chocolate Dandies'. By the end of the 1920s and throughout the 1930s, Hyde assembled and produced a series of all-female orchestras. He then retired from music to co-manage an insurance company with his brothers

  [ Don Hunt Orch. ]
Currently no information on this bandleader, pianist, arranger. .