It is known that the band had "test" recording sessions with both Edison and with RCA Victor. Edison rejected their work, and Victor, who had The Original Memphis Five under contract refused to release the band's work for fear of hurting their OM5 record sales.

   [ Enoch Light and the Light Brigade ]
b. Aug.18, 1905, Canton, OH, USA. d. July 31, 1978, W. Redding, CT, USA
Theme Song: "You're the Only Star"
Violin
Overview
He already had a successful career even before the start of the big bands era in 1933. Enoch had successfully toured Europe, and had returned to concertizing in the New York City area, where he fronted several Hotel bands, all of which were well trained and rehearsed. After recuperating from an auto accident, he organized the 'Light Brigade' and stayed mostly in the New York City metroplex - mostly from the Hotel Taft Grill Room. The band featured three girl violinists. Ted Nash played a fine tenor sax while Peggy Mann, and "Lazy" Bill Huggins, handled the vocs. After giving up the band, he went on to a successful career producing records.

The son of Morris and Rose (Feiman) Light, Enoch matriculated, in 1926, from Johns Hopkins Univ. with a B.A. degree. About a year later, in Nov. 18, 1927, he married Mary Danis, with whom he had two children; Julie Light (later Klages), and Mary Jack Light (later Wald). In 1929, he continued with his music studies at Austria's famed Mozarteum, in Salzburg. He remained in Europe, during 1938 to 1940, leading various orchestras and recording for RCA Victor and Columbia records.

Returning to the U.S., in 1940, he formed his own dance band that played throughout the Northeast quadrant. With the close of the Big Band Era, Enoch disbanded in 1948. He completed his Master's Degree at New York University, in 1953. He then worked for some record companies, and in 1954, became the president of Waldorf Music Hall Records. In 1956, he formed his first record company, Grand Award, producing such honky-tonk piano recordings as "Knuckles O'Toole" (Dick Hyman), and a Dixieland album by the 'Charleston City All-Stars'.

1959 to 1965 were productive years for Enoch. He held a teaching position at New York University and also received a number of industry awards. He formed his second company; Command R ecords, where he produced such hits as "Persuasive Percussion" and "Stereo 35", both of which were intended for, and sold well, in the then new High Fidelity Radio salons as well as in the more traditional record shops. In 1965, he sold Grand Award and Command Records to ABC Records, which was itself purchased a few years later by MCA.

Shortly after selling Command, he formed a new company; Project Three Records, and was able to hire many of the musicians with whom he had worked with at Command (such as guitarist Tony Mottola and pianist Dick Hyman.) Project 3 was eventually bought by Essex Entertainment.

Enoch retired in 1974. Among the many new innovations he had helped to initiate during his long career were, multi-microphone recording; 4-channel recording, 35mm Magnetic film recording; stereo recordings, as well as doing some composing. He was 73 years old when he died in Redding, CT.

   [ Little Jack Little and his Orch. ]
Theme Song: "Little by Little"
Pianist, and singing-talking singer. A decent enough band in the early-'30's. Jack did the singing. One of his hit recordings was "Hold Me". His fiddle player was Mitchell Agress. In the Mid-'30's Agress, and some others, left Jack's orch. and formed their own band. Agress then changed his name to Mitchell Ayres. Jack formed a Bolero rhythm orch in the late 1930's.

   [ Lofner-Harris Orch. ], See Phil Harris Orch.

   [ Guy Lombardo and The Royal Canadians ]
Tag: "The Sweetest Music This Side Of Heaven."
Theme Song: "Auld Lang Syne"
This theme song was also the song that Guy Lombardo, played at the 'stroke of 12 midnight - New Year's Eve, and which has since become the traditional song played by bands everywhere on New Year's Eve.
The core of the band were the The 4 Lombardo Brothers, shown here bottom row L-R, Liebert, and Guy, top row L-R Carmen, and Victor. Carmen and Liebert owned the band that first started in their home town of London, Ontario, Canada, in 1916 with Guy as the band's undisputed leader.

In the Mid-1920s, the "Royal Canadians" traveled 250 miles from their home in London, Ontario, Canada to make a recording for Gennett Records in Cleveland, Ohio, - it was the start of a tour that would be more important than anyone in the band could possibly imagine, - a tour that would continue on forever. Here's a photo of that Original 1924 Band, in Port Stanley, London, Ontario, Canada, just prior to leaving for Cleveland, Ohio. (Most regretfully, that arm sticking into the right hand side of the photo is Guy.)

Today, virtually everyone thinks of the Guy Lombardo orchestra as a "Sweet" music band, but their first recordings for Gennett (1924) captured the band playing in a Jazz style that they would soon abandon for their famous sweet sound. Guy Lombardo with his Royal Canadians would continue to record for another fifty years but little of their music after this March 10th, 1924 recording session in Richmond, Indiana for Gennett (Gennett 5416) can be considered Jazz.

Here's still another photograph of the band during that very first recording session in Gennett's Cleveland studio - March 10th, 1924. Left to Right: Eddie Mushurette, Carmen Lombardo, Guy Lombardo, Fred Higman, George Gowans, Francis Henry, Fred Kreitzer, Lebert Lombardo, and Jack Miles. Because they were painted Black, the two "horns" - small one on the left and larger one on the Right - are hard to see against the black square in the center of the photo, - but it was an 'acoustic' recording. The 'Electrical Transcription' had not yet been invented.
Listen to their March 10, 1924 Gennett recording of "Cotton Picker's Ball", (612kb), here digitally re-engineered by Mr. Verne Buland. Even at this early date, and playing "Jazz", the band already has a very distinctive Saxophone sound which it would keep throughout it's lifetime.

Also in 1924, the Lombardo orchestra gave birth to the "medley" - a form not theretofore used by "Jazz" bands. The Medley form, and their distinctive "saxophone" sound were to make 'Guy Lombardo and the Royal Canadians' one of the the most popular and the most imitated sound in show business. (Louis Armstrong has said that the Lombardo band was one of his favorites.) In addition to their first recording, and their initial success, Cleveland was even more important for Guy personally. It was in Cleveland that he met, and married his wife, Lilliebell.

In 1927, The Royal Canadians got their first big break when they were booked into the Grenada Cafe - on Chicago's "South Side" - opposite a cemetery. In show business vernacular, the opening was a disaster. After many weeks of 'slow' business, Lombardo persuaded the club' s owner to run a "wire" into the ballroom permitting a 15 minute broadcast each evening via radio station WBBM. In his autobiography, Guy has said "The first show went out over the air on Wednesday night in Mid-November. Before they finished the fifteen spot, the station called and asked them to play all night. By midnight, the club was filled to overflowing. The next morning they had two sponsors. The band that was unkown on Wednesday afternoon was the talk of Chicago by Thursday!"

In 1929, just a year and a half later, Jules Stein (founder of MCA - the best known USA band agency) brought the Royal Canadians to New York City, where on October 3, 1929, they opened at the famed Roosevelt Grill -- just two days before the great Stock Market Crash. Remarkably, that engagement lasted 33 years. The shows were broadcast over radio station WABC, however at year's end, two networks wanted to carry the Hotel's New Year's Eve show. As a result, 'The Royal Canadians' rang out the Old Year ov er the CBS network stations, and welcomed the New Year over the NBC network stations. Here's a photo of the Lombardo band on a New Year's Eve celebration dance at New York's Roosevelt Hotel The Royal Canadians went on to appear "on the air" for every New Year's Eve thereafter until Guy's demise. In 1931, the band broke every ballroom record, and in 1933, they conquered Hollywood when they opened at the famed Cocoanut Grove. Movie Stars and Celebrities came to dine and dance to the most popular and imitated band of the time. The Royal Canadians have played at every Presidential Inaugural Ball since President Franklyn D. Roosevelt took office in 1933. Here's a photograph of Guy leading the band, while President Jimmy Carter, and wife danced at their Inaugural. The band began Televised broadcasts from the Roosevelt Hotel in 1950. In 1966, they moved to the Waldorf-Astoria's Grand Ballroom.

  VIDEO: "Sioux City Sue"   (Film Clip: britishagenda ): " Guy Lombardo and his Royal Canadians were one of the most successful big bands of all time. It was very much a family outfit with three brothers in the band and from 1941 til the late 1940's a sister was the lead vocalist. The band was formed in Canada in 1921 and was still going strong 50 years later. The band introduced more than 300 songs many of which became hits. A lot of the songs were written by Carmen Lombardo. This film clip comes from the mid 1950's. The lead vocalist is Kenny Gardner. The other two vocalists are Cliff Grass and Fred Higman."

  VIDEO: "DarktownStuttersBall"   (Film Clip: britishagenda ): "Guy Lombardo and his Royal Canadians"

  VIDEO: "Boo Hoo"   (Film Clip: britishagenda ): "Guy Lombardo and His Royal Canadians from a concert in the mid 1950's. Carmen Lombardo, Cliff Grass and Fred Higman sing Boo Hoo. This song was one of their greatest hits and was written by Carmen."

  VIDEO: "Little Coquette"   (Film Clip: britishagenda ): From the mid 1950's Carmen Lombardo sings Little Coquette. He also wrote the song and it was one of their biggest hits.

In 1934, the band appeared in their first film 'Many Happy Returns', starring the comedy team of George Burns and Gracie Allen. Also in 1934, Guy bought his first yacht "Tempo" and a small piece of Freeport, LI, NY, waterfront property for his home and for the boat's dock. By 1941, the entire Lombardo clan was living on Long Island (New York City). Even Guy's parents had emigrated from Canada to Stamford, Connecticut. Kenny Gardner had joined the band as a vocalist, and would soon marry Guy's sister Elaine. In 1942, 16 year old Rose Marie Lombardo was on the bandstand as a vocalist. (From it's beginning to it's end, the Royal Canadians were a 'family' affair.)

Brother Lebert had originally started as a drummer, but later taught himself to play trumpet. Carmen Lombardo had the "lead" saxophone chair. Here's a rare photo of the Lombardo SingingSaxophones, - Victor, Lebert, Carmen and Guy while still in London, Ontario, Canada in 1927. And, here's the very same group when they appeared at the Jones Beach Theater (NYC), in 1960. Carmen began composing some of the band's greatest hits including; "Boo Hoo"; "Sweatheart's on Parade"; "Coquette"; and "Seems Like Old Times". (Additionally, Carmen wrote, in collaboration with others.) Some of the orchestra's other big hit records included: "You're Driving me Crazy"; "Little Girl"; "September in the Rain"; "Annie Doesn't Live Here Anymore"; "Little White Lies"; "Everywhere You Go"; and a great many more, - probably more hits than any other band. It has been calculated that 550 melodies introduced by the Lombardo orchestra became best-seller records. By 1963, the band had sold over 200,000,000 records and over 6,000,000 million people had danced to their live music. The magazine "Orchestra World" presented them with a Special Citation for introducing 10 of the 20 most popular songs of 1944. The band was rated No. 1 by a 1944 'Radio Daily and Motion Picture Daily' poll, and again in 1946 by a "Billboard" m agazine poll. It is said that the Lombardo orchestra recorded more Hit records than any other band - over 500 (genuine hit songs) at last count

Starting in 1954, the Long Island (NY) State Park Commission induced Guy to produce Summer shows at the vast (8200 seat) Jones Beach Marine Theater. Guy was not a 'silent' partner. He took an active role in all phases of the work, everything from casting to costumes. When the theater opened (in the summertime) he would make a personal appearance each night on his own boat "Tempo", in the water surrounding the stage. When the stage show was over, he would then lead the Royal Canadians for an hour of dancing in the Schaefer Dance Tent. This routine became Guy's Summer Vacation. Carmen Lombardo, collaborating with John Loeb, wrote the first show "Arabian Nights" which starred singer Lauritz Melchior. The show ran for two seasons. Subsequently, Guy produced other shows including: 1956-7 "Showboat"; 1958-9 "Song Of Norway"; 1960 "Hit The Deck"; 1961- "Paradise Island" (also co-written by Loeb and Carmen Lombardo and featuring a 'live' volcano and an entire chorus of Hawaiian Children); 1963-4 "Around the World in Eighty Days"; 1965-6 Carmen Lombardo and Loeb's "Mardi Gras" (starring Louis Armstrong, here clowning for the Camera with Guy; 1967 "Arabian Nights"; 1968-9 "South Pacific"; in 1970-71 "The Sound of Music set all-time attendence records; 1972 "The King and I"; 1973 Carousel"; 1974 "Fiddler On The Roof"; 1975 "Oklahoma!"; 1976 "Showboat" and the last in 1977 "Finian's Rainbow".

That was Guy's summer vacation. During the Winter months, the band would tour for 10 months of the year from one end of the USA and Canada to the other, in their customized Bus from September to June, playing to packed houses and to standing ovations. Because of their huge popularity, the tour schedule varied little from year to year - the same venues ranging from one-night stands in small-town high school auditoriu ms to two weeks at the Royal York in Toronto, Canada. In at least one of his filmings, Bill Flanagan, the band's guitarist is heard singing, while the young 'girl' singer was Edie Adams, who went on to later fame as an actress and also as famed comedian Ernie Kovac's wife.

During Guy's career, he pursued many different interests, among which were winning Speedboat Racing's Gold Cup Races and owning restaurants in both Freeport, L.I., and Tierra Verde, Tampa, Florida. In 1942, Guy began a Speed Boat Racing career by winning his first race - an Atlantic City (NJ) to Cape May (NJ) marathon. His second 'win' was in Cincinnati, OH. He wound up winning 21 of the 22 speed boat races he entered that season, -launching a second successful career while his first career as bandleader was still in full bloom. A boat 'Tempo VI had previously won two "Gold Cups" and when Guy purchased it he won a third "Gold Cup" in Detroit MI. There, on Sept. 2, 1946, over 250,000 folks watched as Guy broke every record Lap heat while racing the fastest ever 90 miles. In 1947. he won the National Sweepstakes Regatta at Red Bank, NJ. On May 13, 1948, he set a new World's Record of 119.7 mph in a single-engine Hyd ro at Salton Sea, CA. Guy was National Champion from 1946 to 1950. Before retiring from Speed Boat racing in the 1950s, he had won every single U.S. Trophy including the 'President's Cup' and the 'Ford Memorial'.

It all ended on November 5, 1977. Guy suffered a massive coronary and died.
For a much more inclusive Biography on Guy's life, visit http://www.visitweb.com/guylombardo, a fine Guy Lombardo homepage.

   [ Victor Lombardo Orch. ]
b: 1911, d: 1993, Asthma (age: 82)
Instruments: Bass Clar., Alto and Baritone Sax.
Here's a photo of the Four Lombardo Brothers (Guy top left, Carmen below him, Liebert top right and Victor below him. ) In his autobiography, Guy Lombardo wrote that of the four Lombardo brothers, the three eldest- Guy, Carmen and Liebert - always got along and usually agreed while the youngest, Victor was quarrelsome. Victor was notorious for his frequent fall-outs and fisticuffs with Guy. On more than one occasion Victor left the Royal Canadians and formed a band of his own which shamelessly traded on the Lombardo name and style. Here's a photo of the Publicity Release for Victor's short-lived band. (Courtesy of bandleader Bob January.) His vocalist was Lois Costello, who had also sung with the Will Black and Ray Pearl orchestras. In 1932, Victor also appeared, playing himself, in the hollywood film Rambling Round Radio Row #4 (Guy's willingness to take Victor back after each spat and failed musical venture was certainly a positive symbol of unwavering brotherly love.)

The three older brothers often recalled their father's advice: "Music is easy to play and easy to listen to if you don't forget the melody, and choose songs that people can sing, hum, or whistle." Guy slowly came to realize that his brother Carmen had a unique tone on that alto saxophone; - the three sax players all seemed to blend with him. In later years, Barney Venuta, the son of Lombardo's music teacher, commented that unique tone was a beautiful sound," Gradually the Lombardo style developed. The problem was that Victor considered himself to be a "Jazzman", and the new Lombardo style was a very hard sell to a "Jazzman".

Victor's older brothers wanted to keep the formula that brought them success, "the sweetest music this side of heaven". It was Victor who argued, unsuccessfully, for modernization and Jazz. In 1946, after a particularly nasty argument that exploded into fisticuffs, Victor left and formed his own band.

Not that the Lombardo band couldn't and didn't play "Jazz", in 1934, they released a very Blues-y recording of "St. Louis Blues" with very suggestive lyrics. And through the years, they kept a 'Dixieland' arrangement of "Bonaparte's Retreat" on their books. In George Simon's book "The Big Bands", Guy told Simon of being hired to play the Savoy ballroom in New York's Harlem section. Guy had prepared some Jazz arrangements for the occasion but the patrons only wanted the sound for which he was famous.

Victor Lombardo's band had a completely different sound, that of Swing, but it never found favor with the public. Victor returned to the family band and apparently all was forgiven. Even so, in his autobiorgraphy, Guy wrote bitterly about Victor. -and that was about 20 years after he had returned. When Guy died, the leadership was handed over to Victor because he was the youngest surviving brother. But as Guy had predicted, "When I die, I will take New Year's Eve with me." The band lost its audience. An attempt to revive the band by replacing Victor with a much younger man, his nephew Bill - Liebert's son, was unsuccessful. The Lombardo band went out of existence.

Throughout his life, Victor remained active in music. In 1980, he was leading a band in Sun City, AZ, which subsequently became the 'Russ Carlyle Orchestra'. (The lead trombonist was Virgil Freeman, who had played with the Dick Jurgens band for many years. Another musician, Art Van Damme, was also actively playing in Sun City at about the same time. For some reason, a good many musicians have picked Sun City, AZ, as their retirement home.)
The Big Bands Database Plus thanks Mr. Joe Adams for this entry on Victor Lombardo.

   [ Johnny Long Orch.]
b. Aug. 2, 1915, d. Oct. 31, 1972, Parkersburg, WV
Left-Handed Violinist; bandleader.
Theme Song: "The White Star of Sigma Nu" [Decca 4350]
Johnny Long was raised on a farm in North Carolina and began taking violin lessons when he was only 6 years old. A farming accident the following year injured two of the fingers on his right hand so badly his teacher had to reconfigure his violin so that he could play it left-handed.

While attending Duke University, he formed a band known as the The Duke Collegians. This group, which suceeded Les Brown's Orchestra, as the college band, stayed together after graduation and became the Johnny Long Orchestra.

In private correspondence, Mr. Richard Currie, whose uncle, clarinet and flutist Henry D. Miller, was attending Duke University as a freshman when the "Duke Freshman Band" was formed in the fall of 1931, has graciously provided some background information on the Duke Collegians, as well as this wonderful scrapbook of photographs and information on the band.

      "My Uncle, Henry D Miller, was attending Duke as a freshman when the "Duke
      Freshman Band" was formed in the fall of 1931. This is a newspaper clipping,
      probably from a Duke newspaper, covering the formation of the then
      unnamed band. This is a picture of the Duke Freshman Band members - , in
      October 1931, the names on the top of the photo reads from L- R. And, the bottom
      names are read the same way, L-R. The following two pictures were
      taken at White Lake Beach (North Carolina, USA), where the band was playing in late
      August of 1933. The first photo shows the men standing on the lake pier, and the
      second photo shows the bandsmen relaxing on the lawn".
      "It's uncertain whether the band called itself the 'Duke Juniors Band' away from
      Duke, so I suspect they may have played as the Johnny Long Orchestra. Next is
      Henry Miller's list of the 1934 Duke Collegians band members. Then. a very nice
      picture of the members of the 1934 'Duke Collegians'. Here's a truly wonderful
      photo of The Duke Collegians on stage
      Finally a picture of the Johnny Long Orchestra, the date is uncertain, range
      1935 - 1938. Henry gave this picture to his sister Harriet B Miller."

The band played at most of the leading hotels and ballrooms on the East Coast and the Mid-West and recorded for Decca. The vocals were originally handled by Bob Houston (né: Ivan Minott), Helen Young, and the band, who were identified on records as "The Glee Club". (In April 1950, Helen Young appeared with the Earl Bostic band then touring the East Coast of the USA. In 1947, Bob Houston was singing with the Russ Case Orchestra, and recorded "A Time For Humming" and "That Lucky Old Sun", both recored by the MGM label). Houston would later be a member of Glenn Miller's AAF Band. In 1943-'44 Patti Dugan, who was briefly with Gene Williams, and who would later join Claude Thornhill, also sang with the band. Here's a photo of Patti Dugan, (courtesy of Bandleader Bob January) One of the tunes she recorded, spring, 1943, was "No Love, No Nuthin'", Written by Harry Warren and Leo Robin. It was a moralistic tune encouraging American girls to stay faithful to their men while they were away from home during World War II. The tune was originally heard in the film 'The Gang's All Here', starring, among others, Alice Faye, and the Benny Goodman Orch. Bandleader Bob January has sent along this interesting photo of the Johnny Long Band onstage. And, here's a good closeup CD Album photo of Johnny Long

  VIDEO: "In a Shanty in Old Shanty Town"   Now let's watch the Johnny Long Orchestra with one of their biggest hit recordings, as filmed in this "Panoram Soundie".

Although primarily remembered for "The Glee Club's" recording of "In A Shanty In Old Shanty Town", the band recorded many other songs that were bigger hits, among them "No Love, No Nothin'", "Time Waits For No One" and "My Dreams Are Getting Better All The Time". In 1943 the band appeared in two movies: "Hit The Ice" starring the comedy team of Abb ott and Costello, also featured vocalist Ginny Simms, who had left Kay Kyser's band in 1941, and was the film "Follie's Girl".

In a way, Johnny's band epitomizes the "Hotel" bands of the 1940s. The band, consistently turned out very high quality, very dance-able music, that was also fun to hear, but never became a widely famous name. Long continued leading a band until the early 1960's when he moved to West Virginia to begin a second career as an English teacher. His post-World War II bands feautured vocals by Janet Brace,, (her big hit was "Teach Me Tonight" (M: Gene De Paul; L: Sammy Cahn), Francie Laine and the vocal group, 'The Beachcombers'. This band recorded for the Signature, King and Forum labels.

He finally gave up the band in the 1960's and, in poor health, died on Oct. 31, 1972, 57 years of age.
Addenda: (per MLP)
Some of the "combined" personnel of various Johnny Long releases, -instruments unknown. King Walker, Kirby Campbell, Irv (Swede) Neilson, Walter Benson (t'bone), Ed Butner, Ray Couch, Harold Willis, H.L. Shockey, Allen Mays, Bill Utting, Ed Fennell (trumpet), Floyd E. Sullivan and Carl Pool. Vocals by Bob Houston (Ivan Minott), Hellen Young, George P. Haywood, Jo-Jean Rogers, Phyllis Rogers, and George Richmond.
The Big Bands Database Plus thanks Mr. Richard Currie and Mr Henry D. Miller who graciously supplied most of the photographs and information on the Johnny Long Orch.

[ Vincent Lopez and his Hotel Taft Orch. ]
b. Dec. 30, 1895, Brooklyn, NY, USA, d. Sept. 1975, Miami, FL, USA
Theme Song: "Nola"
Overview
While historians appear unsure of Vincent Lopez's birth year, probably 1895, it is certain that he was born on the 30th of December, in Brooklyn, NY, USA. Here's a Kriegsmann publicity photo of Vincent, who was a piano-playing orchestra leader now best recalled as the house band of New York's Hotel Taft, from where he was heard on radio for many years, and for his discovery of sister singers from Michigan named Elizabeth and Marion Thornburg who, prior to joining his band, changed their names to Betty and Marion Hutton. Marion later became the Glenn Miller band's popular vocalist, while Betty would go on to a fabulous screen career, --a whole big story by itself. Working with Lopez was considered a prime job by local musicians, because the Hotel Taft job was to play for the dinner hour, and so the orchestra finished its shift by 9 p.m. each night. Because of this Lopez had his pick of musicians who normally didn't work early evenings. His style of piano playing was said to have inspired such future stars as Liberace and Eddy Duchin. His band's version of their theme song "Nola" was also widely known.

Lopez originally studied for the priesthood, but decided to go into music instead, forming his first orchestra during the very early 1920s. Here's a digitally re-engineered very old accoustic Okeh recording of that Orchestra playing "Long Lost Mama (Daddy Misses You)", and this is a (poor) photograph of the early 1920s Lopez Orch., while here's a decent photograph of Lopez, leading the band during an NBC Broadcast. During the 1930s and 1940s, he concentrated on Swing music. (The reader should be very aware that this is the Lopez band playing the 'rougher' kind of music so prevalent during the 'teens and early '20s Jazz Age. During the '30s and '40s, the band was playing in the much more 'polished' and sophisticated manner, of the Swing Era.) In the late 1930s, his orchestra featured the then-unknown singers Betty and Marion Hutton. Marion left after only a few months to join Glenn Miller's orchestra; Betty left in 1940 for a part in a Broadway musical. In his later years, Lopez's orchestra was a staple at New York's Taft Hotel.

Let's watch this 1940s film clip of the Lopez orchestra with Anne Barrett singing
  "Turn Out The Lights"  

Vincent was also a band contractor, sending out several outfits under his name to play at various functions around Manhattan and, for three years, he even operated his own nightclub, the Casa Lopez. He was also well-known for his interest in astrology and numerology. Lopez died from a stroke in 1975.

   [ Bert Lown Orch ]
b. June 6, 1903, White Plains, NY, USA. d. Nov. 20, 1962, Portland, OR, USA.
Instrument: Trombone
Theme Song: "Bye Bye Blues" (his own composition)
In 1926, Bert opened a theatrical booking agency, which in time led to his placing bands not only for clubs, but also for house parties and private functions. In 1928, he became a bandleader in his own right while continuing, until about 1941, his booking activities for some hotels in Brazil, Argentina and Uruguay. Bert had a friend, a hotel manager I believe, who was able to get him a booking as the house band at New York's prestigious Biltmore Hotel. Bert formed the band quickly (from the American Federation of Musicians' Union Hall), for an engagement that was to last from Dec. 3rd 1929 to June 1932. (Note: According to a 'Durium" Paper Disc entitled 'Hit Of The Week', issued in 1930, the band had:
" BERT LOWN AND HIS HOTEL BILTMORE MUSIC [2tp-tb-2cl as-cl ts-v-bs vib-p-banj g-b-dm-vo]: Frank Cush tp, Ed or Eddie Farley tp, Al Philburn tb, Lou Bode cl-as (or Fletcher Hereford cl-as), Paul Mason cl-ts, Sherry McGhee cl-as (or Mace Irish cl-as), Buddy Falco v, (or Mac Ceppos v), Chauncey Gray p, Tommy Felline g, Ward Lay b, Adrian Rollini bs and vib, Stan King dm, Smith Ballew vocals.
(Here is a fine source for more information on: The Durium Hit of The Week Discs)
1920 - "THROUGH" (Fox Trot) composers McCarthy and Monaco. - Smith Ballew vocs
1921 - "HELLO BABY" (Fox Trot) composers Magidson and Washington. Cleary - Smith Ballew vocs

All this took place around 1931 or '32. Basically, not too much would have been heard of him except for one serendipitous event. Bert made a recording of his own composition called "Bye Bye Blues", which turned out to be a big hit. It is interesting to note that the public was under the impression that Bert did the trombone work on the record, but it was really a gent called "Texas" Al Philburn. Philburn never did get credit for his solo.

  "Bye Bye Blues", (578 kb): Bert Lown Orch

  "Under A Texas Moon", (507 kb): Bert Lown Orch

  "Lonesome Lover", (513 kb): Bert Lown Orch

  "They Satisfy", (534 kb): Bert Lown Orch

  "Heartache", (513 kb): Bert Lown Orch
Thanks to Mr. Leonard Schwartz for contributing these tunes which were digitally re-mastered.

The way the business went in those days, you tried to get a booking into a hotel room, with the attendant radio remote broadcasts. Then, when people got to know the name, you exploited your new fame with a road tour of one nighters, and other hotel and club dates. This is pretty much the way that the Bert Lown Orchestra went.

In time, Bert disbanded and became involved as a band agent booking other orchestras, and then also worked with Radio and Television stations. During WW2, he was active in various war relief organizations. In 1946, he joined the Muzak Corporation. He was also active as an ASCAP composer because of his songwriting. Among the tunes that he composed are : "Bye Bye Blues", "My Heart And I", "Tired", and "By My Side". It is said that he also was able to help Rudy Vallee with his career. Bert was 59 years old when he died in Portland. OR.

   [ Clyde Lucas and his California Dons ]
Trombone, and other instruments.
Theme Song: "Dance Mood"
Here's a photograph of Clyde Lucas, a bandleader who grew up in Los Angeles, CA., and got his band experience in the 1920s, playing trombone in the Herb Wiedoft orchestra. His brother, Leon, was also in the Wiedoft band.

Clyde formed his orchestra in the early 1930's, just before the big band era started, and the band continued playing all through that era. The band's main characteristic was the imaginative doubling of instruments, such as Clyde's own trombone and a marimba. One reader, Mr J. Adams, recalls that:
      "Clyde Lucas was an excellent, very versatile orchestra who was the only American band
      leader of 'Chicano' descent (American-Mexican). His brother's name was Lynn. Lynn's
      specialty was "Chinese Rhumba" in which he doubled talked pseudo-Chinese to a rhumba
      beat. He had a band within a band which he called his "Marimba Band" about 25 years
      before Herb Alpert. As you would guess, they played popular Mexican tunes. The big
      orchestra would play stuff ranging from swing to hillbilly to Hawaiian. They made some
      Columbia Records, but most of their recordings were for Associated- Muzak and not for
      sale to the public."

Clyde is also remembered today for his work in motion pictures, which included playing background music for some of the early 'talkies'. He also appeared in one rather interesting 'Short', 1938's 'Meet The Maetros', a film that showcased the talents of five different orchestras. The bands were Russ Morgan and His Orchestra playing "Wabash Blues". Isham Jones and his Orchestra played a Swing version of the 2nd Hungarian Rhapsody. Phil Spitalny and his All Girl Orchestra played "Dinah" (with an all-girl chorus). The Cab Calloway orchestra played "Za Zu Zaz", while Clyde Lucas' band played "Congo Rhythm". Lucas was most successful in hotel locations and theaters, maintaining his popularity through the WW2 years, and into the late forties, at which time he disbanded.

   [ Jimmy Lunceford Orch. ]
"Jimmy's band was one of the best swinging, and one of the most visual orchestras. Sax player Willie Smith told Stanley Dance (critic): "If we did seven shows, we wore seven different uniforms. That included shirts, socks, shoes and ties, all made specially for us." *
* Quote from The Big Bands, George T. Simon
While Jimmy started his band in Memphis, TN in 1927, it didn't hit it's stride until the mid-thirties. The band arranger and sometime vocalist was a young Cy Oliver, who went on to arrange for Tommy Dorsey and later to lead his own band. (Cy Oliver and James Trummer Young wrote the song "'Taint What You Do, It's the Way Thatcha You Do It".)

Luncford studied music in Denver under Wilberforce Whiteman (Paul's father). Wilberforce was also Andy Kirk's teacher. (See Andy Kirk listing here.)
Graduated from Fisk University in Nashville, and took grad courses at City College in NY. Then became music teacher and athletic director at Manassas High School in Memphis.
Formed first band at Manassas.
1933 signed on at Cotton Club.
Vocalists Sy Oliver, Willie Smith, Trummy Young, The Lunceford Glee Club.
Many of the 1930s Big Bands were noted for their soloists, but Lunceford's bands were always noted for their terrific ensemble work. Lunceford's performances exhibited a polish and a good humor that other groups often tried to emulate but rarely achieved. The crude, insistent riff patterns in Lunceford/s 1934 "hot" recordings soon gave way to a more distinctive "Lunceford style", largely due to the highly imaginative arrangements of the band's trumpeter/arranger, Sy Oliver. Some of Oliver's best work, such as "For Dancers Only" (1937) and "Margie" (1938), with the varied interplay between the soloists and brass and reed sections, set very high standards for other dance-band arrangers of that time. Just exactly how high is perhaps best illustrated by their 1936 release of "Organ Grinder's Swing ", in which Oliver molded woodblocks, celesta, and slap-tongued saxophones into a wonderful musical experience. Here's a photo of a poster advertising the Jimmie Lunceford Orch., at The Larchmont Casino, in Larchmont, New York, back in 1938.

Though complex, Oliver's arrangements always left ample scope for the band's soloists, such as Joe Thomas, Trummy Young, Eddie Durham, and Willie Smith, who also trained and led Lunceford's outstanding reed section from the group's inception in 1929.
Note on Willie Smith, Alto Sax with Lunceford's band:
In the 1930s, many considered Willie the third best alto sax player, after Benny Carter and Johnny Hodges. Smith also sang the vocals on Lunceford's big hit, "Rhythm is our Business". In 1942, Smith left Lunceford and joined the Harry James band, where he was also highly appreciated, -and better paid. Seven years later, in 1951, he left James, and replaced Johnny Hodges in Duke Ellington's orchestra. Subsequently, he played with the then new Billy Mays' orchestra, before returning for a ten-year stint to Harry James' orchestra in 1954.

Here's a small wave clip of the Lunceford Orch, wailing away. Clip courtesy of Friedman/Fairfax, New York City.

   [ Abe Lyman Orch. ]
Drummer. b. Chicago 1897, d. 1957
Theme Song: "California Here I Come"
Here's a photo of Abe Lyman, (whose real name was Simon) together with his singers Rose Blane (his wife) and Tiny Wolf. And, here's a publicity photo of Abe Lyman, by himself. Abe was a loquacious extrovert, who started out as a drummer. His brother, Mike, was the owner of the Trent Cafe In Los Angeles, where Bing Crosby got his first professional job. Never an outstanding conductor, he never-the-less had a popular dance band. (On his Phillip's Milk of Magnesia Radio Program, both Victor Arden and Jacques Renard did the actual con ducting! (Arden later was part of the Arden and Ohman twin piano team.)

In the 'roaring twenties' Lyman and Arnheim started their career as joint leaders of the "Syncopated Five" band. They co-wrote "I Cried for You" while with this group. After splitting, Arnheim went on to lead his own band at the famed Cocoanut Grove in Los Angeles, while Abe went on to form his own orchesra too. At times, Abe's band included Teddy Powell, who went on to composing hit songs and leading his own band. Also, Abe had Caspar Reardon, the great harpist.
From his first band, in the '20s, Abe was still conducting into the '40s. He even put together a new band in 1943 with Sy Zentner and Ray Heath on trombones, Marty Gold on violin, Wolffe Tannenbaum - sax, and his wife Rose Blane), was also in the band.

   [ Arthur Lyman Orch. ]
Arthur's dad was a professional Vibes player who taught him to play, but Arthur was more interested in becoming a fireman. Fate intercepted in the form of Martin Denny. He joined up with Martin Denny's outfit right when "Exotica" was hitting the big time.

In January 1954, Denny had been hired to play at 'Don the Beachcomber's', -Honolulu's most popular club. Not too long afterwards, steel and shipping magnate Henry J. Kaiser hired him to work in the 'Shell Bar', the night club of Kaiser's Oahu resort 'The Hawaiian Village'.

In 1956, Denny left Kaiser's employ due to a contractual dispute, and began touring the continental USA. Looking back, it is interesting to note some of the musical shifts that occurred when Denny left Kaiser. After Denny's first album, "Exotica", was released, Henry Kaiser hired Denny's vibes player, Arthur Lyman, in 1957, who took over Denny's gig at the Shell Bar. When Les Baxter's hit single "Quiet Village", scored by Denny, started climbing the Top 40 charts, another fledgling LA label, Hi-Fi Records, engaged Lyman who began recording his own albums, -all heavily influenced by Denny's sound (Lyman's very first release -"Taboo", in 1958, was hugely successful). Meanwhile, Denny had replaced Lyman with percussionist Julius Wechter. In 1964, Wechter also left to form the very successful Baja Marimba Band for Herb Alpert's new label, A&M.

It was Denny's "cover" of Baxter's "Quiet Village", -which Denny had scored for Baxter, that eventually reached reached No. 1 on the charts and this 'single', featuring Lyman's vibes and birdcalls, launched a wave of "Exotica" music across the continental United States. "Taboo" showcased Lyman's distinctive vibes playing while conjuring images of the islands through his use of bird calls and Harold Chang's percussion on congas, boobams, ass's jaw and conch shell, --among other "instruments". Aided by Allen Soares on piano and John Kramer on string bass, Lyman's sound was immensely popular. On the Billboard charts for 62-weeks, "Taboo" peaked at number four and sold millions of copies.

These days (1999) Arthur is still "going strong." Arthur plays 12-2PM on Fridays at the New Otani Hotel's Lanai in Honolulu, Hawaii. Be sure to stop by and check him out. Arthur plays good vibes, marimba and Hawaiian slack guitar and he is quite a whistler - and did many of the exotic bird calls in the Martin Denny records.

   [ Al Lentz Dance Orch. ]
Currently no information on this band.
Among the tunes they recorded are: "How Could Red Riding Hood", "Elsie Schultz-En Heim", "When I Ring Your Door Bell", "Oh Doris! Where Do You Live", "Hello Swanee Hello", "There s a Little White House on a Little Green Hill" , "Love in My Heart", and this one, in 1927, "'Deed I Do", (Al singing) here digitally re-engineered by Mr. Verne Buland.

   Clarence Love.
b: January 25, 1908, Muskogee, OK, USA. d:
Here's a photo of Kansas City based, Clarence Love, who is recalled as having the first all-girl orchestra. In an interview, Love has said that he once "fired Count Basie because he could not read music."

In 1912, his family to Kansas City where he attended Attucks Elementary School. He also studied violin with ragtime pianist Charles T. Watts, a former student of Scott Joplin. While still a child, he often listened to the George E. Lee band. At the time, Lee's band, then playing at the Lyric Hall in Kansas City, was using arrangements by Jesse Stone. (Jesse was a very active Black Kansas City musician who at one time led his own band. He also supplied some arrangements to the Lloyd Hunter band.)

In 1922, while still in high school, Love formed a six-piece students band that played for his School dances. In 1926, after graduation, he briefly attended Crane University in Chicago. Returning to Kansas City, he formed his first Commercial band that often played at the El Torreon and Pla-Mor Ballrooms. Love's band was heavily influenced by the "sweet" music of Guy Lomabardo. (Another bandleader who loved the Guy Lombardo sound was Louis Armstrong.) No doubt due to his preference for the "sweet" sound, Love tended to avoid playing in the "Black" clubs, and tried to avoid the "battle of the bands" at the Paseo Hall.

In the Musician, (October 1980 pp. 66-67) Bob Blumenthal mentions that Guitarist Charlie Christian credited Clarence Loves guitarist Jim Daddy Walker as his inspiration. In addition, famed trombonist J. J. Johnson has said that his first professional experience came with the bands of Clarence Love, (and 'Snookum' Russell where he met Fats Navarro, one of his early influences).

Another vocalist who sang with the Clarence Love band was Myra Taylor. (In the 1930s and '40s, she also sang with Roy Eldridge, Stuff Smith and Harlan Leonard bands.) A reader has sent us this photo of Myra Taylor, (credited to James Fraher)

After he had left Crane University and returned to Kansas City, both Love and his father had joined the Musicians Protective Union 627. In 1933, his father had a disagreement with the union head, and he and his son Clarence left Kansas City and relocated to Texas. Here's a photo of the 1935 Clarence Love Orch., playing in Dallas, TX.

During World War II, Love lead an all-girl band, the Darlings of Rhythm. Famed singer Helen Humes toured with Clarence Love's Orchestra. (Subsequently, Humes fronted her own short-lived band (in Los Angeles, CA).
Refs:
Pearson, Nathan. Goin' to Kansas City. Urbana: University of Illinois Press, 1987.
Wooley, John. "Love's Labor Found." Tulsa, April 1985, pages 68-71.

   [ Al Lombardy Orch. ]
Currently no information available.
Here's a Publicity Release, for Al Lombardy, and here's a photo of the band.