HMR Project: History of Music & Modern Recording

Al Bowlly

Birth of Swing Jazz: Al Bowlly

Al Bowlly

Born on 7 January 1898 in what is now Mozambique, guitarist and early crooner, Al Bowlly, documented more than a thousand tracks during his brief fifteen-year recording career. Though he worked largely in Berlin and London he was well-known in America as well. His father Greek and mother Lebanese, he commenced his career in Johannesburg, South Africa, in 1922 as a vocalist with the Edgar Adeler ensemble, touring South Africa, Rhodesia, India and Indonesia. A dispute between Adeler and Bowlly in 1926 resulted in Bowlly working with the Jimmy Liquime band in India, then Singapore. Adeler and Bowlly would reunite in Berlin the next year.

It was with Liquime that Bowlly made his first recordings in circa April of 1926 in Calcutta, India, playing banjo on 'Soho Blues' and 'The House Where the Shutters Are Green' (Harlequin HQ2013 / HMV P-7094 / HMV BL-1050) [Lord / Pallett]. These are considered the first jazz recordings made in India. Bowlly then made his way to Berlin, hooking up with Arthur Briggs for his first Berlin session in January 1927, 'Ca c'est Paris' and 'Black Bottom' among those titles.

'The House Where the Shutters Are Green' Lequime's Grand Hotel Orchestra

C April 1926 in Calcutta HMV P-7094 which is considered the first jazz record in India

Clarinet / sax: Claude McGuire

Sax: Pete Harmon (vocal) / Joe Speelman / Victor Halek (violin)

Piano: Monia Liter (arrangement) Banjo: Al Bowlly Drums: Bill Houghton

Composition: Chris Webb

Artificial Intelligence may well be able to dig it up from somewhere and put it on a chart, but I don't know that it can notice that Bowlly also recorded in his own name for the first time in Berlin on 18 August 1927, playing ukulele with pianist, Edgar Adeler (above), on 'Say, Mister, Have You Met Rosie's Sister?' issued per Electrola 134-32447/48 and Homochord 4-2386. That session included 'Blue Skies' (Irving Berlin) also on Homochord 4-2386.

'Blue Skies' Al Bowlly duet w Edgar Adeler (piano)

18 Aug 1927 in Berlin Homocord 4-2386

Ukulele / vocal: Al Bowlly

Composition: Irving Berlin for the Broadway musical 'Betsy' 1926

Bowlly was yet in Berlin in January of 1928 to put away numerous titles with the John Abriani Six like 'I Love No One But You' (Homochord 4-2514) and 'Can't You Hear Me Say I Love You' (Homochord 4-2532). In May of 1928 Bowlly recorded such as 'Bygones' and 'Rain' with Billy Bartholomew's Delphians Jazz Band for Grammophon.

'Just Once Again' John Abriani's Six

17 Jan 1928 in Berlin Homocord 4-2512 / 4-2613

Trumpet: Arthur Briggs Trombone: Ferri Juza

Sax / violin / arrangement: John Abriani

Piano: Helmuth Wernicke Banjo: Felice Abriani

Drums: Freddie Brownwood Vocal: Al Bowlly

Composition: Paul Ash / Walter Donaldson

'Under the Moon' Billy Bartholomew's Delphians

C July 1928 in Berlin Polydor 21604

Trumpet: Arthur Briggs or Wilbur Curtz Trombone: Mike Polzer

Clarinet / sax: Billy Barton / Billy Bartholomew

Piano: Edgar Adeler Banjo / guitar: Mike Danzi

Drums: Charlie Hersdorf Vocals: Al Bowlly w Billy Bartholomew

Music: Ted Snyder Lyrics: Evelyn Hiller / Francis Wheeler

Bowlly left Berlin for London in July of 1928, there to hook up with the band of Fred Elizalde at the Savoy Hotel. It was with Elizalde and His Music that Bowlly first got mixed with guitarist, Len Fillis, with whom he would record numerously in various capacities into 1931. February of 1929 found Bowlly recording 'What a Wonderful Wedding That Will Be' with Len Fillis' Entertainers in London before a session in April to put away 'Up in the Clouds' with pianist, Percival Mackey, in the Ever-Bright Boys also in London. On 4 June of 1929 Bowlly and Fillis filled a trio with pianist, Sid Bright, toward 'Anita' and 'Progressions' on Columbia 5698. Bowlly and Bright got matched in more sessions together in 1930 and 1931 in Ferrachini's Hawaiian Band and Fillis' Novelty Orchestra.

Bowlly recorded vocal duets with Les Allen from November of 1929 into 1931. In the meantime a session with Elizalde's Rhythmusicians in London in December of 1929 resulted in 'After the Sun Kissed the World Goodbye' and 'If Anything Happened to You'.

'Okay, Baby' Harry Hudson's Blue Jays

30 Dec 1930 in London Edison Bell Radio EBR 1448

Vocals: Les Allen / Al Bowlly

Music: Ted Snyder Lyrics: Evelyn Hiller / Francis Wheeler

It was Ray Noble who backed Bowlly on his most popular titles, their first stretch together from July 1930 to August 1934. Bowlly's first recordings with Noble's Night Club Kings in July of 1930 went unissued. Titles with the band of Roy Fox arrived on 28 January 1931 including "A Peach of a Pair'. Bowlly worked with Fox until Lew Stone assumed leadership of Fox' orchestra in October 1932, renaming it the Monseigneur Band. Bowlly's first session with Noble's New Mayfair Orchestra was at Small Queen's Hall on February 24 of 1931 toward 'Makin' Wicki-Wacki Down in Waikiki' and 'Shout for Happiness'. Bowlly would stick with Noble to as late as December 1936. In the meantime Stone directed the music in the film 'The Chance of a Night Time' in which Bowlly sang 'Leave the Rest to Nature" and 'I'm So Used to You Now', that released on 15 May 1931. Bowlly performed in several films either as an uncredited musician or an actor.

'Twentieth Century Blues' Ray Noble's New Mayfair Novelty Orchestra

14 Nov 1931 at Small Queen's Hall in London

HMV B-4001 / HMV K-6979 / Victor 24090 / Electrola EG-2930

Trumpet: Max Goldberg Clarinet / baritone sax: Laurie Payne

Piano: Ray Noble / Harry Jacobson

Guitar: Bert Thomas Vocal: Al Bowlly

Composition: Noel Coward

'Guilty' Al Bowlly backed by Roy Fox and His Band

2 Dec 1931 in London Decca Decca F-2716

Composition: Richard Whiting / Harry Akst / Gus Kahn

'All of Me' Lew Stone's Durium Dance Orchestra

15 March 1932 in London Durium EN8

Trumpet: Nat Gonella / Lloyd Shakespeare Trombone: Lew Davis

Clarinet / sax: Ernest Ritte

Alto sax: Harry Hines Tenor sax: Harry Berly (viola)

Piano: Harry Robens Guitar: Bill Herbert

Drums: Bill Harty Vocal: Al Bowlly

Composition: Gerald Marks / Seymour Simons 1931

It was September 1932 when Noble backed Bowlly on 'Love Is the Sweetest Thing', that to top the charts in the United States at #1. Bowlly meanwhile continued with Stone's band, recording such as 'Nightfall', 'Rain, Rain, Go Away', 'In the Still of the Night' and 'Why Waste Your Tears?' on October 31, 1932. Bowlly would work with Stone to as late as November 1938, but it was with Noble that he placed several releases in the Top Ten in the United States:

   1931   #6   Lady of Spain
   1933   #1   Love Is the Sweetest Thing
   1934 Dec   #1   Isle of Capri
   1935   #4   Top Hat
   1936   #3   I've Got You Under My Skin
   1936 Dec   #7   Easy to Love

'Love Is the Sweetest Thing' Al Bowlly w Ray Noble and His New Mayfair Orchestra

8 Sep 1932 in London HMV B-6245 / Victor 24333 Charts in the US at #1

Composition: Ray Noble

'Considerin'' Al Bowlly backed by Arthur Lally and His Orchestra

29 Sep 1932 in London Decca F-3187

Issued on Mayfair G-2202 as Jack Holmes and His Orchestra

Composition: Joe Young

'My Woman' Lew Stone & His Monseigneur Band

29 Nov 1932 in London Decca F-3313

Session personnel (not the film collage):

Trumpet: Alfie Noakes / Nat Gonella Trombone: Joe Ferrie / Lew Davis

Clarinet / sax: Joe Crossman / Jim Easton / Ernest Ritte / Harry Berly

Piano: Eddie Carroll Guitar: Bill Herbert

String bass: Tiny Winters Drums: Bill Harty Vocal: Al Bowlly

Composition: Irving Wallman / Bing Crosby / Max Wartel

'It's Bad for Me' Al Bowlly w the Ray Noble Orchestra

19 Sep 1933 in London

HMV B-6394 / HMV EA-1337 / Victor 24872 / Electrola EG-2950

Composition: Cole Porter for 'Nymph Errant' 1933

'Learn to Croon' Accompaniment unknown w Al Blowlly

26 July 1933 in London Decca F-3627

Composition: Sam Coslow / Arthur Johnston

'The Very Thought of You' Al Bowlly w Monia Liter (piano)

Film by British Pathé issued 30 July 1934

Composition: Ray Noble 1934

'My Melancholy Baby' Al Bowlly w Monia Liter (piano)

Film by British Pathé issued 30 July 1934

Music: Ernie Burnett 1912 Lyrics: George A. Norton

'Isle of Capri' Al Bowlly w Ray Noble and His Orchestra

30 Aug 1934 in London Charts in the US at #1

HMV B-6519 / HMV EA-1425 / Victor 24771

Music: Wilhelm Grosz Lyrics: Jimmy Kennedy

'Blue Moon' Al Bowlly w the Ray Noble Orchestra

12 Jan 1935 Victor 24849

Composition: Richard Rodgers / Lorenz Hart 1934

'Top Hat' Al Bowlly w The Freshmen and The Ray Noble Orchestra

8 June 1935 in NYC Charts in the US at #4

Victor 25094 / HMV BD-247 / HMV NE-239 / Electrola EG-3488

Composition: Irving Berlin for the film 'Top Hat'

'Roll Along Prairie Moon' Al Bowlly w the Ray Noble Orchestra

18 Sep 1935 in NYC Victor 25142 / HMV BD-295 / HMV EA-1578

Composition: Albert Von Tilzer / Ted Fio Rito / Harry MacPherson

'Something to Sing About' Al Bowlly w Mantovani and His Orchestra

4 March 1938 Columbia FB-1925

Composition: Victor Schertzinger

'Down and Out Blues' Lew Stone & His Band

12 Aug 1938 in London Decca F-6743 / Odeon 284436 (Argentina)

Used as background music from a radio in the 1941 film 'Hi Gang!'

Trumpet: Bert Bullimore / Chick Smith Trombone: Lew Davis / Eric Tann

Clarinet / sax: Joe Crossman / Ernest Ritte / Billy Amstell or Don Barrigo

Alto sax: Dave Shand Piano: Bobby McGee Guitar: Ivor Mairants

String bass: Arthur Maden Drums: Jock Jacobson Vocals: Al Bowlly / Sid Colin

Composition: Sam Mayo

'Deep in a Dream' Al Bowlly w the Geraldo Orchestra

3 Feb 1939 HMV BD-5457 / HMV EA-2292

Composition: James Van Heusen / Eddie DeLange

Bowlly began a duo with guitarist and vocalist, Jimmy Mesene, in 1940. The last titles that Bowlly recorded were with Mesene on 2 April 1941 per 'Nicky the Greek (Has Gone)' and 'When That Man Is Dead and Gone' released on HMV BD-922. 'When That Man Is Dead and Gone' was a song in which "Satan" was a critical reference to Hitler. It was World War II and the Germans were bombing. Bowlly was killed on 17 April 1941 two weeks after his last session by a Luftwaffe parachute mine that exploded outside his flat in London, blowing his door off its hinges to strike first him, fatally, then others including myself with its nigh petard-like irony [see the Wile E Coyote petard of not taking all things Road Runner into account.