[ Paul Lavalle Orch. ]

   [ Jack "Papa" Laine Orchestra ]
b. Sept. 21, 1873, New Orleans, LA, USA, d. June 1, 1966, New Orleans, LA, USA.
né: George Vitelle Laine (aka: Papa Laine, and Papa Jack Laine.)
Laine was a White man who had studied Bass; Alto Sax and Drums. He first formed a band in 1888 that made a specialty of Scott Joplin's "Shadow Rag" and imitated early negro 'Stomps'. 'Papa' Laine often claimed to have been the first band to publicly perform "Ragtime" music. Though an excellent drummer, Laine was even more skillful at arranging and booking bands, and often had several different bands playing parades, dances, and advertising events on the same day. The "Reliance" band name was ususally used for parade marching jobs. Here's a photo of Jack Laine, as he appeared in 1906.

In the years before 1914, he led the 'Reliance Brass Band', which included the cornetist Nick La Rocca, who later claimed to have invented Jazz. Jazz historians have said that the Reliance Brass Band was the pre-cursor to Nick La Rocca's 'Original Dixleland Jazz Band'. New Orleans, being the principal U. S. Gulf coast seaport, entertained a great many ethnic groups-- French, Italian, German, Jewish, Latin American, as well as African American musicians. Laine, who was leading bands before New Orleans' racist 'Jim Crow' laws went into effect, often used musicians from all the ethnic groups, - Black and White. Furthermore, Laine continued to hire light and medium light skinned African-American musicians, even after the vicious segregation laws were enacted. Whenever a segregationist tried to start trouble, Laine would claim they were "Cuban" or "Mexican". In this way, Black musicians, some of who played with the Buddy Bolden, Joe "King" Oliver, and other Black bands, also played with Laine, and there was wide cross-fertilization of musical ideas in the Laine bands.

A PARTIAL list of some of the over 100 musicians who played in his bands include:
     * "Chink" Martin Abraham, Sr., tuba/string bass/guitar. Best recalled as member of the
        New Orleans Rhythm Kings.
     * Giuseppe Allesandra, (aka: Joe Alexander). Tuba.
     * Achille Baquet, clarinet/sax. Was the son of the leader of the Excelsior Brass Band. In addition,
        both Achille and trombonist Perkins were considered to be the "teachers" in Papa Laine's band.
     * Theogene V. Baquet, (Eb cornet)
     * Vincente Barocco, alto sax
     * Joe Barocco, string Bass and Tuba.
     * Norman Brownlee, piano
     * Alfred "Pantsy" Laine (Papa Jack's son), cornet, later led his own band.
     * Abbie Brunies, cornet
     * George Brunies, t'bone (aka: Georg Brunis. b. New Orleans, LA, Feb. 6, 1902, d. Nov. 19, 1974)
     * Merrit Brunies, cornet
     * Richie Brunies, cornet
     * Joe Castro
     * Emil(e) Joseph Christian (b. New Orleans, LA, April 20 1895, d. New Orleans, LA, Dec. 3, 1973.
        was an early jazz trombonist who also played cornet and string bass.
     * Frank Joseph Christian (Sept.3, 1887 - Nov. 27, 1973) trumpet. (Older brother of Emile Christian)
     * Johnny Dedroit, cornet
     * Edwin Branford "Eddie" Edwards (b. New Orleans, LA, May 22, 1891. d. April 9, 1963) trombone
        perhaps best known for recordings with Nick La Rocca's "Original Dixieland
        Jass Band. At age 10, started playing violin, at age 15, the trombone.
     * Marcus Kahn, trombone
     * Joe Lala, cornet
     * Johnny Lala, cornet
     * Dominic James "Nick" La Rocca (b. New Orleans, LA, April 11, 1889, d. New Orleans, LA,
        Feb. 22, 1961. trumpeter. Best recalled as leader of "The Original Dixieland Jass Band."
        It was the "ODJB" and the "NORK" (New Orleans Rhythm Kings) that brought 'Jass' to
        the World. Speaking to various interviewers, La Rocca often referred to himself as
        "The Creator of Jazz", The Christopher Columbus of Music", and "The most lied about
        person in history since Jesus Christ".
     * Ray Lopez, cornet
     * Arnold Loyacano, string bass/ drums
     * Joe Loyacano, Bass
     * Leonce Mello, (son-in-law of Jack) Trombone.
     * Gustave ("Gus" or "Gussie") Mueller (b. New Orleans, LA, April 17, 1890, d. Hollywood, CA, Dec.
        16 1965. Mueller was one of the top clarinetists with Papa Jack Laine's bands.
        In early 1915, he went to Chicago with Tom Brown's band. After serving in the
        U. S. Army during World War I, he joined Paul Whiteman's Orchestra, and stayed
        with the band when they moved to New York City. He is well heard on Whiteman's
        recording of "Wang Wang Blues".
     *Alcide Patrick Nunez, clarinet. (aka: Yellow Nunez and Al Nunez, b. St. Bernard Parish, Louisiana on
        March 17, 1884, d. Sept. 2, 1934. A regular in Papa Jack Laine's band, in 1902, he switched to
        clarinet after having initially played guitar
     * Dave Perkins, trombone (also one of the band's teachers.)
     * Alphonse Floristan Picou (a 'Creole' b. New Orleans, LA, Oct. 19, 1878, d. Feb. 4, 1961) clarinet,
        composed, and arranged music. Was already working as a professional musician
        by age 16 (playing both guitar and clarinet).
     * Harry Shannon, cornet
     * Lawrence J. "Larry" Shields (b. New Orleans, LA, Sept. 13, 1893, d. Nov. 21, 1953) clarinetist.
        Larry was born on the same block where pioneer Jazz trumpeter Buddy Bolden lived.
         Shields brothers Harry and Pat played guitar, and Eddie played piano. In the summer of
        1915, he relocated to Chicago, joining Bert Kelly's band, thence with Tom Brown's band
        before joining the 'Original Dixieland Jass Band' in November 1916.
     * Henry Ragas, piano.
     * Tony Sbarbaro, drums. (aka: Tony Spargo)
     * Joe "Ragbaby" Stephens (b. Jan. 1887, d. ca. 1927) drums.
         ( Note: Ragbaby's surname is sometimes shown as Stevens.)
        "Ragbaby" seems to have been illiterate.) Departed New Orleans for 'personsal
        problems', he became one of the first New Orleans Drummers to play in
        Chicago, IL. He worked in Chicago with banjoist/ bandleader Bert Kelly for some
        years, and it was Ragbaby's telegrams home were responsible for bringing Paul
        Mares and George Brunies up north.
     * Ricky Toms, trombone
     * Lawrence Veca, cornet
AND, there were many more musicians who played in the Laine bands.

In 1920, Laine retired. He lived past 90, during which time he was often interviewed and provided first hand accounts early New Orleans Jazz.

In 1951, when he was 77, he was presented with a certificate by members of the New Orleans Jazz Club proclaiming him to be the 'First White Jazz Musician'.

   [ ART LANDRY & his Call of the North Orch ]
Art Landry was one of the real old timers. He started first band in the early twenties. His orchestra subsequently toured America from coast to coast. One of his sidemen was Ted Mack, who later hosted the Major Bowes Amateur Hour radio program. Art was a good clarinetist, and fronted the orchestra himself.

Art's orchestra originally recorded for the mid-western Gennett Label. Later, he signed up with the RCA Victor company, recording in New York City; Camden, NJ, and even on the west coast.Listen to his 1924 recording of "What Could Be Sweeter Than You", digitally re-engineered. Landry's career ended before the big band era got started.

"In private correspondence, Mr. Norman Bensen, a good friend of Art Landry, has recalled: Art retired first to Ticonderoga, NY and then to Nokomis, Fl. He passed away in September 1990 at an age that he said was 100. We had a 100th birthday party for him in March 1990."

       "Art was a charming man. In the late '70's and the '80's we visited mobile home parks and condominium associations where he showed slides and talked about his career and the many celebrities he encountered. Very interesting."

   [ Lester Lanin Orch. ]
b. August 26, 1911, Philadelphia, Pennsylvania, USA, d. Oct. 27, 2004, New York, NY, USA.
Overview:
This youngest of ten sons of a Russian Jewish immigrant family, originally intended to become an attorney; but by his mid-teens he had given up school in favor of performing, - something he did for another 80 years. Lester was already playing in bands at just age 15, and was leading his own group by the late 1920s By some twist of fate, he began to to get engagements playing for some of the wealthiest Phidelphian families, and perhaps through recommendations, he was also soon getting engagements to play for wealthy New York city families. These wealthy patrons, basically unaffected by the great stock market crash of October 1929, and the ensuing worldwide economic depression, continued with their Balls and Galas, thus keeping Lester's orchestra working all during the hard times that other bandleaders had to endure. In 1930, he was engaged to play for the debut of socialite Barbara Hutton, an event so heavily covered by the press that it made Lanin's reputation. Lester Lanin's orchestra would go on to ride out the Great Depression playing his eminently danceable music for the wealthiest families, both at home and abroad. The next 60 years were spent playing for such patrons as the British royal family and most of the kings and queens of Europe. In addition, beginning with the Eisenhower era, he played inaugural balls at the White House through nine presidencies.

Interestingly, Lester Lanin often employed musicians who could play Jazz, but never tolerated their playing anything even vaguely reminiscient of Jazz. He understood very well that his audience - the wealthiest socialites - wanted very danceable songs, played at very danceable tempos. And, Lanin was the quintessential society bandleader who provided such music for such big-name weddings as Grace Kelly and Prince Rainier, Christie Brinkley and Billy Joel, as well as for big-name birthday parties (Queen Elizabeth) and all the big-name balls on the charity circuit. And, so, when the Big Bands era finally ended, Lester's orchestra soldiered on, - surviving the advent of "rock & roll", "the twist" and sililar 1960s dances, the disco boom, and even worked right into the hip-hop era. Lester led his band into the 1990s before finally retiring. He was 97 when he died, having spent eight decades in the music business.

His Orchestra continues to this day in New York City under the direction of saxist Spencer Bruno, who has found the right balance between staying relevant and staying true to their roots.

   [ Sam Lanin Orch ]
b. Sept. 4, 1891, Russia, (raised in Philadelphia, PA, USA) d. May 5, 1977, Hollywood, Florida, USA
Sam Lanin, was a very popular orchestra leader all through the 1920s. He was also a "band agent", sending out other orchestras, as well as his 'own' band, which, in addition to being known as the Sam Lanin Orchestra, recorded under a great many other names. "Bailey's Lucky Seven", was an orchestra organized by Sam Lanin for a series of Gennett Recordings. The group was usually the Original Memphis Five with Red Nichols added on cornet. (Note: "The Southland Six" was a pseudonym for the "Original Memphis Five".) And, here's the Bailey's Lucky Seven band playing Homesick, as recorded in 1922, on the Gennett label. A very young Cliff Edwards, (later aka "Ukulele Ike") does the 'scat' vocal. (Digital Re-engineering by Mr. Verne Buland.) And, here's 'Sam Lanin's Dance Orchestra' playing The Wedding of the Painted Doll" (Banner 6350-A) with George Weaver vocal.
During the big band era, there were a number of orchestras that basically only worked in the Radio Stations and Recording Studios. These orchestras very often took the name of a show's sponsor. "Sam Lanin and His Ipana Troubadors", was one of these bands. Here's an old photograph of Ipana Troubadors. At other times, a band could be named for the venue where they happened to be playing. For example when Sam's band was playing at New York's Roseland Ballroom, they were advertised as 'Sam Lanin's Roseland Orchestra'. Other such bands included; "Harry Horlick and His A& P Gypsies", and "Harry Reser and His Cliquot Club Eskimos". The Lanins (both Sam and Lester) were so popular that they also served as band agents. On any given night there might have been 3 or 4 Sam Lanin orchestras playing at different venues (and 3 or 4 Lester Lanin orchestras as well.) Additionally, these bands recorded under many different names to avoid recording contract conflicts.

Here is 'Sam Lanin and The Melody Sheiks' playing
"What Can I Say After I've Said I'm Sorry"
'The Broadway Bellhops' were another of the many Sam Lanin lead bands. Band members floated in and out but often included: Bix Beiderbecke-Cornet, Vic Berton-Drums, Frank Signorelli-Piano, Frankie Trumbauer-C Melody Sax and sometimes Joe Venuti-Violin. Here is a recording of Sam Lanin's band this time recording under the name of 'The Broadway Bellhops' with the tune:
"It's Only A Sunshower", and here's the Record Label.
Harry Lambert does the vocal on this tune with music composed by Ted Snyder, and the lyric by Irving Kahal, and Francis Wheeler.
Both of these tunes were digitally recorded by Mr. Verne Buland.
Another of Sam Lanin's bands was the Ipana Troubadors, named for their gig on the Ipana Toothpaste radio show. Listen now to "When The Red Red Robin Comes Bob Bob Bobin Along", as recorded by the Ipana Troubadors.

   [ Harvey Lankford Synco Hi-Hatters ]
b. January 5, 1899, Kimmswick, Jefferson County, MO, USA, d. January 14, 1969. New York (Queens-Jamaica), NY, USA.
n� Harvey McKinley Lankford.
Harvey originally played the trombone in the Floyd Campbell Orch., in St. Louis, MO. In 1930, when Floyd left for Chicago, Harvey took over leadership of Campbell's band. During the years 1931 - '34, Lankford's band, now called the 'Synco Hi-Hatters', was active playing on Mississippi Paddle Wheelers, such as the Streckfus Lines SS Capitol, and the SS St. Paul. He never married while in St. Louis, MO, but did marry a lady named Norrie after he moved to New York city.
Harvey led, what is today called, a 'Territory Band'. That is to say, he played only locally, or at least in a very restricted area, in this instance, St. Louis, Missouri. (A town renowned for its musical legacy.) The term "Territory Band" should never be considered as derogatory. It only means the band's career was local (and usually un-recorded). However, these bands were always very entertaining, musically excellent, and often enjoyed a very loyal group of fans.

Listen now to the " Synco Hi-Hatters" playing "Compton Avenue Blues", (486KB) and the "Pianoflage", (456KB) both digitally re-engineered).

Mr. David de Clue, who is descended from Harvey Lankford's uncle Joseph DeClue (his mother's brother), has collected some clippings from one of the old Black newspapers in St. Louis called The St. Louis Argus. We are re-publishing these clips because they present a such delightful view of just what these "Territory Bands" did, and just how much joy they brought to their hometown fans. These articles are from the Argus' column called " The Musician's Chatterbox". Please note that the term "the boys" was also absolutely not derogative. In the mores of the era, all young men were called "boys" and all young ladies were called "girls". They were actually terms of endearment.

Notice that the band was heard on local radio station WIL. Also notice the two interesting comments, one on Charlie Creath rehearsing the band, and another pointing out that the band had just returned from a Southern tour. Virtually all the Territory Bands toured their local 3 or 4 state area.

January 16, 1931, p. 5, Musician's Chatterbox:
       The Synco High Hatters under direction of Harvey Lankford and Wm. Calloway, business
      manager,return to the air nextweek. They will be featured on a program on station WIL
      on Monday nights at 9:30 p. m. and Wednesday nites at 10:00 p. m. The boys have received
      many favorable comments on their radio activities and invite the general public to listen
      in. The boys are quite busy holidays and filled the following engagements: Comus Club Royal
      Vagabonds, Beau Geste Club, 40 Club, Postal Alliance Insurance Underwriters, Statler Hotel
      Employees Assn., and Princeton University Triangle Club plus Cotton Club engagements,
      Xmas and New Year's morning, and other miscellaneous engagements. They play at the Dance
      Box on Sunday nites.

January 30, 1931, p. 5, Musician's Chatterbox:
      Mondays at 9:30 p. m. and Wednesdays at 10:00 p. m. radio fans are being entertained
      by the Synco High Hatters. Harvey Lankford is director and Wm. Calloway is secretary.
      These boys have been engaged by the Pine Nite Club and will play there every Thursday nite
      beginning January 29th. In addition to Dance Box Box and radio activities they play for
      the Urban League Charity Ball tonite (Friday) and in Herrin, Ill. on Saturday. (the word
      "Box"was typed twice in original article).

May 22, 1931, p. 5, Musician's Chatterbox:
      Harvey Lankford and his Synco High Hatters recently completed a two-week engagement on
      Steamer Idlewild and are now back to account arrangements in St. Louis. The (illegible) is
      eligible as usual; with new summer uniforms consisting of blue sport coats, grey trousers,
      black and white sport shoes, white shirts and black and white ties. The boys have some new
      special arrangements which they will present over WIL, probably, next Monday or Wednesday, so
      keep your dial on WIL and don't miss these delightful programs.

Argus, March 20, 1931, p. 5, Musician's Chatterbox:
      The Synco High Hatters under the direction of Harvey Lankford...continue their popular
      radio programs over WIL on Mondays and Wednesdays at 10:30 P. M. In addition to radio and
      Dance Box activities, they are also rehearsing St. Elizabeth's show for which they play
      during Easter Week at the Odeon, with augmented orchestra. They played last week at Washington
      University Radio Night Club, La Cot Gills in East St. Louis and play tonite (Friday) for
      the (illegible) Dulcia Girls.

Argus, March 27, 1931, p. 5, Musician's Chatterbox:
      Marcellus Sherrod and Walter Farrington, WIL Radio Artists, will augment the program of
      dance music offered by Harvey Lankford and his Synco High Hatters at the People's Finance
      Ballroom Saturday Night, April 4. 'The Royal Beau Brummels', a popular social club, is
      sponsoring the affair.

Argus, May 4, 1931, p. 5, Musician's Chatterbox:
      Synco High Hatters Off The Air For Two Weeks - The Synco High Hatters under the direction
      of Harvey Lankford have discontinued their delightful WIL radio programs for Easter Week
      and the following week. Watch this column for their next radio appearance. Last week the
      boys played for the Garnet Boys in Harrin, Ill. They play for the Royal Beau Brummels
      this Saturday nite and next week for the Catholic Knights at West End Hotel Ballroom,
      Catholic Show, "High Lights", and in Madison, IL

Argus: May 4, 1931, p. 5, Musician's Chatterbox:
      Last week the Synco High Hatters delighted theatre goers as well as dance goers as evidenced
      by their performance at the Catholic Crusaders musical comedy "High Eights" at the Odeon
      during Easter Week. They played this week for the Musician's Dance, Atlas Sports, the banquet
      in honor of the "High Lights" cast and for the Maxine Girls dance at the West End Hotel Ballroom.

Argus, April 24, 1931, p. 5, Musician's Chatterbox:
      The Synco High Hatters play tonight (Friday) for the Apex Social Club's Bottle of Music
      versus Cecil Scott's Salt and Petter Shakers and Saturday nite at Cotton Club for a farmer's
      dance and next Thursday in Webster Groves, MO

Argus, May 1, 1931, p. 5, Musician's Chatterbox:
      The Synco High Hatters, under the direction of Harvey Lankford and William Calloway,
      Business Manager, play a formal fraternity dinner dance in Decatur, Ill., tonite (Friday),
      and participate with Dewey Jackson's Orchestra on Steamer Idlewild next Monday Night,
      May 4. The High Hatters are open for all engagements as they remain in St. Louis all summer,
      despite rumors that they will play out of town on the Steamer Idlewild.
(For some interesting information on the Paddlewheel steamboat 'Idlewild' (later called the 'Belle of Louisville'), see the Official Web Site for the: BELLE OF LOUISVILLE. The very same ships on which The Fate Marable Orch. had played.)

Argus, July 31, 1931, p 3, "Clubs":
      Harvey Lankford - Harvey Lankford and his Synco High Hatters (direct from Southern Tour)
      entertain you at Hi-Gi Summer Garden, 3125 Lawton Avenue,this Saturday night, August 1st,
      Admission 35, 9 until late. - Harvey Lankford's Orchestra at Triangle Park, 4100 S. Broadway, August 15.

Argus, June 5, 1931, p. 5, Musician's Chatterbox:
      Synco High Hatters - Harvey Lankford's Synco High Hatters report the month of May a busy and
      interesting period. In addition to radio and Dance Box activities, they played the following
      Illinois towns: Hardin, Naples, Kampsville, Griggsville, Florence, Cairo, Marion and Vandalia;
      and the following Missouri towns: Fulton (fraternity dance), Herculaneum, Cape Girardeau and
      Hickman and Paducah, Kentucky.This week they played at the City's Sanitarium, Pan-American
      Doctor's Convention and Webster Groves High School. They play for Stowe Teacher's College tonite
      (Friday) and in Murphysboro, IL, on Saturday nite.

Argus, June 12, 1931, p. 5, Musician's Chatterbox:
      Harvey Lankford's Synco High Hatters play in Brooklyn tonite and Marion and Vandalia, Il.
      on Saturday and Sunday. Summit's Garden in Webster Groves next Thursday. They are open for
      all engagements and will remain in town all summer. Keep your dial on WIL for their radio
      programs the first part of next week.

Argus, August 21, 1931, p. 5, Musician's Chatterbox:
      As of this writing, Charles Creath, famous cornetist and musician, is practicing daily on his
      cornet and also rehearsing Harvey Lankford's Synco High Hatters with the intention of
      taking the band under his leadership and booking and expects to make his debut on Labor Day
      to the general public (detailed account next week). This arrangement increases the business
      and of the band to three persons, Charles Creath,Harvey Lankford and William Calloway. These
      three are eligible at all times to take care of all arrangements, contracts, etc.

Argus, May 3, 1931, p. 5, Musician's Chatterbox: (paraphrased)
      Friday nite March 6, the orchestras of Harvey Lankford, Cecil Scott and Eddie Johnson were
      engaged to play at the Chase Hotel for a fraternity dance which was described as the "Black Ball".
      The master of ceremony was non other than our own Harvey Lankford, who came marching in
      with the High Hatters and playing "Our Director" March.

Taken all together, the above newspaper clippings give a wonderful view of a year (1931) in the life of a "Territory Band".
The BigBands Database Plus thanks Mr.David de Clue, of St. Louis, MO, for the above entry on Harvey Lankford
"Frankie and Johnny", ogg format (1,099,377)
"Compton Avenue Blues", mp3 format (2,920,698)
"Pianoflage", mp3 format (3,073,253)

   [ Elliot Lawrence Orch ]
ne´: Elliot Lawrence Broza
b. Feb. 14, 1925, Philadelphia, PA, USA.
Theme Song: Heart to Heart
Overview
There were a great many "studio" bands working the radio tions and recording studios, during the big band era. Some of these bands did achieve a more sophisticated musical level. Raymond Scott's group, in New York City was one such band, but Philadelphia could boast of three studio orchestras that would go on to well deserved fame; Joey Kearn's; Jan Savitt's, and Elliot Lawrence's orchestras. During the late 1930's, Elliott had a radio show called the "Horn and Hardart Hour", - a sort of 'Amateur Hour' for kids.

Elliot grew up within a musical atmosphere. His father was the producer of the Horn & Hardart Children's Hour radio show on station WCAU, on which Elliot made several appearances while still a child. Between 1937 and 1941, he led a children's band on WCAU and then went on to attend the Univ. of Pennsylvania.

Elliot graduated (1944) from the Univ. of Pennsylvania, where he received the school's Art Achievement Award in Music. He was also leader of the football band. Elliott wrote his own arrangements, and the band also played for many local dances in the area. At UPenn, he studied piano under famed conductor Leon Barzin who thought so highly of him that he offered Elliot a job as his assistant.

Elliot's father, Stan Lee Broza, was general Manager of one of Phuiladelphia's most popular radio stations - WCAU. The station's owner, Leon Levy, thought highly of Elliot, and after graduating (in 1944), Elliot became musical director of WCAU, where he brought together his first (studio) band. Elliot did the arranging himself. It was a good band, with good sidemen.

In 1945, CBS signed him due to the rave notice that George T. Simon gave Elliot in the March 1945 issue of Metronome Magazine, and due also to the tie in that Columbia's Recording Director, Manie Sachs, had with Leon Levy. Columbia's recording supervisors were led by former band leader Mitchell Ayres. Elliot's band played the Paramount Theater and the Pennsylvania Hotel, both in New York City. Initially, former band leader Frank Huntermark (la Frank Hunter) set the band's playing style, but Lawrence couldn't turn down an eager West Catholic High School tenor sax player named Gerry Mulligan. Gerry went on to write some real swinging scores, and whenever anyone was absent for whatever reason, for rehearsal, or radio or dance dates, Gerry was ready and willing to blow tenor or alto. (Mulligan left for the Claude Thornhill Orch, but a little later, Mulligan and Red Rodney - trumpet, also from Thornhill - would play again briefly with Elliot's band, before they left to join Gene Krupa's orch., in 1946.) These nightly broadcasts ove CBS Network paid $45.00 per week for the sidemen and $60.00 for the pianist/leader Elliot. The band became popular and started playing high school and college prom dates.

The interaction between musicians is always an interesting subject. Elliot was a real fan of the Claude Thornhill orchestra (who wasn't?). Some folks have even remarked how similar some of Elliots piano solos were to Claude's. B oth Red Rodney and Gerry Mulligan were in the Thornhill band, as were Gil Evans and Lee Konitz. (Red Rodney and Gerry Mulligan played both with Elliot and with Thornhill.) Al Cohn, writing for Elliot, had played in Henry Jerome's band with drummer Tiny Kahn. Later, these men would found a new "cool" jazz school.

In 1946, Elliot went big time by opening in the Cafe Rouge of New York's Pennsylvania Hotel. His father gave up his job at WCAU to be Elliot's manager. The band was a hit, and started recording for Colunmbia Records. The band still had Gerry Mulligan on sax and arranging; Alex Fila was on lead trumpet; Red Rodney, also on trumpet, had been with Claude Thornhill and Gene Krupa. Roz Patton and Jack Hunter were the boy and girl vocalists. It was a very good swing band, and soloists like Mulligan, Fila and Rodney really made it jump. It became even more interesting when Elliot began commissioning writers like Al Cohn; Tiny Kahn and Johnny Mandel to write for him. >

By the 1 950's, the big band era had ended. Elliot continued to work in the radio and television studios, where he wrote jingles and was also a consultant to N.W.Ayer, Inc., a major advertising agency. On weekends, he accepted gigs at colleges and universities. For these bands, he often had musicians such as Urbie Green on Trombone; Tiny Kahn or Sol Gubin on drums; Hal McKusick; Sam Marowitz and Al Cohn on Saxes; and such trumpeters as Ernie Royal; Nick Travis and Bernie Glow.

Elliot Lawrence was involved with musical theater for many years after giving up his big band. He is the conductor on the original-cast recordings of 'The Apple Tree', 'Bye Bye Birdie', 'Golden Boy', 'How To Suceed In Business Without Really Trying' and wrote the songs to a 1 performance Broadway flop, 'La Strada'. For many years he was conductor of the Tony Awards presentations orchestra. All of this, earned him not only respect, but also a good income.

   [ "Preacher Rollo" (Laylan) and His Five Saints ]
b. Genoa, WI, USA.
Leader Rollo Laylan, a drummer, had played in the Paul Whiteman and Jack Teagarden bands. At age 8, he contracted Polio and took up the drums to strengthen his right arm. Although 'Preacher Rollo' was a devoted "Dixieland" player, he was also a serious musician whose familiarity with Stravinsky and Bartok was as thorough as was his knowledge of all types of jazz.

In the late 1940's or early 1950's, his orchestra, "Preacher Rollo and the Five Saints", was based in Miami Beach, Florida, where Rollo and the band whipped the population into a Dixieland frenzy that spread near and far. The band made regular broadcasts from WKAT and was also heard over most of the stations in the Mutual Network.

In addition to Drummer Rollo, the rest of the Saints were typical Dixie disciples. Marie Marcus, whose barrelhouse piano fit Laylan's drumming so well, was the mother of four children and an ex-concert pianist who switched to marriage and jazz; - succeeding remarkably at both. Jerry Gorman was a student of architecture who turned to 'tailgate' trombone with a vengeance. Jerry also doubled on bass. For a guy who once had a nasty experience with a violin, he pumped a tram slide like a veteran New Orleans parader. Tommy Justice, whose trumpet usually highlighted the ensemble choruses, was a budding school teacher. The only 'real' veteran of the Saints was Tony Parenti who played with many groups for years. Ernie Goodson sometimes replaced Parenti on clarinet. Goodson was a farmer by trade and clarinetist by choice.
The BigBands Database thanks Mr Verne Buland for the above information on Preacher Rollo Layton.

   [ The Milt Larkin Orch. ]
b. Oct. 10, 1910, Houston, Texas, USA. d. Aug. 31, 1996, Houston, Texas, USA.
One of the greatest of all territory bands, but, tragically, never recorded. After hearing Bunk Johnson, Larkin taught himself to play the trumpet. Larkin first freelanced in Texas with such bands as Chester Boone and Giles Mitchell's Birmingham Blue Blowers. During 1936-42 he led his own band touring the Southwest and even played briefly in Kansas City, Chicago and at New York's famed Apollo Theatre.

Larkin's band became the premiere Swing aggregration in Houston, Texas, which after being in operation for 4 years, went to Chicago, where they enjoyed a great 9-month stay at Chicago's Rumboogie club. During that time, other bandleaders such as Lionel Hampton and Cootie Williams often came in and picked off sidemen to join their own groups. Here's a photo of the Milt Larkin Band, as they appeared in the Rhumboogie Club. (Photo source unknown, but has been attributed to Richie Dell Thomas, with the caption by Otto Flückiger). L-R: Cedric Haywood (piano); Lawrence Cato (bass); Milt Larkin (trumpet, leader); Alvin Burroughs (drums); trumpets: Calvin Ladnier, Clarence Trice, Jesse Miller; trombones: Arnett Sparrow, Streamline Williams; saxes: Frank Dominguez (tenor); "Ernest Archey" (alto); Moses Gant (tenor); Sam Player (alto and baritone).

The magazine 'Down Beat', in the September 1, 1940 issue, reported the band then consisted of: Milt Larkin (tp, voc, ldr); Eddie "Gogo" Hutchinson, Calvin Ladnier, and Lester Patterson (tps); Henry Sloan, Richard Waters, and Weldon Bolding (tbs); Eddie Vinson (as); Frank Dominguez (as); Ernest Archia (ts); Arnett Cobb (ts); Cedric Haywood (p, arr); Lawrence Cato (b); Henry Mills (d); and George Layne (voc). In 1943, with his key men gone, Larkin finally disbanded,

In 1942, America entered World War II, and the orchestra broke up when Larkin was drafted into the U. S. Army. From 1943-46, Larkin played in an Army band that was led by Sy Oliver, and he began doubling on valve trombone. In 1946, after his Service discharge, he did have an opportunity to record, but by then his time had passed.

In 1956, he settled in New York city where he often headed a septet at the Celebrity Club. In the mid-1970's, he retired to Houston, Texas. Larkin led bands throughout much of his career, including a combo called "The X-Rays". His only dates as a leader included a total of 11 selections (mostly as a vocalist) for six different labels (Stinson, Sunrise, Hub, Regal, Coral and Lloyds) during 1946-54 and an obscure album (on valve trombone and vocals) for Copasetic in 1976.

   [ The Norman Lee Orch. ]
b. March 24, 1921, Danbury, Iowa, USA. d. Dec. 6, 1978, Wichita, KS , USA.
né: Norman Francis Uehle (pronounced "elee")
Overview:
Norman Lee, Sax and vocals, played first in his Mother's orchestra, and later in the Eddie Howard and Lawrence Welk orchestras. He and Welk co-composed the "Champagne Polka". After Eddie Howard's demise, Lee took over leadership of the band, working under the title of "Norman Lee and the Eddie Howard Orchestra. In time the band became known simply as "The Norman Lee Orchestra.

The Uehle family moved to Correctionville, Iowa in 1933, where Norman started elementary school in the 8th grade. He was already well versed on piano and it was at this time that he wrote his first song (music and lyrics): "What America Means To Me". His Mother, Alyce played piano and had an orchestra. Before long she had added numbers and was on the road with an 8 piece group. All through High School, Norman played Sax and Clarinet and did the vocal work. Because everyone had a problem pronouncing the name of Uehle, Alyce changed her name to Alyce E. Lee and Her Orchestra. It was a very popular orchestra in the area and played most every night of the week. Because of this, Norman spent little time in school yet still managed to be one of the top members of the class. Norman also officially changed his name to Lee.

After High School, Norman attended Morningside College in Sioux City, Iowa for a short time. He then joined the Jimmy Barrnet O rchestra, a territory band booking out of Omaha, Nebraska. In 1940 he joined the Eddy Howard Orchestra, in Chicago, playing lead Sax and singing in the famed Eddy Howard Trio.

In 1943, Lee joined the Army Air Corps. With the end of WW2, In 1945, he joined the Lawrence Welk Orchestra. While with the Welk band, Norman and Lawrence co-authored "The Champagne Polka".

In 1947, he rejoined the Eddy Howard Orchestra. After Howard's death, in 1963, Norman took over leadership, working under the name of Norman Lee and the Eddy Howard Orchestra. He later changed the name to The Norman Lee Orchestra, but still used much of the Eddie Howard orchestra's "charts". Accordingly, the Lee Orchestra had pretty much the same "sound and feel" as the original Eddie Howard band. Norman and his orchestra (along with his piano player Hil Radtke -who also played with Howard) was chosen to play the last dance at the Elitch Gardens in Denver, CO. The band played, basically, in the Mid-west but did make several tours to both coasts, and, - on at least one occasion, played a stand in Hawaii.

Norman's first wife Geraldine ("Jarry") Lee passed away with cancer on February 24, 1965. In time, Norman was honored by being inducted into the Big Band Hall of Fame and, in 1978, served as President of the National Ballroom and Entertainment Association. On April 3, 1967 he married Patricia McMunigal Smock.Patricia had two daughters by her previous husband (who had passed away), Nancy and Cathy, and the two girls also took the surname 'Lee'.

On the night of December 6, 1978, Norman played for an "over 40's" dance in Wichita, KS. On arriving home, both he and Pat were gunned down by Charles Martin (a former Trumpet man with the Howard and Lee orginizations). Martin also had shot Norman's manager, Bob King, earlier that night. They later found Martin in Houston, Texas where he had committed suicide.

By way of explanation, it should be noted that Charles Martin had become a drug addict, and in July 1978 due to many difficulties with Martin, Norman Lee had to dismiss him from the band. Martin's wife had also left him and he was "down on the whole world" and, we think that he was out of "purchase power" and wanted the "take" from the dance that night --which Norm had in his pocket. After the shooting, Martin hid out in some "two bit" hotel in Houston, TX. One day he went to get his car which was parked in a Lot. The battery was down and the Parking Lot owner told Martin he would go get cables and give him a jump start. When he came back Martin had used the same gun on himself. I found out about 2:30 AM when the phone rang and it was Norman Lee's brother Vincent who had just heard about it.

Norman's roots go back to Liechtenstein where his Grandparents grew up. Because of this a group from that country headed up by Arno Oehri and Juluis Buhler came to the U. S. in search of informatiion on Norman. They put together a video documentary on his life and introduced it in their country in January 1999 and to be introduced in Correctionville, Iowa in July 1999. The local museum, in Correctionville IA, has reserved a room which displays a large amount of memorabillia including among other things, Norman Lee's instruments, pictures, news articles and his six albums. Also an album in memory of Norman and Pat put together by Andy Clark a former associate.
The BigBands Database thanks Mr. Clair Hatfield for these notes on Norman Lee. ("I can remember Norman and I sitting on his Mothers piano bench learning the clarinet, - as we lived just across the alley from each other." --CH)

   [ Hal Leonard Orchestra ]
Harold "Hal" Edstron: b. Feb. 12, 1914, Worthington, Minnesota, USA, d. Feb. 23, 1996, Winona, Minnesota, USA
Everette "Leonard" Edstron: b. Dec. 12, 1915, Worthington, Minnesota, USA, d. March 19, 2000, Palm Desert, Riverside, California, USA.
A popular dance band in the upper Midwest that also played the ballrooms in Chicago. The style of the band was similar to the type of dance music performed by Dick Jurgens and Hal Kemp. The band was founded by two brothers, Harold (Hal) and Everett (Leonard) Edstrom and their friend Roger Busdicker (b. Aug. 26, 1917, Winona, MN, USA, d. June 13, 2006, Winona, MN, USA.). The band existed from the late 1930's into the early 1940s when Roger and Everett entered service during WWII. After the war, Hal Edstrom and Busdicker became high school band directors and Everett re-formed the Hal Leonard Orchestra and took it back on the road for several years. The Edstroms also started a music store in 1945. When the band broke up, the Edstroms and Busdicker began selling arrangements of popular music for school bands. They continued to expand their music publishing business with self-help books and the acquisition of printing rights to music from the original publishers. The publishing company was formed in 1946. In 1985, Hal Leonard was purchased from the original founders by an internal management team led by the Keith Mardak, the current president. The corporation is now the world's largest in the music print industry. Both Harold and Everett are now deceased. At last reports (2000) Roger Busdicker still lived in Winona. (Sadly, in private correspondence, Ms Viki Busdicker Nelson has said: "I'm sad to report that my uncle, Roger Busdicker, of the Hal Leonard Orchestra, passed away this morning (June 13, 2006)).
The BigBands Database thanks Mr James Shaw for his courtesy in contributing this Hal Leonard entry., and thanks also to Ms. Sylvia Reddie for the dates of the brothers demise. (Ms. Reddie was a second cousin to the Edstrom brothers.)

   [ Harlan Leonard and his Rockets ]
b. July 2, 1905, Kansas City, MO, USA. d. Nov, 10, 1983
Harlan Leonard, Sax
Theme Song: "Rockin' With The Rockets", BB B-10586-recorded Chicago, IL. Jan. 11, 1940
Overview
This wonderful Kansas City band was active during the late 1930's/early 40's. Four of their 1940 recording sessions, resulted in 24 selections, which when heard today, shows this band's strength.

Harlan Leonard attended Lincoln High School in Kansas City, where he played clarinet in the marching band. In 1923, after graduation, Harlan began his professional career playing with George E. Lee's band, - but in just a few months later, he joined Bennie Moten's band where he led the reed section and doubled on alto saxophone and clarinet. he was to remain with Moten for eight years (1931).

In 1931, Leonard and trombonist Thamon Hayes left Bennie Moten's band and formed the Thamon Hayes "Wonder" Band. Hayes, Leonard and Jesse Stone did a very good job of disciplining and rigorously rehearsing the band. In May of 1932, it became time for the annual spring "Battle of the Bands" at Paseo Hall. Decked out in "brown Eaton suits," the 'Thamon Hayes "Wonder" Band' defeated the Moten band in what turned out to be a real grudge match. As a result of their defeat, a fist fight broke out among members of the vanquished Moten band. As mentioned above, Jesse Stone was one of the men supplying arrangements and helping in the practice sessions. This is the same Jesse Stone who also helped such other early Kansas City Black bands as George Lee and his Novelty Singing Orch., and Lloyd Hunter's Serenaders. He also led his own band briefly.

During 1931-34, Harlan played his alto sax with the Thamon Hayes Band, but when Hayes left in 1934 after a dispute with the musician's union, Leonard took over the leadership. He now called the band, 'The Kansas City Sky Rockets'.

In 1937, the Rockets disbanded but Harlan quickly re-formed under the name of 'Harlan Leonard and his Rockets'. (That's Leonard 2nd from left playing his alto sax. I don't recognize the "frontman" leading the band. Photo from the Kansas City Star Newspaper files.) This band, also based in Kansas City toured extensively. In 1940, they were playing at the Club Alabam in Los Angeles, CA when Johnny Otis, joined them as drummer, later in 1940 they were playing in New York City), and had such great sidemen as Henry Bridges on tenor; Fred Beckett on trombone (J.J. Johnson's early inspiration); Tadd Dameron on piano (and doing the arranging - his pre-bop days) Eddie Durham on guitar; and Buster Smith on alto and guitar, with some arranging too. Four recording sessions in 1940 resulted in 24 selections which really show off the strengths of his 1940 band. Playing throughout the Midwest, Harlan disbanded in 1943, and relocated to Los Angeles, CA.

In 1940, The Rockets made a Bluebird recording of "I Don't Want to Set the World on Fire". It was an 'up-tempo' rendition featuring Myra Taylor on vocals. Some years later, the Ink Spots recorded the tune as a slow ballad and it became a huge hit. In addition to the Harlan Leonard band, Myra would also sing for Clarence Love Orch., George Lee Orch. and the Roy Eldridge Orch.

In Los Angeles Harlan formed another (and quite different) orchestra. But in 1945, Leonard disbanded again -forever- and found Civil Service work with the U. S. Dept of Internal revenue. Harlan Leonard died in 1983.

Brief Chronology:
=================
1920 to 1934, worked for Bennie Moten Orch.
1934. Harlan worked with the "Thamon Hayes Orchestra". This orchestra toured and played dates in Chicago, IL. It was disbanded later in the same year.
1934 -7. Harlan kept most of the Hayes Orch. together under his own name until 1937, then disbanded.
1938. Took over the old Tommy Douglas Orch., and played in and around Kansas City with this band, until 1946, when it was disbanded.
1946. Harlan moved to Los Angeles and became an Internal Revenue Agent for 'Uncle Sam'.

Harlan Leonard had a total of 10 records issued all on the Bluebird label from 1-11-40 , through November whatever reason, this band couldn't get the big hit record they needed to bring them out of obscurity. Leonard had great arrangers; - James Ross, Richard Smith, Eddie Durham, Buster Smith, Rozell Claxton, Tadd Dameron. Leonard had outstanding solist's, Ed Johnson trumpet, Hank Bridges tenor sax, and Fred Lee Beckett, trombone. The band played around the Kansas City area during the late 1930's and early '40's along with the bands of Jay McShann, Count Basie, Tommy Douglas, and Andy Kirk (and His Twelve Clouds of Joy).

Band Personnel
==============
Trumpet: Ed johnson, Bill Smith, James Ross
Trombone: Fred Lee Beckett, Richmond Henderson
Saxes: Darwin Jones, Hank Bridges, Jimmy Keith
Piano: William Smith
Guitar: Effergee Ware, Stan Morgan bass, Winston Williams, Bill Hadnott
Drums: Jessie Price
Vocalists: James Ross, Myra Taylor, Ernie Williams, Darwin Jones

In 1966 RCA Victor reissued 16 of the 20 sides Leonard recorded, on their Vintage Series LP's, LPV 531, some were alternate sides of the original Bluebird 78's.

Leonard's recording of "A-LA-BRIDGES" (refers to H. Bridges, tenor) should have been the record that started them on their way with just outstanding solos by both Beckett and Bridges ("enjoyed by so many, remembered by so few").
Some of the asbove notes on Harlan Leonard courtesy of James B. Zerr.

   [ Phil Levant Orch. ]
Currently no information available.
Here's an autographed photo (source: Joe Sanders (Coon-Sanders Orch. --ed) Collection of the Kansas City Library) of Phil Levant, that reads " To Joe Sanders with great esteem and best wishes. Phil Levant"

   [ Ted Lewis Orch.]
Tagline: "Is Everybody Happy?"
b. June 6, 1890, Circleville, OH, d. August 25, 1971, New York, NY, USA.
né: Theodore Leopold Friedman
Theme Song: "When My Baby Smiles at Me"
ere's a photo of Ted Lewis Band, and a good publicity photo of Ted
Overview
Ted was called the "High Hat Tragedian of Song". He was a true Vaudevillian. He had no voice, but could "put over" a song. He played what he himself called a "gashouse" clarinet, yet he had one of the best of the commercial Dixieland bands, with a real feel for the Blues (billing himself as "The Medicine Man of the Blues"). Perhaps his best hits were "When My Baby Smiles at Me" and "Me and My Shadow". He really didn't 'sing' these songs, he spoke them. (Ditseuse). Even today's listeners still tap their feet and smile while listening to his music. Here's one typical example, from the very early 1920s, of his style. This is a very early electrical recording of Ted Leading and Singing the tune "My Mama's In Town". And here's another early electrical recording of the Ted Lewis band playing New St. Louis Blues, an instrumental number for the band. (Digital Engineering for both tunes is by Mr. Verne Buland)

Ted, a haberdasher's son, was already proficient on the clarinet in his Teen years. Though his family wanted him to become a businessman, he was destined to choose Music as his mistress. In 1906, (age 16) he began working in vaudeville. At one point, he teamed with another vaudevillian named Lewis, and at one show, an erroneous billing listed the team as Lewis and Lewis. Ted thought it a good idea, and used the name for the remainder of his career. Eventually, he moved his home base of operations to New York City, continuing to work in that city's vaudeville stages and clubs. In 1916, as part of his comedy vaudeville act, he formed his very first (5 piece) band; 'Ted Lewis & His Nut Band'. In retrospect, we can now see that his fame was to begin in 1917 when he got a job playing clarinet in pianist Earl Fuller's band. No sooner had he landed the job, when the Original Dixieland Jazz Band hit Reisenweber's Restaurant, taking New York City - and then the whole world - by storm. Like everyone else, Lewis was fired up by this new music.

Another New York city restaurant, Rector's, hired the Fuller Band to lure customers back from their competitor, -Reisenweber's. Now the last ingredients of Ted's new personna became prominent. His vaudevillian's style of singing (acting to put the song over), a somewhat disheveled Top Hat (said to have been won in a bet with a carriage driver) and a new catchy phase "Is Everybody Happy". Ca. early 1918, he left Fuller's band and opened his own club (leading his own band). When that didn't work out, he went back to the stage, - appearing in a show called 'The Greenwich Village Follies', after which he financed his own production, 'Ted Lewis' Follies' (which also failed). The great producer Flo Ziegfeld hired Ted to appear in his Midnight Follies (at the New Amsterdam Theater's Rooftop cafe) and Ted also appeared in the revue, 'Artists and Models'.

In October 1919, Columbia Records signed Ted and released his first single, "Wond'ring" ("Blues My Naughty Sweety Gives To Me" was on the reverse). In 1920, Ted recorded the first recording of "When My Baby Smiles at Me". It was a huge hit that he would not only record many more times, but also became his theme song. Ted was now famous - and would remain one of the world's best known bands throughout the 1920s and 1930s. Columbia teamed the band with many other stars in their stable. Fats Waller recorded with Ted ("Dallas Blues" and "Royal Garden Blues") as did famed vocalist Ruth Etting. His band backed the great vaudevillian Sophie Tucker when she sang "Some of These Days" - a million selling record in the days when few people owned radios or phonographs. On a visit to England, Ted's band played at the Hippodrome and the Kit Kat Club in London. He played all of the top venues on the continent during a subsequent European tour. His band was so popular that Columbia even placed his top hatted silhouette on the record label.

Ted depreciatingly referred to his own clarinet sound as "gaspipe", although he was in fact a fine musician, -one who could also recognize ability in others. In 1928, trombonist George Brunies (ex-New Orleans Rhythm Kings) joined the band, and in 1929, cornetist Muggsy Spanier, and reedman Don Murray (ex Jean Goldkette) were added. Such men as these, solidified the band's Dixieland sound. (Ted paid his men well. He could afford to. His December 1929 contract with Columbia guaranteed him $42,000 plus royalties on each record pressed for the following two years.) In 1929, while the band was playing in their first film, Don Murray was killed in an automobile accident. His replacement was another fine Dixieland player, Frank Teschemacher (who would later also die in an auto accident.) When Teschemacher was unable to go on tour with the band, he was replaced by Jimmy Dorsey (who was in the band during the 1930 European tour).

A strange event now occurred. Ted had one of the best, and one of the best known, bands in the country. Their 1930 sides, such as "Sobbin' Blues Parts 1 and 2, and "Aunt Hagar's Blues," are typical of their Dixieland Jazz style of work. And then, Ted announced his retirement (1930). The country was in a strange state. The world wide economic Depression had struck and was in full sway. Uncounted millions were out of work. The nation's (and the world's) mood had become very sombre indeed. Gone were the good times of the "roaring Twenties", and with it, the 'good times' Dixieland Jazz.

But Columbia Records needed him badly, and the following year (1931), he was back with a re-grouped band. Clarinetist Benny Goodman replaced clarinetist Jimmy Dorsey. Still, something had happened to Ted and to theworld. His records no longer sold as well. Perhaps because so few folks could afford to buy a record, or maybe it was just that Vaudeville, and Dixieland, and good times Corny-ism had lost popularity. In 1933, he signed with Decca Records, but would never again enjoy anything like his old success. In 1935, one of his ex sidemen, Benny Goodman, would herald in the Swing era. At this time, Ted's radio work included the Merritt Beer Show, and the Valspar Varnish program. In 1945, he hosted the Coca Cola Spotlight show. But radio couldn't really show his talents. He was a true vaudevillian, -the semi-crushed top hat, his visual presence, - all had to be imagined.

Prior to WW2, Ted continued touring. He also worked in Hollywood with specialty appearances in films such as the Abbott and Costello hit 'Hold That Ghost'. In 1943, Columbia Pictures even remade 'Is Everybody Happy'. In the early 1950s, he recorded "My Blue Heaven", "Blue Skies", and other sides for Decca, and, in the late '50s, some Dance sides for the shortlived RKO label. During the 1960s, Ted had occasional TV appearances. In 1967, still wearing his trademarked Top Hat, he played his last show at the Desert Inn in Las Vegas - 50 years after taking his first steps into the music business. Ted Lewis was 81, when he died on August 25, 1971, in New York City, N.Y.

   [ Willy Lewis And His Entertainers ]
b. June 10, 1905, Cleburne, TX, USA. d. Jan. 13, 1971, New York, NY, USA.
né: William T. Lewis.
Instruments: Alto/Baritone sax, clarinetist, singer and bandleader.
Willy began his career working in various variety theaters, and would later study at the New England Conservatory. He worked with Sam Wooding, at the Nest Club, New York City, and then toured, briefly, with the Will Marion Cook orchestra. In 1925, he toured Europe, North Africa and South America with Wooding's Symphonic Syncopators. In 1931, when the Syncopators disbanded, he formed his own ensemble. All during the 1930s, he was the most important Afro-American bandleader in Europe. In 1935, some of the sidemen who worked in his band included: Benny Carter (reeds/Arranger), Frank "Big Boy" Goudie, and Herman "Ivory" Chittison. Later Bill Coleman and George Johnson. In 1940, with the deteriorating situation in Europe and World War II immanent, Willy disbanded. In 1950, he returned to New York City where he found work as cook and waiter in Harlem. He died in New York City, Jan. 13, 1971. Among his recorded legacy are: "Christopher Columbus" (1936); "Happy Feet" (1941); and "Swinging For A Swiss Miss" (1937). There are two books extant: "Willy Lewis - Doctor Jazz, by H. Langeweg, 1980; and Willie Lewis And His Entertainers, by J. Simmen, 1935/1937.
The BigBands Database Plus thanks Mr. Mauricio Summit, of Sao Paulo, Brasil, for the above information on Willy Lewis.

   [ Henry "Hot Lips" Levine & his Chamber Music Society Orchestra of Lower Basin Street ]
b. 1907, London, UK, d. May 1989 USA
Born in the UK, Levine's family emigrated to the USA, and Henry was raised in New York City. As a very young man, he alternated residencies between New York and London. Very few people now recall that, at just age 19, Henry replaced leader/trumpet Nick LaRocca in the world famous 'Original Dixieland Jazz Band' (1926-'27). The next year, he was in England playing his trumpet in the Bert Ambrose Orchestra, and sitting next to a young trombonist named Ted Heath, (who would go on to lead perhaps Britain's greatest big band). Still, in 1930, Henry was back working in New York City where he was to remain for the rest of his life.

In 1940, "Hot Lips'" was working as a musical director for the National Broadcasting Company (the "Red Network" 660KC AM) and soon was directing a show called 'The Chamber Music Society of Lower Basin Street' featuring an orchestra that announcer Gene Hamilton, speaking in a very stiff and very formal voice, would often describe using such sobriquets as "Dr. Henry "Hot Lips" Levine and his Dixieland Jazz Band", or as 'The Basin Street Marching, Chowder, and JAZZ Society Band', or 'The Barefoot Dixieland Philharmonic', and such other descriptions of Henry's Dixieland band. The show's very young girl vocalist wasn't too bad either, - Dinah Shore. I think it was her first professional job. (Dinah was never a "resident" vocalist with any of the big bands. She was one of the very few ladies of that era who were able to achieve fame on her own.) When Dinah Shore left the show, she was replaced by Dolores "Dodie" O'Neil, who had been one of the vocalists with Bob Chester's band. (Her husband, Alec Fila - trumpet with Chester's band, later joined Benny Goodman's orchestra.) Incidentally, another of the station's musical directors was also heard on the show, - Paul LaValle

From time to time, guests such as Sidney Bechet, Huddie "Leadbelly" Ledbetter, Earl "Fatha" Hines, and even a young singer, Lena Horne, would appear on the program. Curiously, it is for this show that Henry is best remembered. In an era when 'Swing was King', Henry was playing the kind of pure traditional Jazz with which he had grown up, and that he had played when he took over Nick LaRocca's chair in the famed 'Original Dixieland Jazz Band'.

When the BigBands era finally ended, many musicians were still able to find work in the large casinos of Las Vegas, Nevada. Henry was one of those men who migrated west. Mr Michael Atkins (in private correspondence) has shared his memories of the time:

       "I worked in Las Vegas at the Royal Inn Casino from 1973 to 1976 and had the pleasure of hearing Henry "Hot Lips" Levine play with the 'Royal Dixie Jazz Band' on a daily basis. The band consisted of:       "Hot Lips" Levine - Trumpet       Jim Fitsgerald - Trombone       George Mosse - Sax, Clarinet       George Pollack - Keyboards, Piano       "Chuck" Diamond - Electric Bass       Joe Meyer - Banjo       Lou Lali - Drums, Percussion These guys always drew big crowds and got them going every day of the week. I miss hearing them."

In the 1950s, Henry "Hot Lips" Levine was playing every morning on Cleveland's radio station WTAM's Morning Bandwagon radio show. "Henry 'Hot Lips' Levine and His Dixieland Jazz Band" did appear on at least one 3 minute film "short" titled "When My Sugar Walks Down The Street", with Linda Keene doing the vocalizing. (A copy is in the Myrick Collection of the Library Of Congress. On a reel with several other Soundies.)