[ Al Sack Orch. ]
Currently No Information available.
The orchestra was very popular all through the 1930s and '40s. Such vocalists as Tony Martin ("To Each His Own"), and Andy Russell ( biggest hit: "Amor") had huge hits with the band. Another of the band singers was Jeannie McKeown. The band was recorded by the "Black and White" label, a small Los Angeles, CA based record company that was active in the 1940s and '50s. The label was later acquired by Capitol Records, a firm started in 1942 by composer Johnny Mercer, and funded by film director/composer Buddy DeSylva. Capitol was itself later (1955) acquired by EMI Group PLC. (Another famous recording star for the Black and White label was Blues guitarist and singer-songwriter "T-Bone" Walker. (Aaron Thibeaux Walker or T-Bone Walker, b. May 28, 1910, Linden, TX, USA (African-Cherokee descent), d. March 16, 1975 ) Much of Walker's output was recorded from 1946-'48 on 'Black & White Records').

Al also contributed some music (usually uncredited) to perhaps a dozen or so films and TV shows.

Among the TV shows to which Al contributed music are:
       "Crusader Rabbit" (1950)
       "The Adventures of Ozzie & Harriet" (1952)
       "Private Secretary" (1953)
       "The Woody Woodpecker Show" (1957 special feature segments)
       "26 Men" (1957)
       "The Ann Sothern Show" (1958) (stock music)
       "Guestward Ho!" (1960) TV Series
       "The New Three Stooges" (1965) (stock music)

Among the films to which Al contributed music are:
       "Once Upon a Wintertime"' (1954 credited as Albert Sack)
       "The Tunnel of Love" (1958)
       "Man-Trap" (1961) (uncredited)

For the Cartoon "Melody Time", Al contributed music in collaboration with another bandleader/composer, Vic Schoen ( b. March 26, 1916, New York (Brooklyn), NY, USA, d. Jan. 5, 2000, Corona del Mar, CA, USA. -pneumonia).

CAUTION; Do not confuse this "Al Sack" with other men with similar names. For example, there was an "Al Sacks" (note the "s") who was active in film distribution. And, - watch out for the "possessive 's" as in "Al Sack's Orchestra.

   [ The Salty Dogs Orch. ]
Originally formed in 1947 by the students at Purdue University. At first they played only for school events, but then began playing at parties, and such, outside of the school. Soon they were playing in nightclubs in Chicago and the surrounding area. As students graduated, or moved on, "outsiders" were brought into the band. In 1956, cornetist Lou Green joined the orchestra.

They were now touring around the Mid-West and playing with George Shearing and the Kingston Trio, among others. The band, and sometimes individual members of the band, could be found playing in various Chicago nightclubs, such as The Red Arrow.

PLEASE NOTE: We originally wrote that The Red Arrow was owned by Mobster Ralph Capone (Al's brother) and he ran his illegal Jukebox and Vending Machine operations from this club. The band (and individual sidemen) were heard in many other Chicago clubs, such as the Blue Note, the Hunt Club, and such.
However since the above was written, we have had some private communication from Mr. Otto J. Kubik whose father owned the Club after 1947. Mr Kubik has been able to clear up some of the history of The Red Arrow Club. Mr Kubik has informed us that; "Yes, the Red Arrow property was mob owner (sic) PRIOR to 1947. But at no time did Ralph Capone have a linkage to the Red Arrow Jazz Club, other than to stop to listen to jazz and occasionally be roped into "babysitting" me while my parents worked the bar."
"At no time during the operation of either Jazz Club did Ralph Capone have an investment or an interest in either operation. My father owned and operated both places. From 1947 until his death in 1968, he owned and operated the Hunt Club, which was re-named Deer Lodge in 1962. It is currently (Jan. 2000) named Fitsgeralds. From 1949 until 1962, he or my mother owned and operated the Red Arrow Jazz Club. In 1962 the business and it's name was sold to 3 partners, .." (The BigBands Database and readers thank Mr Kubik for this first hand information. Incidentally, Mr. Kubik now has a website with still more information on the Red Arrow Club. The URL is: http://www.thekubiks.com/redarrow.htm. )

The Salty Dog Band has several CD's available (ca. 1985) - on the Stomp Off Records Label - playing some very hot Dixieland Jazz, with tunes like "Coal Cart Blues", "Black Bottom Stomp", "Down In Honky Town", "Mobile Stomp", "Sweet Lorraine", "Let's Get Drunk and Strut", "Brush Stomp" and others. It's great music, and should be in your collection.

   [ Sal Salvadore Orch ]
b. Nov. 21, 1925 Monson, MA, USA.
Overview
Sal was active in the New York music scene in the late 1940's. In the early 1950's, he worked mostly with small groups although did a short stint with the Stan Kenton orchestra. Very late in the 1950's, he formed his own big band. During the 1960's and 1970's Sal was active as a teacher and studio musician. But in the late 1970's, he returned to the jazz scene when he again led his own band. During this time, he also recorded with such jazzmen as Mel Lewis, Eddie Bert and Billy Taylor. Sal recorded quite a few albums. His first in 1953 was "The Sal Salvadore Quartet/Quintet", and his last was 1989's "Sal Salvadore & Crystal Image".

   [ Joe Sanders Orch ]
Theme Song:
In-Theme: "I Found a Rose in the Snow"
Out-Theme: "Nighty Night, Dear"

   [ Sauter-Finegan Orch ]
Eddie Sauter: b: Dec. 12, 1914, New York (Brooklyn), NY, USA, d: April 21, 1981, NY, USA.
Theme Song: "Doodletown Fifers"
1952 formed by Eddie Sauter and Bill Finegan.
Here's a photograph of Eddie Sauter and Bill Finegan. Sauter was major influence as arranger with the bands of Red Norvo, Benny Goodman, and Ray McKinley. Finegan arranged for the Glenn Miller, and Tommy Dorsey orchestras.
For traveling, Sauter's brother, "TK", created a mobile sound system wired up to the bandleader's podium so that each section of the orchestra could be miked separately and the band leader could adjust the balance at will.
1954 landed job as summer replacement for NBC's "Your Show of Shows" Eventually disbanded around end of 1956.
Vocalists - Joe Mooney and the Doodlers, Sally Sweetland, and Anita Darian. Anita was probably the most popular singer with this primarily instrumental band.
Eddie Sauter also did the orchestrations for the Broadway show '1776' and wrote the score for an obscure Warren Beatty picture 'Mickey One'.
(The above notes contributed by Alan Popow, and Robin Lenhart.)

   [ Jan Savitt and his Top Hatters Orch. ]
b. Sept. 4, 1914, Petrograd, Russia, d. Oct. 4, 1948. Sacramento, CA, USA.
NOTE: No good date of birth exists. Some documents claim b. 1913, others claim b. 1914. Others report that Savitt was born in Shumsk, Russia, September 4, 1907, and died October 4, 1948 Sacramento, CA, USA)
Theme Song: "Quaker City Jazz"
né: Jacob Servetnick
Tag: "Jan Savitt and his Shuffle Rhythm".
Jan Savitt's family immigrated to America when Jan was 15 years old. Jan's father had been a drummer in the Imperial Regimental Band of Tsar Nicholas II, Jan was a child violin prodigy. After winning scholarships for playing and conducting at Philadelphia's Curtis Institute, he became the youngest musician to ever play with the Philadelphia Symphony Orchestra (He was Concert Master under Leopold Stokowski.)

In 1933, when he was just age 19, he formed a string quartet that achieved national fame. The quartet, which had been a regular feature on local WCAU Philadelphia radio, a CBS affiliate, was soon heard over the entire CBS coast-to-coast network. . He left WCAU when station KYW offered him more money to direct their 'studiio' band, which would in time metamorphose into 'Jan Savitt and his Top Hatters' orchestra.

In 1937, the 'Top Hatters' began recording for Victor Records, with the band featuring a "shuffle rhythm" in their performances (''shuffle rhythm'' was a device, which featured a piano (or band serctions) playing double time), which was not only a pleasant sound, but also served to give the band a distinctive sound in comparison to many of the other swing bands. In 1939, the band began recording tor the Decca label. Savitt got along very well with his bandsmen. They respected each others abilities.

The vocalists were a young Black singer, George Tunnell ( one of the first African-Americans to work with a white band) styling himself as " Bon Bon". He had previously led his own trio called "The Three Keys". Sadly, Bon-Bon had to endure the racial discrimination of the era. and, often signed in as the band's valet, so that he could stay at the same hotel as the other bandsmen. The "girl' singer was Carlotta Dale.

Very little is known about Dale, an exceptional singer whose career extended from 1937 to her retirement in the 1940s, In early 1937, while returning from a Country club date in the Philadelphia suburbs, Carlotta was injured.when she somehow got thrown out of the car that Jan Savitt was driving, and this accident shortened her career. An interesting sidelight to this accident is that she was taken to a hospital where she was treated by Dr. John T. Dorrance, the man who, in 1897, had invented condensed soup for Campbell's Soup Company. (At the time, Dr. Dorrance was the 24-year-old nephew of Arthur Dorrance, the general manager of the Campbell company,) She worked with pianist Jess Stacy in 1938 (recording in 1939, ,"Melancholy Mood" and "What's new". Stacy did not have a working band, he was a member of the Bob Crosby band, and it was only a recording date he had landed). In 1939, with trombonist Will Bradley's band, she recorded "Fit to Be Tied", "Gotta Get Home.", "I Thought About You" "It's a Wonderful World ", " Make with the Kisses ", "Mean to Me", "This Changing World " and "I Don't Stand a Ghost of a Chance" (recorded with Bradley in 1939 and again in 1940). Other tunes she recorded with Bradley in 1940 included "So Far So Good", and "Watching the Clock" But perhaps, she is best recalled for her work with "Jan Savitt and His Top Hatters". All during 1938 - 1939, she was heard on radio broadcasts with Savitt;s orchestra. When Carlotta died on Dec 1, 1988 (b. 1915), she left a recorded legacy of nearly 50 songs. After Carlotta, Jan hired other 'girl' singers, the most notable of which was a young lady by the name of Gloria DeHaven, who was to go on to a hollywood acting career.

Savitt's most popular song was called "720 In the Books", --because they did not have any name for the song and because that was it's real number in the Savitt "book". "Bon Bon" is heard on the vocal. Another of the band's hits was Tuxedo Junction, an instrumental version of one of the Swing Era's most popular tunes.

Near the end of 1948, Jan died of a cerebral hemorrhage at the age of 40.

   [ (Al Cooper and) The Savoy Sultans ], see also Panama Francis and the Savoy Sultans
Theme Song: "Jumping at the Savoy"
Al Cooper and trumpeter Pat Jenkins had played with a band at New York's Club 101, and at a New Jersey club called Harlem-On-The-Hudson. Al Cooper formed his own band (8 pieces) using sidemen from that group. The band was heard by John Hammond and Willie Bryant who recommended them to Charles Buchanan, then manager of the Savoy Ballroom in Harlem (NY). Named for this ballroom engagement, the band opened on Labor Day 1937, and were an instant sucess with the hypercritical dancers at the Savoy.

The Sultans had some excellent sidemen with a front line of Cooper on both sax and clarinet, Sam Massenberg on trumpet, Rudy Williams on alto sax, and George Kelly on tenor sax. The back line rhythm section had Cyril Haynes on piano, Grachan Moncur on the bass (Cooper's half-brother and father of Grachan Moncur, III), and Razz Mithcell on drums. This small band had a tight, swinging sound and maintained both their popularity and the personnel until disbanding in 1946.

Stylistically, the group's dance music had an affinity with other small groups of that same time period, - it was not the full, big band sound of the swing era.

There was an echo of the band in 1974. David "Panama" Francis, formed a small band modelled on Al Cooper's original Sultans. From the late 1970s through the '90s, Panama Francis and his Savoy Sultans, which regularly included George Kelly in it's ranks, revived the spark and sounds of the original but with their very own exciting brand of swinging jazz.

   [ Victor Schertzinger & his (RCA?) Recording Orch ]
Linked here to the "Tunesmiths Database" Schertzinger Entry

   [ Elmer Schobel Orch. ]
Linked here to the "Tunesmiths Database" Schobel entry

   [ Vic Schoen Orch. ]
b. March 26, 1916, New York (Brooklyn), NY, USA, d. Jan. 5, 2000, Corona del Mar, CA, USA.(pneumonia).
Vic is a self-taught arranger and conductor who also wrote a few songs. Perhaps his best remembered tune is "Bei Mir Bist Du Schoen". The title, from an old Jewish ("Yiddish") saying, was also a 'play' on Vic's own name. (The tune was originally composed by Sholem Secunda and Jacob Jacobs for the 1933 Yiddish Theater (New York City) show I Would If I Could. When Sammy Cahn and Saul Chaplin added English lyrics in 1937, it became a worldwide hit for the Andrews Sisters vocal group. Vic composed the title tune for actor Danny Kaye's film "The Court Jester". All through the 1940's, he led the bands that backed Bing Crosby and the Andrews Sisters on other hit recordings including "Don't Fence Me In", "Pistol Packin' Mama", and "South America, Take It Away".

In the 1950s, television became the mainstay of his work. His arrangements were used by bands, which he occasionally conducted, for TV shows starring Pat Boone, Bing Crosby, Ethel Merman, and Andy Williams. He was the Musical Director for "The Big Record" TV series of shows, and during that time, he and fellow leader Les Brown worked on a suite for two big bands which they later recorded on the album Impact! He was also producing some RCA Stereo Action albums

Among his recordings are:
"A Letter to Laura", Decca DL8132
"Brass Laced with Strings", RCA Stereo Action LSA-2344
"Great Songs from All Over the World", Kapp K-1097-S
"Impact! Band Meets Band", Kapp KRL-4504
"Music for a Rainy Night", Decca DL8081

   [ Dick Schory Orch. ]
Overview
A classically trained percussionist, Schory found work in many differing musical regimens. He was the percussionist for the Chicago Symphony Orchestra; composed music for radio and TV commercials; founded the 'New Percussion Ensemble'- commissioning new works for the group's performances, and he also found time to serve as advertising and educational director for the Ludwig Drum Company. His RCA recording arrangements exemplify his ability to write both standard Big Band arrangements and arrangements that use special percussive enhancements. Schory also worked with music educators in an effort to broaden the understanding and importance of percussion instruments and compositions for those instruments.

There is an interesting quote extant from Schory's 1960 writings:
"There are no limits when it comes to instrumentation in the amazing new field of percussion ensembles. Everything from auto brake drums, inverted rice bowls, and even a manifold from a '46 Chevrolet are included with surprisingly good musical results. If it can be struck and can be classified as a percussion instrument, someone, somewhere has scored for it."
Among the Schory Recordings are:
Carnegie Hall (live), Ovation OV-14-10-2
Happy Hits, RCA Victor LSP-2926
Holiday for Percussion, RCA Victor Stereo Action LSA 2485
Movin' On, Ovation OV-14-03
Music for Bang, Baaroom & Harp, RCA Victor LSP 1866
Music to Break Any Mood, RCA Victor LSP-2125 On Tour, RCA Victor LSP-2806
Politely Percussive, RCA Victor LSP-2738
Re-Percussion, Concert Disc CS 21 Resurrection, 1976

Runnin' Wild, RCA Victor Stereo Action LSA 2306
Roar of the Greasepaint, RCA Victor LSP-3394
Supercussion, RCA Victor LSP-2613
Wild Percussion and Horns A'Plenty, RCA Victor LSP 2289

   [ Bob Scobey's 'Frisco Jazz Band ]
B: Sept. 9, 1916 Tucumcari, MN; D: June 12, 1963 Montreal, Canada
Instrument: Trumpet
Here's an interesting photograph showing Bob Scobey, trombonist Melvin Edward Alton "Turk" Murphy, Dick Lammi on banjo, Bob Short on tuba, Ellis Horne on clarinet, and Wally Rose piano.
PLEASE NOTE: Mr. Sam Linschooten has pointed out that the above photo is of the Turk-Murphy Frisco 1956 Jazz band. And, he also noted that the banjoist is not Dick Lammi, but Al Lyon; and the clarinetist is not Ellis Horne, but Bob Helm. We shall be replacing this photo as soon as possible. (If anyone has a better photo, please do send it along.

Bob Scobey first came to prominence as a member of Lu Watter's Yerba Buena Jazz Band from 1940 to 1949 with time out for military service during World War II. Based in San Francisco this band made their first records for the 'Jazz Man Record Company' in the late 1940's.

By 1949 he had formed his first band, known as 'Alexander's Jazz Band' and played a major engagement at Victor & Roxie's Club in Oakland. The band consisted of Scobey, Burt Bales (p), Clancy Hayes (banjo and vocals), Jack Buck (tb), and George Probert (c). By 1950, he had changed the band's name to the 'Bob Scobey's Frisco Band' and had made the first of many records for the 'Good Time Jazz' label. He also recorded with Matty Malneck and Bing Crosby ('Bing With A Beat', RCA LPM-1473; 1957). During his career Scobey recorded for Good Time Jazz, RCA and Verve.

In 1961 he opened his own nightclub, The Bourbon Club, in Chicago. In 1962 the band made a successful European tour. Upon returning to Chicago he was admitted to Caldwell Hospital for surgery on a perforated ulcer. Afterwards, it was discovered that he had cancer. He died the following summer.

(An illustrated biography of Bob Scobey has been written by his wife Jan. Titled 'He Rambled -'Til Cancer Cut Him Down' ($45.00 from Jan Scobey Hot Jazz, Box 6, Upper Lake, CA 94585)
The BigBands Database warmly thanks Mr. Robin Lenhart for this entry on Bob Scobey.

   [ Cecil Scott Orch. ]
Saxophonist. Cecil was a mid-westerner, Springfield, Ohio. His first band in 1923 was called Scott's Symphonic Syncopaters. By 1925, they were playing in New York City, with Cecil on sax; Lloyd Scott, on drums. Don Frye was the pianist. (Don later became a popular intermission pianist in many of New York City's supper clubs.)

When they played the Savoy Ballroom in 1928, the band had Dicky Wells on trombone; Frankie Newton on 1st trumpet and Bill Coleman on 2nd trumpet; Don Frye, piano; John Williams and Harold McFerran were on saxes.

   [ Raymond Scott Sextet ]
Theme Song: "Pretty Little Petticoat"
b: Sept 10, 1908, Brooklyn, NY. USA. d: Feb. 8, 1994, Van Nuys, CA, USA.
né: Harry Warnow.
Here's an early photograph of the Raymond Scott Quintet. (Perhaps it should have been called Raymond Scott and His Quintet, - 5 men plus Scott.) Here's a better photo of Raymond Scott alone (courtesy of bandleader Bob January). Ray's brother was Mark Warnow who led the "Lucky Strike Hit Parade Orchestra" for many years.

This child piano prodigy concurrently followed two loves: Music and Science. Over a half-century, he worked publicly as a bandleader and composer, while simultaneoulsy working with electronics. He probably invented the first synthesizer, and did much of his work on his own homemade MIDI setup. He worked on both music and electronics up until 1987 when he suffered his first of a total of 6 strokes which would eventually severely damage his ability to speak, and leave him unable to do any more serious music or electronic work.

His 1937-1939 Sextet (actually called The Raymond Scott Quintet - Raymond was the sixth man) was more popular than his later orchestra. The sextet, immensely popular on records and radio, was known as "The bigglest Little Band in the World", and played such Scott creations as "Dinner Music for a Pack of Hungry Cannibals", "Huckleberry Duck", "Twilight in Turkey", "War Dance for Wooden Indians", "The Toy Trumpet", "Egyptian Barn Dance", "New Year's Eve In A Haunted House", "Celebration on The Planet Mars", "In an Eighteenth Century Drawing Room", "Siberian Sleighride", and a charming little ditty called "Dedicatory PIece To The Crew and Passengers Of The First Experimental Rocket To The Moon".

Warner Brothers Pictures purchased a good deal of Raymond's "book" and his tunes were very widely used in the Warner Brothers Cartoon releases. Scott took no part in this, instead, his tunes were added to the soundtrack by such men as Carl Stalling, Winston Sharples, and John Kricfalusi. Sharples adding Scott's music to the 'Batfink' cartoon series, Stalling to the Bugs Bunny series, and Kricfaluse to a crime-fighting chihuahua dog character.

Ray was a harsh taskmaster, insisting for example, that his quintet memorize huge passages which he conceived on the piano. This perfectionism, coupled with his unique conceptions, resulted in a very distinct musical sound for the 1930's era. It was not popular with jazz purists though (they called it "screwy music") because it didn't allow for improvisation. In later life Scott began to invent electronic gadgetry which he developed in his own experimental electronics lab. Robert Moog, credited with inventing the synthesizer, says that Scott invented the first one. Moog worked for Scott and said Scott was an absolute madman but a creative genius.

In 1939, he formed his 'big band'. Ray's 1944 orchestra had such top sidemen as Les Elgart and Charlie Shavers (trumpets); Specs Powell (drums); Tony Mottola (guitar); Isreal Crosby (Bass) and Ben Webster on Sax.

He 'discovered' a young vocalist - Dorothy Collins, who lived with Ray and Pearl, his first wife. Later, Ray divorced Pearl (married 1935-'50), and Dorothy was to become Mrs Scott. They were divorced some years later with Dorothy going to California and Ray staying in NYC. (He eventually went west also.) Mitzy Scott became his third wife in 1967.

Here's some more extensive information on Raymond Scott, as listed in the Composers Database.

   [ Adrian Schubert's Dance Orch. ]
All through the 1920s, it was a common practice for the various recording companies to employ a Musical Director. The record company would tell the MD what song they wished to record and to pay the MD a fixed amount. The MD would then gather together a group of sideman that he knew, and they would meet at the studio, cut the record, and be paid by the MD. The song would then be issued under the name of that particular leader.

Among the the Leaders/Directors active at the time (recording for Perfect, Banner, Plaza, RCA, as well as for other labels at the same time) were men such as Adrian Schubert, Sam and Lester Lanin, Nathan Glantz, Ben Selvin, Vincent Lopez, and Lou Gold. Very often the same band would record under two (or more) names. For an example, Lou Gold could have used a group of musicians to record in the morning, and in the afternoon (after lunch), the same group would be back in the studio recording different songs under a different director and band name. From a consideration of all the above, one can see how difficult it is to sort out just who recorded what! But one fact is certain. Adrian Schubert was very active all during the 1920s and made a great many recordings under both his own name...and other names. The 'Al Alberts Orchestra' was one of the pseudonyms used for "his" band. Schubert, together with such other leaders as Vincent Lopez, Lou Gold and the Lanins were well known and immensely popular.

To amplify this concept, - consider the list of sidemen shown below. These 'studio' musicians were recording all through the 1920s for releases under the Banner, Cameo, Perfect, Plaza and Compo and many other labels. (This is only a small sampling of the musicians active in the studios from 1920 through to 1930s.) These men were always in and out of the recording studios. Sometimes, the name of a sideman was "attached" to a recording. In this way, if the Oriole label issued a song by the Lou Gold Orchestra, their subsidiary might issue the very same recording under the "Willie Creager Orchestra" name.
Trumpets:
       Mannie Klein (aka: Mike Mosiello) (t)
       Tommy Gott (t), (tb)
       Bob Effros (t)
Trombones:
       Tommy Dorsey (tb)
       Tommy Gott (t), (tb)
       Charlie Butterfield (tb)
       Sam Lewis (tb)
Reeds: (cl and saxs)
       Jimmy Dorsey (as, ts)
       Tony Parenti (cl,as)
       Benny Goodman (cl)
       Andy Sannella (as, f)
       Joe Dubin (ts)
       Don Murray (cl), (ts,bsx)
       Larry Abbott (cl,as, occas. vocal)
Piano:
       Russ Carlson (aka: Roy Carlson)
       Arthur Schutt (br)
       Billy James
Strings:
       not known (bjo)
Brass Bass:
       not known (bb)
Percussion:
       Joe Green (d)
       George Hamilton Green (d, marimba)
Vocals:
       Irving Kaufman (v)
       Jack Kaufman (v)
       Scrappy Lambert (v)
       Leroy Montesanto (v)
       Willie Creager (v)
       Larry Abbott (cl,as, occas. vocal)

The recordings made by these men were released under a host of orchestra pseudonyms.
       Adrian Schubert's Dance orchestra (for the British Imperial Label)
       Adrian Schubert's Salon orchestra (for the Imperial Label)
       Joe Dubins Dance Orchestra (for the Apex label)
       Dubins Dandies. (for the Crown, Romeo, and also Banner labels)
       Al Alberts and His Orchestra
       Matty Crawfords Orchestra. (for the Crown label)
       Buddy Bartletts Orchestra (for the Crown label)
       Imperial Dance Orchestra. (for the English Imperial Label)
       Majestic Dance Orchestra. (for the English Imperial Label)
       Roy Carlsons Dance Orchestra. (for the Jewel label)
       Ernie Noble & His Orch. (for the Oriole label)
       Fred Cooper's Dance Orchestra (for the Crown label)
       Don Jose & His Orch. (for the Sterling label)
       The Red Dandies. (for the Crown label)
       Tom Gott and His Rose Room Orchestra (for the Oriole label)
       Clarence Shermans Orch. (for the Sterling label)
       Al Lynch and His Orchestra (for the Domino label)
       Pierrot Syncopators (for the Domino label)
       Willie Creager and His Orchestra (for the Oriole label)
       Ted Whites Collegians; (for the Crown and Oriole labels)
       Dixie Jazz Band. (for the Oriole label)

To further see this 'jumble' in action, one may consider the workings of the Scranton (PA) Button Company, who, between 1923 and 1930, released a number of records under the Jewel, Oriole and Challenge labels. They also exchanged material with the Pathe and Cameo labels. Many times the band listed (for example) as the "Dixie Jazz Band", was just another pseudonym used by the 'Adrian Schubert Orch.', AND the same DJB name was also used by other totally different groups.

So we can see that labels such as Ajax, Banner, Oriole, and others were releasing dance records often with differing band names for the very same band. (Banner began producing 'Electrical Recordings in 1925.) And, the Banner, Cameo and Perfect labels were swapping recordings -at random! (In addition to which, Banner was supplying an English label, Imperial, with a great many of Imperial's releases. The 'Imperial Dance Orchestra' as well as the 'Majestic Dance Orchestra' were the Imperial label's pseudonym for Banner studio recordings by the "Adrian Schubert Orch.".)

To see how the very same song and orchestra was released on different labels with differing credits, consider this one example. The tune "It's In The Morning", was released on:
       Crown 81142 and was credited to: Ernie Noble and His Orch.
       Oriole 1392 and was credited to: Ted White's Collegians
OR for another example: the song "Just A Lone Hill Billy" (voc: Jack Kaufman - Irving Kaufman's brother):
       on Sterling 281287 was credited to: Don Jose and His Orch.
       on Jewel 5824 was credited to: Dubin's Dandies
       on Jewel 5840 was credited to: Roy Carlson's Dance Orch.

As seen from the above, all these men were really part of a larger group of musicians all of whom were working together in the recording studios. Any early releases were simply the same group of men under a different band pseudonym. As can be seen, sorting out the 'who' and the 'what' can be a fascinating game.

  "Can't We Be Friends", (513 kb): Adrian Schubert Orchestra with Jerry White on vocal

  "I'm Following You", (525 kb): Adrian Schubert Orchestra with Smith Ballew vocal.

  "I Love You So Much", (524 kb): Adrian Schubert Orchestra with Scrappy Lambert vocal.

  "Nobody's Sweetheart", (515 kb): Adrian Schubert Orchestra with Scrappy Lambert vocal.

  Thank Your Father"", (526 kb): Adrian Schubert Orchestra with Scrappy Lambert vocal.
Thanks to Mr. Leonard Schwartz for contributing these tracks

To name just a few of the other songs recorded under the Adrian Schubert name are:
       Adrian Schubert and Dance Orchestra, -"Sweetheart Memories"/"Ramona" (Imperial (4648) 1911
       Adrian Schubert Orchestra, - "Beautiful Love," (v. Charlie Lawman) (Crown 78rpm)
       Adrian Schubert's Salon Orchestra, - "Marie"/"Pagan Love song" (Imperial (2153)
       Adrian Schubert Orchestra, - "Harvard Hop"
       Adrian Schubert Orchestra, - "Syncopated Jamboree"
       Adrian Schubert and His Salon Orchestra, - "Let's Do It, Let's Fall in Love" - 78 RPM, 1928               [Banner 6245]
       Adrian Schubert Orch. - "Rainy Weather Rose"
       Adrian Schubert Orch. - "In A Little Spanish Town", Apex label 78rpm

And as shown above, Adrian Schubert's Orch., was also heard under a great many pseudonyms such as the Rialto Dance Orch., and many more.