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A Birth of Jazz

A YouTube History of Music

Swing Era 1

Big Bands

Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Bert Ambrose
Charlie Barnet    Count Basie    Tex Beneke     Bunny Berigan    Chu Berry    Barney Bigard    Jimmy Blanton    Will Bradley    Les Brown
Blanche Calloway    Cab Calloway    Frankie Carle    Casa Loma Orchestra    Charlie Christian    Buck Clayton    Cozy Cole    Bob Crosby    Xavier Cugat
Putney Dandridge    Vic Dickenson    Jimmy Dorsey    Tommy Dorsey    Eddy Duchin
Billy Eckstine    Roy Eldridge    Duke Ellington
Don Fagerquist    Roy Fox    Bud Freeman
Carroll Gibbons    Nat Gonella    Benny Goodman    Glen Gray    Sonny Greer
Edmond Hall    Lionel Hampton    Phil Harris    Clyde Hart    Erskine Hawkins    Horace Heidt    Woody Herman    Richard Himber    Earl Hines    Johnny Hodges
Harry James    Louis Jordan
Sammy Kaye    Gene Krupa    Kay Kyser
Jimmie Lunceford
Joe Marsala    Freddy Martin    Billy May    Ray McKinley    Jay McShann    Glenn Miller    Lucky Millinder
Ray Noble    Red Norvo
Hot Lips Page    Remo Palmier    Louis Prima
Allan Reuss    Buddy Rich
Artie Shaw    Stuff Smith    Charlie Spivak    The Squadronaires    Lew Stone    Reinhold Svensson
Art Tatum    Claude Thornhill
Chick Webb    Teddy Wilson
Lester Young



Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:


1920 Jimmie Lunceford

Jimmy Dorsey    Tommy Dorsey    Earl Hines

1924 Duke Ellington    Roy Fox    Carroll Gibbons   Sonny Greer
1925 Blanche Calloway    Frankie Carle    Xavier Cugat    Lionel Hampton
1926 Barney Bigard    Charlie Spivak    Lew Stone
1927 Bud Freeman    Benny Goodman    Edmond Hall    Horace Heidt    Johnny Hodges    Glenn Miller
1928 Bert Ambrose    Vic Dickenson    Gene Krupa    Kay Kyser    Ray Noble    Stuff Smith
1929 Count Basie     Les Brown    Casa Loma Orchestra    Eddy Duchin    Glen Gray    Louis Jordan    Freddy Martin    Hot Lips Page    Chick Webb
1930 Bunny Berigan    Cab Calloway    Cozy Cole    Roy Eldridge    Nat Gonella    Woody Herman    Buddy Rich    Artie Shaw
1931 Will Bradley    Phil Harris    Clyde Hart    Ray McKinley
1932 Chu Berry    Red Norvo    Art Tatum    Teddy Wilson
1933 Charlie Barnet    Bob Crosby    Richard Himber    Louis Prima    Claude Thornhill
1934 Lucky Millinder
1935 Putney Dandridge    Joe Marsala    Allan Reuss
1936 Erskine Hawkins    Harry James    Lester Young
1937 Buck Clayton    Sammy Kaye
1938 Tex Beneke    Billy May
1939 Jimmy Blanton    Charlie Christian
1940 Billy Eckstine    The Squadronaires
1941 Jay McShann
1942 Reinhold Svensson
1944 Don Fagerquist    Remo Palmier


  If what you're seeking isn't on this page it might be found on any of the other jazz pages. Early swing musicians such as Andy Kirk, Ben Moten, Fletcher Henderson, Louis Armstrong, etc., are listed in Jazz 1. Other swing musicians such as Big Sid Catlett, Papa Jo Jones, Coleman Hawkins, Django Reinhardt, Stephane Grappelli, Sweets Edison, Julian Dash, etc., will be found on other jazz pages.



Birth of Swing Jazz: Jimmie Lunceford

Jimmie Lunceford

Source: Preston Lauterbach

Born in 1902 in Fulton, Mississippi, bandleader Jimmie Lunceford, alto sax, grew up in Denver where he studied music under Paul Whiteman's father, Wilberforce J. Whiteman. Upon graduating from high school he attended Fisk University in Nashville. He had already been working professionally with the George Morrison Orchestra, recording several unissued tracks in spring of 1920 for Columbia, one which was released (A2945): 'I Know Why'. Lunceford was an athletic instructor at Manassas High School in Memphis, Tennessee, when he put together an orchestra of students called the Chickasaw Syncopators in 1927. That band is said to have made one solitary recording, Lunceford out, in December 1927, but not until 1930 did it record to issue, those for Victor in Memphis, Tennessee, on June 6: 'In Dat Mornin'' and 'Sweet Rhythm'. With the Syncopators grown from a high school band into a professional operation, Lunceford changed its name to His Orchestra, though he would call it the Syncopators on future occasions. It was with His Orchestra that he next laid tracks on May 5, 1933, in NYC: 'Flaming Reeds and Screaming Brass' and 'While Love Lasts'. It was 1934 when Lunceford and his Orchestra began recording en force up to the time of Lunceford's death in '47. Among Lunceford's most important associations was arranger, Sy Oliver, with whom he worked in the thirties. In 1937 Lunceford took his band to Europe. He died of cardiac arrest in 1947 in Seaside, Oregon, while signing autographs. It's thought, though not proven, that he was poisoned by a restaurant owner for having to serve a black person, as other members of his band became ill as well. Every recording Lunceford's band made from 1930 to 1949 (the last directed by Eddie Wilcox and Joe Thomas after Lunceford's death) is available in ten volumes as 'The Chronological Jimmie Lunceford & His Orchestra'.

Jimmie Lunceford   1920

   I Know Why

     With the George Morrison Orchestra

Jimmie Lunceford   1930

   Sweet Rhythm

Jimmie Lunceford   1934


   Because You Are

   Breakfast Ball

   Here Goes


   Leaving Me


   Star Dust

   Rhythm Is Our Business

   Trummy Young

   Unsophisticated Sue

Jimmie Lunceford   1936

   On the Beach at Bali-Bali

Jimmie Lunceford   1937

   Annie Laurie

Jimmie Lunceford   1939

   Baby Won't You Please Come Home

   Blue Blazes

   I Want The Waiter

   The Lonesome Road

   Sassin' the Boss

   Shoemakers Holiday

   White Heat

   You're Just A Dream

Jimmie Lunceford   1940

   I Ain't Gonna Study War No More

      With the Dandridge Sisters

Jimmie Lunceford   1941

   Blues In the Night

   Hi Spook

Jimmie Lunceford   1946

   Jay Gee

   Sit Back And Ree-Lax

Jimmie Lunceford   1947

   Call the Police!



Birth of Swing Jazz: Jimmy Dorsey

Jimmy Dorsey

Source: Wikipedia

Jimmy and Tommy Dorsey were brothers who didn't always get along, but played together off and on over the years. Jimmy was almost two years older than Tommy, they born in February 1904 and November 1905 respectively. Jimmy (largely a clarinetist) and Tommy (mostly trombone) began their recordings careers in the Scranton Sirens Orchestra in May of 1923 in NYC: 'Three O.Clock in the Morning' and 'Fate'. Those were for the Sirens label before they grooved tunes for Victor with the Jean Goldkette Orchestra, their first session on March 27, 1924: 'In the Evening', 'Where the Lazy Daises Grow', 'My Sweetheart' and 'It's the Blues'. Continuing with Goldkette, the Dorseys began recording apart from one another in latter 1924. They both began laying tracks with the Varsity Eight and the California Ramblers. Jimmy, having performed in the California Ramblers with Red Nichols, moved on to the Goofus Five with the same. (Goofus was bass saxophonist, Adrian Rollini, also a member of the Varsity Eight and the California Ramblers) Tommy recorded with Bix Beiderbecke and his Rhythm Jugglers in January of 1925. He would also join Nichols and Rollini in the Little Ramblers. The Dorseys began recording with the Sam Lanin Dance Orchestra together in June of 1925. They would both record with the Fred Rich Hotel Astor Orchestra, though on separate occasions, before Jimmy moved onward with Goldkette and Fred Rich, finding himself with Nichols again, now with the Red Heads, in latter 1926. Tommy would perform in the Vagabonds in latter '26, moving on to Ted Wallace and his Orchestra in January of '27, both with Rollini. The Jimmy and Tommy would record with Lanin again before Jimmy would lay tracks with Frank Trumbauer, Red And Miff's Stompers, the Charleston Chasers (Red Nichols and Miff Mole), Red Nichios' Five Pennies, Miff Mole. the Six Hottentots (Red Nichols and Miff Mole) and Sophie Tucker. They would perform together in Paul Whiteman's orchestra as well, among others. 1928 found Jimmy continuing with Trumbauer and Whiteman as Tommy continued with the California Ramblers, the Varsity Eight, the Vagabonds and Lanin. The date was February 14, 1928 when the Dorsey Brothers Orchestra recorded their first releases for Okeh in NYC: 'Mary Ann' and 'Persian Rug'. Their second session on March 14, also for Okeh, wrought 'Coquette' with 'The Yale Blues'. Tommy's first issues as a leader apart from Jimmy were also in 1928 in NYC, yielding 'It's Right Here for You' and 'Tiger Rag' on November 8. Guitarist, Eddie Lang, was part of that ensemble. Jimmy's first session as a leader included Tommy on May 13, 1929: 'Beebe' and 'Prayin' the Blues'. The Dorsey Brothers Orchestra was meanwhile becoming a pretty big deal in jazz, issuing a load of recordings into 1935. Their last session together with that band was in NYC on August 1, 1935, with Bobby Byrne on trombone. A final session with Tommy out was held on September 11. Jimmy took the band into '36, renaming it His Orchestra with Seger Ellis at vocals. Jimmy recorded prolifically with his orchestras until his death of throat cancer on June 12, 1957. He had employed vocalists such as Helen O'Connell and Kitty Kallen. Tommy led his orchestras on even more sessions than Jimmy until his earlier death, choking while eating, on November 26, 1956. He had employed singers such as Frank Sinatra and Connee Boswell. Though Jimmy and Tommy had earlier had their spats, they became more amicable upon each leading their own bands, performing in each the other's orchestra on various occasions. Upon Tommy's death his ghost band was led by Jimmy until his own death half a year later, whence trombonist/vocalist, Warren Covington, took over. Another ghost band was created in 1961 by Tino Barzie, Tommy's manager. In 1977 trombonist, Buddy Morrow, assumed leadership.

Jimmy & Tommy Dorsey   1923


     Scranton Sirens Orchestra

     Thought the Dorsey's 2nd recording issued

  Three O'Clock in the Morning

     Scranton Sirens Orchestra

     Thought the Dorsey's 1st recording issued

Jimmy & Tommy Dorsey   1924

   Where the Lazy Daises Grow

     2nd track issued w the Jean Goldkette Orchestra

Dorsey Brothers Orchestra   1928

   Mary Ann

     The Dorsey Orchestra's 1st recording issued

  Persian Rug

     The Dorsey Orchestra's 2nd recording issued

Tommy Dorsey   1928

   It's Right Here for You

      1st recording issued as a leader

   Tiger Rag

      2nd recording issued as a leader

Jimmy & Tommy Dorsey   1929


     Jimmy's 1st recording issued as a leader

   Prayin' The Blues

     Jimmy's 2nd recording issued as a leader

Jimmy Dorsey   1935

   You Let Me Down

Jimmy Dorsey   1938

   Arkansas Traveler

   Boogie Woogie

   Song of India

   You Must Have Been a Beautiful Baby

Jimmy Dorsey   1939

   The Nearness of You

   On the Sunny Side of the Street

   Opus One

Tommy Dorsey   1944

   I Should Care

      Vocal: Bonnie Lou Williams

   On The Sunny Side Of The Street

Tommy Dorsey   1949

   Dry Bones

Jimmy & Tommy Dorsey   1954

   You're My Everything

Jimmy Dorsey   1957

   So Rare/Sophisticated Swing


Birth of Swing Jazz: Tommy Dorsey

Tommy Dorsey

Source: Wikiwand


Born in 1903 in Pennsylvania, extraordinary pianist Earl "Fatha" Hines, first recorded per 'Falling' and 'Congaine' on October 23, 1923, with Lois Deppe's Serenaders at the Gennett studio in Richmond, IN. Hines had left home at age seventeen to play piano in Philadelphia at a nightclub called the Liederhaus with a band named the Symphonian Serenaders led by Lois Deppe. He was paid board, two meals a day and $15 per week. In 1925 he moved to Chicago to play at the Elite No. 2 Club and tour to Los Angeles with Carroll Dickerson's band. Upon his return he laid a couple unissued tracks with Kathryn Perry ('Mandy' and  'Sadie Green') in July of 1926 before recording with Johnny Dodds' Black Bottom Stompers in April of '27. That was fortuitous because Johnny was the brother of Baby Dodds, both of whom were partners of Louis Armstrong and Bud Scott, all of whom had first recorded together with Lil Armstrong and King Oliver in 1923. Also in Dodds's Black Bottom Stompers were Roy Palmer on trombone and Barney Bigard on trombone. Hines and Armstrong had met at the musician's union, with whom he began playing at the Sunset Cafe. Following Dodds's Stompers came a session with Armstrong's Stompers on May 9 of '27. Hines found himself with Jimmie Noone and his Apex Club Orchestra in 1928, with whom he recorded 14 tracks that year, along with additional sides by Louis Armstrong adding up to 38 with the latter that year. Hines capped 1928 in December with a string of debut piano solo recordings in Long Island City for QRS and Okeh. Among fifteen from multiple sessions Red McKenzie is vocalist on four of them (Okeh). It was also 1928 that Hines began leading his own orchestra, at the Grand Terrace Cafe owned by Al Capone. His first issues as a bandleader are thought to have been from a session on February 13, 1929, yielding two takes of 'Sweet Ella May' and three of 'Everybody Loves My Baby'. With his orchestra to employ as many as 28 members, Hines began broadcasting nationally on radio from the Grand Terrace. Touring in the summers, the Grand Terrace closed in 1940, after which Hines took his band traveling year round. In 1943 the draft for World War II made it difficult for Hines to keep a band together, so he formed an all female orchestra. It was during that time in the early forties that Hines began seeding bebop, the first period of modern jazz often associated with sax man Charlie Parker and trumpeter Dizzy Gillespie, both of whom passed through Hines' orchestra. Between 1948 and 1951 Hines played with Louis Armstrong's All-Stars, after which he began touring again in 1954 with the Harlem Globetrotters (an exhibition basketball team). Things slowed down for Hines in the sixties, when he opened a tobacco shop, though he did tour much internationally. But the list of prominent musicians with whom Hines played and recorded in the seventies is nigh endless. Among Hines' notable performances were solos for Duke Ellington's funeral, the White House (twice) and the Pope. It is thought Hines last recorded in 1981 in São Paulo, Brazil: 'One O'clock Jump' among 13 titles on 'Fatha's Birthday' with Marva Josie and the 150 Band. He died in 1983 in Oakland, California.

Earl Hines   1923


      With Lois Deppe

Earl Hines   1928

   I Ain't Got Nobody

Earl Hines   1929

   Glad Rag Doll

Earl Hines   1932

   Blue Drag

Earl Hines   1934


   Rock and Rye

   That's a Plenty

Earl Hines   1938

   Please Be Kind

      Vocals: Ida James

Earl Hines   1939



Earl Hines   1940

   Boogie Woogie On St. Louis Blues

Earl Hines   1942

   Stormy Monday Blues

Earl Hines   1963

   Squeeze Me

Earl Hines   1964


Earl Hines   1965

   All Of Me

      Duet with Teddy Wilson

   Blues In Thirds

   Lover Come Back to Me

   Memories of You

Earl Hines   1976

   Boogie Woogie on St. Louis Blues/Deed I Do

      Filmed live   Wolf Trap Park Jazz Festival

   La Grande Parade du Jazz

      Concert filmed live

   Live in Bercelona

      Concert filmed live


Birth of Swing Jazz: Earl Hines

Earl Hines

Source: Draai om je oren

Birth of Swing Jazz: Duke Ellington

Duke Ellington

Source: Pre-Party

Born in 1899 in Washington D.C., seriously talented pianist and big band leader Duke Ellington is another early example of a major swing musician thought good enough to entertain white America, but not to eat in its dining rooms or sleep in its hotels. Ellington was father to trumpeter and bandleader, Mercer Ellington (1919-1996). He married a girl named Edna in 1918 who remained with him until his death. It isn't known who picked his suits. We've got no big gripe about what he's wearing to the left. But we think he could have used a little assistance sometimes. I almost choked upon espying him in that orange thing: "Caution, my tailor's an inmate." That was before I was confronted with Hillary Clinton in her orange pantsuit. I immediately veered away, mistaking her for a Schneider baby. The Duke had been a sign painter before beginning his recording career in 1924 in NYC with Wilbur Sweatman and his Acme Syncopators, two unissued titles of 'Battleship Kate' and 'She Loves Me'. Ellington's first to go to issue were the same year, same titles recorded a month later. Ellington backed vocalist, Florence Bristol, before his debut recordings as a leader with his Washingtonians in November of '24. That operation was composed of Bubber Miley (trumpet), Charlie Irvis (trombone), Otto Hardwick (alto sax), George Francis (banjo) and Sonny Greer (drums) recording two tracks each of 'Choo Choo' and 'Rainy Nights'. Those were followed by sessions with Sonny Greer, Alberta Pryme ('Parlor Social De Luxe') and Jo Trent ('Deacon Jazz'), all for the Blu-Disc label. Ellington shared leadership of the Hotsy Totsy Boys with Irving Mills on ''Everything Is Hotsy Totsy Now' in 1925 before laying more tracks with his Washingtonians later that year. Ellington took up residency at the Cotton Club in December 1927. He would run all manner of bands by various names throughout his career, maintaining his flagship Washingtonians only to 1929, their last session before their retirement yielding 'Doin' the Voom Voom', 'Flaming Youth' and 'Saturday Night Function'. Ellington followed that with another session with his Jungle Band with which he'd already recorded on a few prior occasions in '29. Ellington appeared in his first film, 'Black and Tan', in 1929. Among his major credits is the hiring of pianist, Billy Strayhorn, in 1939 (whom he had met the year before) to arrange, compose and otherwise collaborate until Strayhorn's death of cancer in 1967. Strayhorn's first composition for Ellington was 'Something to Live For' in 1939. A few of the tracks below were either composed by Strayhorn (including 'Take the 'A' Train', first recorded in 1939) or in collaboration with Ellington. A few of the more important musicians to pass through Ellington's numerous orchestras were bassist Jimmy Blanton, sax men Johnny Hodges and Ben Webster, Cootie Williams, Ray Nance and pianist Mary Lou Williams (as an arranger). A few of the vocalists he employed were Herb Jeffries, Al Hibbler and Ivie Anderson. In the sixties Ellington cut vinyl with Louis Armstrong, Coleman Hawkins, John Coltrane, Charles Mingus and Max Roach. Ellington himself considered his most important works to be the three Sacred Concerts he composed in 1965, 1968 and 1973. Upon a remarkably full career Ellington is thought to have given his final concert in March 1974 at Northern Illinois University, the year he died that May of lung cancer and pneumonia. His last words were reportedly, "Music is how I live, why I live and how I will be remembered." His son, Mercer, assumed leadership of Ellington's band until his death in 1996. More Ellington under Johnny Hodges. Banjo is played by George Francis in all tracks for 1924 below.

Duke Ellington   1924

   Choo Choo

      The Washingtonians

   Deacon Jazz

      Jo Trent & The D C'ns

   How Come You Do Me Like You Do?

      Vocal: Florence Bristol

     Thought Ellington's 3rd recording issued

   Oh How I Love My Darling

      Sunny & The D C'ns

   Rainy Nights

      The Washingtonians

Duke Ellington   1927

   East St. Louis Toodle-Oo

   What Can A Poor Fellow Do?

Duke Ellington   1928  

   Black and Tan Fantasie

   The Black Beauty

   I Must Have That Man

   Jubilee Stomp

   The Mooche

Duke Ellington   1929

   The Duke Steps Out

Duke Ellington   1930

   Double Check Stomp

   Mood Indigo

   Old Man Blues

   Ring Dem Bells

   Shout 'Em Aunt Tillie

Duke Ellington   1931

   Keep a Song in your Soul

Duke Ellington   1932

   It Don't Mean a Thing If It Ain't Got That Swing

      Composed 1931

Duke Ellington   1940

   Don't Get Around Much Anymore

Duke Ellington   1941

   Take the A Train

      Composition: Billy Strayhorn

Duke Ellington   1943

   It Don't Mean a Thing

Duke Ellington   1944

   Live at the Hurricane Club

      Radio transcription

Duke Ellington   1947

   Don't Get Around Much Anymore

      Vocal: Al Hibbler

Duke Ellington   1953

   Satin Doll

Duke Ellington   1957

   All Of Me

   Such Sweet Thunder

      Live at Ravinia Festival

   All Of Me

Duke Ellington   1965


   Sacred Concert


Duke Ellington   1970

   Portrait of Wellman Braud

      Bass: Joe Benjamin


  Born in 1901 in Denver, cornetist/trumpeter, Roy Fox, was raised in Hollywood in a Salvation Army family together with his sister. He first performed in public at age thirteen, playing cornet in a newsboy band with the 'Los Angeles Examiner'. He next worked as a studio musician playing bugle for Cecille B DeMille. At age sixteen he joined the Abe Lyman Orchestra. In 1920 he formed his first band. A couple sources seem to want Fox recording with the Art Hickman Orchestra at the Biltmore Hotel in NYC for Columbia in 1924. Though Hickman transcribed from the Biltmore for Columbia in prior years (1919-21), the first documented recordings of Fox with Hickman that I can find aren't until probable radio transcriptions in June of 1924 for Victor in Los Angeles, 'Patsy' among those titles. Be as may, Hickman was on a national tour which would take Fox to Miami, then NYC, where he would lead his own band at the Avalon and Beaux Arts nightclubs before returning to California in 1927 to work with Gus Arnheim at the Ambassador Hotel in Hollywod. It was in Los Angeles that Fox formed his Montmartre (Cafe) Orchestra to record three titles for Brunswick in two sessions in the summer of 1929: 'Painting the Clouds with Sunshine', 'Tip-Toe Through the Tulips' and 'I've Waited a Lifetime for You'. He thereafter called his orchestra simply His Band, which he took on the first of multiple trips to London, first to perform at the Café de Paris in latter 1930, his ballroom style to become popular via BBC radio broadcasts. Fox recorded 'A Peach of a Pair' in January of 1931 back in Los Angeles before another trip to London where he assumed a half-year residency at the Monseigneur Restaurant. Most of Fox' recordings as a leader would take place in London, first for Decca (1931-35), then HMV (1936-38), then VJM (1938). He traveled to Australia in 1938, there to lead the Jay Whidden Orchestra. Returning to the U.S., he made his way back to London after World War II, there to domicile. In 1952  he opened a booking agency, somewhat retiring from performing music. Fox died in London in 1982.

Roy Fox   1924

   G'wan With It

      With the Art Hickman Orchestra


      With the Art Hickman Orchestra

Roy Fox   1929

   Painting the Clouds With Sunshine

   Tip Toe Through The Tulips With Me

Roy Fox   1931

   Reaching For the Moon

   Sweet and Hot

Roy Fox   1932

   I Got Rhythm

   Jig Time

   Put That Sun Back In The Sky

Roy Fox   1933

   Nobody's Sweetheart


Roy Fox   1934

   Dinner at Eight

   Midnight, the Stars and You

   What a Difference a Day Made

   You Oughta Be In Pictures

Roy Fox   1935

   1935 Medley

Roy Fox   1936

   Let's Face The Music And Dance

      Vocal: Denny Dennis

   Miracles Sometimes Happen

Roy Fox   1937

   Harbor Lights

   Let's Call the Whole Thing Off


Birth of Swing Jazz: Roy Fox

Roy Fox

Source: R2OK

Birth of Swing Jazz: Carroll Gibbons

Carroll Gibbons

Source: Songbook

Born in 1903 in Clinton, Massachusetts, pianist Carroll Gibbons is thought to have first recorded in 1924 in London with the Savoy (Hotel) Orpheans for Columbia in August: 'Oh! Eva' and 'Any Way the Wind Blows'. Gibbons had traveled to London in his latter teens to study at the Royal Academy of Music, beginning a career in which he traveled between the States and the UK until he moved to London in 1924 where he would shared leadership of the Savoy Orpheans with Howie Jacobs and led his own band, thought to have first recorded with such for the HMV label during a performance in November of '28 at Small Queen's Hall in London: 'I Can't Give You Anything But Love'. His New Mayfair Orchestra of '29 was the issues of 'I'm Crazy Over You', 'What a Wonderful Wedding That Will Be' and 'Deep Hollow'. In 1931 Gibbons assumed sole leadership of the Savoy Orpheans, changed its name to the Boy Friends and began releasing records as such into the fifties, backing names like vocalist, Anne Lenner. Gibbons died in London in 1954 only age fifty-one.

Carroll Gibbons   1924

   Any Way the Wind Blows

      With the Savoy Orpheans

Carroll Gibbons   1925


      With Arthur Young

   Everybody Stomp

     Savoy Havana Band

Carroll Gibbons   1926

   Waitin' For The Moon

Carroll Gibbons   1927


Carroll Gibbons   1928


      Vocal: Whispering Jack Smith

Carroll Gibbons   1931

   You Are My Heart's Delight

Carroll Gibbons   1932

   The Good Companions

   Isn't It Romantic

   Let Me Give My Happiness to You

   On the Air

Carroll Gibbons   1933

   Dinner at Eight

      Vocal: Harry Bentley

Carroll Gibbons   1934

   For All We Know

   Better Think Twice

Carroll Gibbons   1935

   Black Coffee

      Vocal: Marjorie Stedeford

   My Kid's A Crooner

      Vocals: Frances Day & Sybil Jason

   Top Hat, White Tie and Tails

Carroll Gibbons   1936


Carroll Gibbons   1937

   Gershwin - King of Rhythm

   On the Avenue

   Shall We Dance

Carroll Gibbons   1938

   Double Or Nothing

   Two Sleepy People

Carroll Gibbons   1939

   I Want to Go Back to Bali

   Day Dreaming/The Latin Quarter



Birth of Swing Jazz: Sonny Greer

Sonny Greer

Source: Rock e Martello

Born in 1895 in Long Branch, New Jersey, drummer Sonny Greer Albeit Greer wasn't a supernova as a star, a quarter century of daily steady consistency with Duke Ellington made him a major contributor to swing jazz with an extensive scroll of sessions. He began his career playing with both banjoist, Elmer Snowden, and the Howard Theatre Orchestra. In 1919 he met Duke Ellington, the two becoming close friends. He would be a member of Ellington's operation from 1924 to 1951. It was with Ellington's Washingtonians that Greer made his first recording in Ellington's employ in November of 1924 for the Blu-Disc label: 'Choo Choo' and 'Rainy Nights'. That same month they switched roles, Ellington to back Greer's first session (of not a lot) as a leader, that with his Deacons on 'Oh! How I Love My Darling' also for Blu-Disc. Greer's discography is a very long one, both as a duplicate of much of Ellington's own catalogue and with others. It was a dispute that permanently ending their relationship, said to concern Greer's heavy drinking and increasing undependability. Ellington had hired drummer, Butch Ballard, to take Greer's place when Greer was indisposed, which Greer found to be a disagreeable threat. Tom Lord's discography shows Greer's last session with Ellington as January 21, 1951 at the Metropolitan Opera House in NYC, though they would find themselves recording together on occasion in the future. Greer freelanced after Ellington, appeared in films and briefly led his own band. Greer died in 1982. As Greer is on nigh every recording made by Ellington from 1924 to 1951, we list only the first four as of the Washingtonians and the Deacons, with a couple tracks he recorded with Ellington as Sonny Greer and his Memphis Men.

Sonny Greer   1924

   Choo Choo

      The Washingtonians

   Deacon Jazz

      Jo Trent & the Deacons

   Oh How I Love My Darling

      Sunny & the Deacons

   Rainy Nights

      The Washingtonians

Sonny Greer   1929

   Beggars Blues

      Memphis Men

   Saturday Night Function

      Memphis Men



Birth of Swing Jazz: Blanche Calloway

Blanche Calloway

Source: werkitbitch

Born in 1902 in Rochester, New York, singer, Blanche Calloway, sister of Cab Calloway, below, made her professional debut in Baltimore in 1921 with Eubie Blake and Noble Sissle's musical 'Shuffle Along'. After touring for a few years she made her first recordings on November 9, 1925, in Chicago for Okeh with Louis Armstrong at cornet and Richard Jones on piano: 'Lazy Woman's Blues' and 'Lonesome Lovesick'. Wikipedia wants that to be the conception of her Joy Boys, later to become her big band. 1929 found Calloway on a number of titles with trumpeter, Reuben Reeves, their first recorded for Vocalion on on August 13: 'Black and Blue'. Her first recordings with her Joy Boys, later to be more generically called Her Orchestra, spanned five sessions in 1931. The first on March 2 yielded 'Casey Jones Blues', 'There's Rhythm in the River' and 'I Need Lovin''. She grooved more titles with her band in '34 and '35. Calloway could well be placed in Swing Jazz Song (as well as her brother, Cab, five years younger than she) but that she belongs on this page as a bandleader. And a remarkable one at that, not only musically but in consideration of what she was up against: first the Depression, having to disband her orchestra in 1938 and declare bankruptcy. Then a patriarchal and segregationist America: it's told she was jailed and fined $7.50 in 1956 for using the women's bathroom at a gas station in Yazoo, Mississippi. One member of her band, taking a pistol whipping, was arrested with her. While in jail another musician in her ensemble stole the band's funds, forcing Calloway to sell her yellow Cadillac for money, putting that tour to an end. The forties had been a lean time for Calloway, she moving to Philadelphia. In the fifties she headed for Washington D.C. to run the Crystal Caverns nightclub, then moved to Miami Beach where she spent the next couple decades as a disc jockey for WMBM radio. It's said Calloway was the first black woman to vote in Florida in 1958. It would seem she had good reasons as well to be an active member of the NAACP, the Congress of Racial Equality and the National Urban League. Calloway died in Baltimore in 1978.

Blanche Calloway   1925

   Lazy Woman's Blues

      Cornet: Louis Armstrong

     Piano: Richard Jones

     Possibly issued in 1926 (recorded 11/9/1925)

Blanche Calloway   1931


   I'm Gettin' Myself Ready For You

   I Got What It Takes

   It's Right Here For You

   It Looks Like Susie

   Last Dollar

   Make Me Know It

Blanche Calloway   1934

   Catch On

   I Need Lovin'

   What's a Poor Girl Gonna Do

Blanche Calloway   1935

   I Gotta Swing




Birth of Swing Jazz: Frankie Carle

Frankie Carle

Source: Coast Pink

Born Francis Nunzio Carlone in 1903 in Providence, Rhode Island, pianist and composer Frankie Carle began working professionally in his latter teens. He early changed his name to Carle because Carlone sounded too Italian. in 1921 he joined Edwin J. McEnelley's band, with whom he made his debut recording in November 1925 for the Victor label in NYC: 'Spanish Shawl'. In 1936 Carle began working with Mal Hallett's orchestra, his first recordings with Hallett on May 9, 1936: 'Mary Lou' and 'Swing Fever'. He joined Horace Heidt in 1939, which brought him to national attention via radio. His first session with Heidt's Musical Knights was on September 20, 1939: 'Good Morning' and 'Are You Having Any Fun?'. From a kid earning a dollar a week to play gigs, Carle was now pocketing a thousand dollars a week plus 5% of gross. He left Heidt to form his own orchestra in 1944, recording for Circle from '44 to '47. In 1955 Carle dissembled his band to pursue a solo career. He had also recorded with the Casa Loma Orchestra ('39) and Bobby Hackett ('40). Carle died in Mesa, Arizona, in 2001, his career spanning seventy years.

Frankie Carle   1925

   Spanish Shawl

      Edwin J. McEnelly Orchestra

     Possibly issued 1926 (recorded 11/2/25)

Frankie Carle   1937


      Mal Hallett Orchestra

   Ridin' High

      Mal Hallett Orchestra

Frankie Carle   1939

   Sunrise Serenade

      Glen Gray & the Casa Loma Orchestra

Frankie Carle   1940


   Twelflth Street Rag

Frankie Carle   1941

   Carle Meets Mozart (Turkish March)


Frankie Carle   1942



Frankie Carle   1944

   A Little On the Lonely Side

Frankie Carle   1945

   Carle Boogie

   Oh! What It Seemed to Be

Frankie Carle   1946

   It's All Over Now

   One More Tomorrow

   Rumors Are Flying

Frankie Carle   1947

   Beg Your Pardon

   Midnight Masquerade

Frankie Carle   1950

   I'm Afraid to Love You

      Vocal: Joan House

   Powder Blue

Frankie Carle   1953

   Sunrise Serenade

Frankie Carle   1968


Frankie Carle   1973

   Sunrise Serenade

      Filmed live



Birth of Swing Jazz: Xavier Cugat

Xavier Cugat

Source: Big Band Library

Born in 1900 in Girona, Spain, violinist, Xavier Cugat, was relocated to Cuba by his family at age five. Trained in classical violin, Cugat was twelve when he began playing with the Orchestra of the Teatro Nacional in Havana. In 1915 he immigrated to New York with his family, where he performed recitals with opera singer, Enrico Caruso. He toured both Europe and the States. 'The New York Times' has him on a radio broadcast with WDY in New Jersey from the Victor Talking Machine Company in Camden as early as 1917. IMDb has him in the role of a violinist, uncredited, in the film, 'The Four Horsemen of the Apocalypse', as early as 1921. He had performed twice at Carnegie Hall in NYC before there joining Vincent Lopez' dance orchestra at the Casa Lopez in 1924. Both Tom Lord's discography and Brian Rust's 'The American Dance Band Discography 1917-1942' have violinist, Xavier Cugat, recording with Vincent Lopez for Okeh from February 13, 1925 to May 2, 1930 for Perfect in more than thirty sessions, all in NYC. Which is difficult to figure since, for all those recordings, multiple biographies of violinist, Xavier Cugat, don't mention Lopez at all. Be as may, one source has him leaving the East Coast for Los Angeles a year after having joined Lopez' band, where he formed his Gigolos, a tango band which played intermissions, thought in 1928, at the Coconut Grove between performances by Bing Crosby and the Gus Arnheim Orchestra. Cugat's Gigolos were also featured in the short film by Vitaphone, 'Cugat and His Gigolos'. Cugat was featured in another with Carmen Castillo titled, 'By a Camp Fire'. IMDb wants his first soundtrack titles in 1930 for 'In Gay Madrid', uncredited, for 'Santiago' and 'Dark Night'. Cugat also performed on KFWB Radio and drew cartoons for the 'Los Angeles Times' while in California. In 1931 Cugat returned to NYC with his Gigolos where they found a spot at the new Waldorf Astoria Hotel. It was Cugat's trademark to conduct while holding a Chihuahua underarm. Cugat recorded from the thirties for several decades to come. He is found on transcription discs from radio broadcasts for Western Electric in 1932. Among his early titles were 'Silencio', 'Ombo - My Shawl', 'Gypsy Air Tango' and 'Rancho Grande' in 1933 for Victor. Cugat hired Dinah Shore in 1939, whence she made her debut recordings. Beyond the tango, Cugat also recorded the mambo, the cha-cha-cha, the rumba, the twist and music especially for the conga. Cugat's fifth and last wife had been actress, singer and Spanish guitarist, Charo, from 1966 to 1978. He died of heart failure in 1990 in Barcelona.

Xavier Cugat   1926


     Vincent Lopez and his Casa Lopez Orchestra

   Rhythm of the Day

     Vincent Lopez and his Casa Lopez Orchestra

Xavier Cugat   1927

   A Lane in Spain

     Vincent Lopez and his Casa Lopez Orchestra

   I'll Just Go Along

     Vincent Lopez and his Casa Lopez Orchestra

Xavier Cugat   1932

   Adios Muchachos

   Let's Go to Town

Xavier Cugat   1933


Xavier Cugat   1935

   Para vigo me voy

Xavier Cugat   1939


Xavier Cugat   1943


   She's a Bombshell from Brooklyn

      Film: 'Stage Door Canteen'

Xavier Cugat   1947

   Miami Beach Rhumba

Xavier Cugat   1959

   Eso es el amor

      Television program with Abbe Lane

Xavier Cugat   1962


      'Il signore delle 21' television show with Abbe Lane



Birth of Swing Jazz: Lionel Hampton

Lionel Hampton

Source: Cyber College 34

Born in 1908 in Louisville, Kentucky, Lionel Hampton was a no-joke drummer but he more distinguished himself with the vibraphone. Hampton's earliest issues are estimated to have been in 1925 from a session circa November 1924 in Hollywood with Reb's Legion Club Forty Fives: 'My Mammy's Blues', 'Shefield Blues' and 'Steppin' High'. He entered the studio again in April of 1929 with Paul Howard's Quality Serenaders in Culver City, California. The first session that month for Victor went unissued: 'Overnight Blues' and 'Quality Shout'. The next two, however, yielded 'The Ramble', 'Midnight Blues, 'Charlie's Idea', two takes of 'Overnight Blues', 'Quality Shout and 'Stuff'. Hampton continued with Howard until a another big name came his way in Los Angeles, his first session with Louis Armstrong on July 31, 1930. That was with Armstrong's Sebastian New Cotton Club Orchestra yielding 'I'm a Ding Dong Daddy' and 'I'm in the Market for You'. Hampton hung with Armstrong's bands until the latter's Polynesians in 1936 ('To You Sweetheart Aloha' and 'On a Coconut Island') when he held his first session with Benny Goodman on August 21 (three days after the Polynesians' session): 'St. Louis Blues', Love Me or Leave Me', Bugle Call' and 'Moonglow'. He also recorded with Teddy Wilson and Helen Ward as Vera Lane that month. Hampton stuck with Goodman into 1940, by which time his own orchestra was in full swing. Hampton is thought to have laid his first tracks as a leader on February 8, 1937 in NYC, yielding 'My Last Affair' (two takes), 'Jivin' the Vibes', 'The Mood That I'm In' and 'Stomp'. Hampton manufactured an extensive catalogue with every who's who in jazz passing through his band at one time or another. Among the vocalists with whom he worked were Dinah Washington and Annie Ross. Hampton married his business manager, Gladys Riddle, in 1936. Upon her death in 1971 he never remarried. Hampton was a Republican and had worked to raise money for Israel. He also became involved in philanthropic housing projects in New York and New Jersey. He later became a Christian Scientist and was a 33rd degree Mason. Ironically, per his efforts in housing, in 1997 his own apartment caught fire and his possessions destroyed. Hampton died of heart failure in NYC in 2002.

Lionel Hampton 1929

   The Ramble

      With Paul Howard's Serenaders


      With Paul Howard's Serenaders

Lionel Hampton 1930

   Cuttin' Up

      With Paul Howard's Serenaders

   Gettin' Ready Blues

      With Paul Howard's Serenaders

Lionel Hampton   1937

  My Last Affair

   On The Sunny Side Of The Street

Lionel Hampton   1939

   Early Session Hop

   AC-DC Current

      With Charlie Christian and Benny Goodman

   Hot Mallets

   It Don't Mean a Thing

   The Jumpin Jive

   Memories of You

Lionel Hampton   1940

   Bogo Jo

      Guitar: Irving Ashby

   Flying Home


      Guitar: Irving Ashby

   Save It Pretty Mama

Lionel Hampton   1945

   Vibe Boogie

Lionel Hampton   1949

   Benson Boogie

   The Hucklebuck

      With Betty Carter

Lionel Hampton   1951


Lionel Hampton   1958

   Live in Belgium

     Filmed concert

Lionel Hampton   1978

   Sea Breeze

      Album: 'Sea Breeze'   With Chick Corea

Lionel Hampton   1982

   Air Mail Special

      Live performance



Birth of Swing Jazz: Lew Stone

Lew Stone

Source: Vintage Jazz & Dance Band

Born in 1898 in London, Lew Stone began recording in London with Bert Ralton and his Havana Band in January of 1926, the first of three sessions yielding 'Lillian', 'Memory's Melody', 'I Would Like to Know Why' and 'Goodbye'. 'Maritana' followed from the next session estimated in February. Stone began arranging in 1927 for the Savoy Orpheans, Ray Starita and violinist, Bert Ambrose, the last with whom he laid his first track, 'Without You, Sweetheart', on February 14, 1928. He played piano, W.E. Blincoe the arranger. Stone recorded with Ambrose frequently into 1931. Meanwhile he recorded 'Breakaway' with his own band on September 27, 1929, after which he did time with Roy Fox from '31 to '32. He arranged and played cello on his first track with Fox on January 28, 1931: 'A Peach of a Pair'. Stone assumed leadership of the Roy Fox Orchestra at the Monseigneur Restaurant in Piccadilly while Fox was convalescing from illness in Switzerland in the spring of '32. When Fox returned seven months later his band was the most popular in London. When Fox's contract expired in 1932, Stone became leader of the band as radio broadcasts from the Monseigneur made his fame. His first recordings with the Monseigneur Band were October 31, 1932, yielding 'Nightfall', 'Rain, Rain, Go Away, 'In the Still of the Night' and 'Why Waste Your Tears?'. Stone worked largely in ballrooms and restaurants while broadcasting. In 1940 he configured his Stonecrackers, followed by a largely different formation of that in '41, recording tracks with both. Smith was also musical director of a number of musicals. He died in 1969 in London.

Lew Stone   1928

   Without You, Sweetheart

      With Bert Ambrose

Lew Stone   1929


Lew Stone   1932

   My Woman

      Vocal: Al Bowlly

Lew Stone   1933

   How Could We be Wrong

   Keep Young and Beautiful

Lew Stone   1934

   As Long As I Live

   The Continental

   Fare Thee Well

   I've Had My Moments

      Vocal: Al Bowlly

   Milenburg Joys

   That's a Plenty

Lew Stone   1935

   Anything Goes

   Cheek to Cheek

      Vocal: Sam Browne

   The Girl With the Dreamy Eyes

      Vocal: Tiny Winters

Lew Stone   1938

   You Couldn't Be Cuter

Lew Stone   1939

   1939 Medley

Lew Stone   1941

   Wednesday Night Hop



Birth of Swing Jazz: Bud Freeman

Bud Freeman

Born Lawrence Freeman in 1906 in Chicago, bandleader, Bud Freeman, also played tenor sax and clarinet. Freeman was an original member of the Austin High School Gang. In 1927 he moved to NYC and became a session player. Freeman is thought to have first recorded with McKenzie and Eddie Condon's Chicagoans on December 8, 1927 for Okeh: 'Sugar' and 'China Boy'. Freeman would record heavily in Condon's bands into the sixties. Another huge figure entered Freeman's space when in April 1928 he first recorded next to Benny Goodman in the Californians, a band led by Ben Pollack: two takes of 'Singapore Sorrows' and 'Sweet Sue, Just You' unissued. Freeman would record numerously with Goodman into the forties, including with Goodman's orchestra. Freeman led his first session as a leader later that year in Chicago on December 3, 1928, bearing 'Crazeology' and 'Can't Help Lovin' That Man' for Okeh. His would be a strong career as a bandleader into the eighties. As a session player Freeman backed all number of prominent names, to list but several: Joe Haymes, Ray Noble, George Wetting, Stan Rubin, Jimmy McPartland, Art Hodes and Pee Wee Russell. With so much to highlight in Freeman's career it somehow sifts out to a session with Hoagy Carmichael on May 21, 1930 in NYC: 'Rockin' Chair' and 'Barnacle Bill the Sailor'. Contributing to that session something illustrates the heady climate in which Freeman bumped shoulders: Bix Beiderbecke (cornet), Bubber Miley (trumpet), Tommy Dorsey (trombone), Benny Goodman (clarinet), Arnold Brilhart (alto sax), Joe Venuti (violin), Irving Brodsky (piano), Eddie Lang (guitar), Harry Goodman (tuba), Gene Krupa (drums) and Carson Robison with Carmichael on vocals. Freeman led groups from quartets to bands of more than ten members. Among his various orchestras was his Summa Cum Laude active from 1939 as an octet to 1958 as a trio with Bob Hammer (piano) and Mousie Alexander (drums). During World War II Freeman led an Army band, stationed in the Aleutian Islands. Returning to NYC after the war, Freeman freelanced with various orchestras. Notable work in his later career with the World's Greatest Jazz Band. He published his first memoir in 1974, followed by a second in 1976. Freeman moved to England in 1974, then returned to Chicago in 1980, where he died in 1991. He was inducted into the Big Band and Jazz Hall of Fame in 1992.

Bud Freeman   1927

   China Boy

      With the Chicagoans

   Nobody's Sweetheart

      With the Chicagoans

Bud Freeman   1928


Bud Freeman   1929

   After a While

      With Benny Goodman and His Boys


      With Red Nichols

   Basin Street Blues

      With the Louisiana Rhythm Kings

   That Da-Da Strain

      With the Louisiana Rhythm Kings


      With Benny Goodman and His Boys

Bud Freeman   1938

   Exactly Like You

   I Got Rhythm

Bud Freeman   1939

   I've Found a New Baby

   The Eel

Bud Freeman   1940


      With the Chicagoans

Bud Freeman   1945

   Inside on the Southside

Bud Freeman   1947


Bud Freeman   1960


Bud Freeman   1978

   Tea For Two

      Live performance



Birth of Swing Jazz: Benny Goodman

Benny Goodman

Source: Radionomy

A good example of swing in full bloom is sweet jazz bandleader and clarinetist Benny Goodman. Born in 1909 in Chicago, Goodman's first recordings were at age 16 as a session clarinetist with both Ben Pollack's Californians and his White Tops in Chicago. Those went unissued: 'I'd Love to Call You M Sweetheart', 'Sunday' and 'Hot Stuff'. Goodman is also listed on the 1979 issue of 'The Legendary Earl Baker Cylinders 1926', a collection of radio transcriptions performed in 1926. Goodman first saw release in 1927 from a session with Pollack on December 9, 1926: 'When I First Met Mary' and 'Deed I Do'. Goodman's first recordings with Pollack were also Glenn Miller's. Goodman's first name recordings were released in 1928 as Bennie Goodman's Boys with Jim and Glenn (Jimmy McPartland and Glenn Miller) from a session on January 23: 'A Jazz Holiday' and 'Wolverine Blues'. Goodman's is one of the largest catalogues in jazz. Among his major credits are the hiring of pianist Ted Wilson and vibraphonist Lionel Hampton early in their careers, especially during that psychotic period (like there's ever been an era in the history of mankind that wasn't) when it wasn't proper for black and white musicians to play in the same band. Goodman's is also the orchestra with which Charlie Christian came to fame. Among the vocalists Goodman employed were Helen Forrest, Peggy Lee and Anita O'Day. Though Goodman experimented with bebop in the forties it wasn't his bag, and he returned to the swing of his major arranger, Fletcher Henderson. Goodman was also a classical musician, releasing his first classical recordings in 1938 with the Budapest Quartet. He died of heart attack in 1986 in New York City. More Benny Goodman under Peggy Lee in Swing Jazz 2.

Benny Goodman   1927

   Deed I Do

      Bandleader: Ben Pollack

Benny Goodman   1928


   Jungle Blues

   That's A Plenty

   Whoopee Stomp

   Wolverine Blues

Benny Goodman   1933

   Tappin' the Barrel

Benny Goodman   1935

   I Wished On the Moon

      With Billie Holiday

   Miss Brown To You

      With Billie Holiday

   Sing, Sing, Sing

Benny Goodman   1936

   Breakin' In a Pair Of Shoes

   It's Been So Long

      With Helen Ward

   Pennies from Heaven

      With Billie Holiday

   Stompin' At the Savoy

Benny Goodman   1937


   These Foolish Things

      Vocals: Helen Ward

Benny Goodman   1938

   Clarinet Quintet in A Major K. 581

      With the Budapest String Quartet

      Original composition: Wolfgang Mozart

   Contrasts for Violin, Clarinet and Pianoforte

      Original composition: Béla Bartok

Benny Goodman   1941

   On The Sunny Side Of The Street

      Vocals: Peggy Lee

   Soft As Spring

      Vocals: Helen Forrest

   'Tis Autumn

      Vocals: Tommy Taylor

Benny Goodman   1943

   I've Found a New Baby

   Sugar Foot Stomp

Benny Goodman   1945

   Rattle and Roll

   Slipped Disc

Benny Goodman   1948

   Stealin' Apples

      Tenor Sax: Wardell Gray   Trumpet: Fats Navarro

   Lullaby Of The Leaves

Benny Goodman   1959

   Bugle Call Rag/St. Louis Blues

      Filmed live in Holland

Benny Goodman   1967

   Clarinet Concerto No.1

      Original composition: Carl Weber

   Clarinet Concerto No.2

      Original composition: Carl Weber

Benny Goodman   1973

   After You've Gone



Birth of Swing Jazz: Edmond Hall

Edmond Hall

Source: Wikimedia Commons

Born in 1901 in Reserve, Louisiana, clarinet player Edmond Hall had been a farmhand until beginning his professional career in New Orleans in 1920. He is thought to have first recorded in August of 1927 in Savannah, Georgia, with Alonzo Ross and the Deluxe Syncopators, Margaret Miller at vocals (Victor Records). In 1930 he boarded Claude Hopkins' train to until 1935. Playing at the Savoy Ballroom in 1930, Hall would record with Hopkins in May of 1932, 'Mad Moments' and 'Mush Mouth' among several. His last tracks with Hopkins were for the soundtrack to 'By Request' three years later. In the latter thirties Hall played with Lucky Millinder, Zutty Singleton, Joe Sullivan and Henry Red Allen before forming the Celeste Quartet to record his first tiles as a leader on February 5, 1941. That group with Meade Lux Lewis (celeste), Charlie Christian (guitar) and Israel Crosby (bass) was good for five titles including two takes of 'Profoundly Blue'. Hall led a number of orchestras during his career, though his catalogue is not so extensive as a leader. The same year he debuted as a leader he joined Teddy Wilson's orchestra (1941). In 1950 he joined Eddie Condon's band, in 1955 Louis Armstrong's All Stars. Hall saw California with the All Stars in 1956, to shoot the film, 'High Society'. He had already toured Canada, the States, Europe and Ghana, and would make a failed attempt to live in Ghana in 1959 as a music instructor. Hall is thought to have made his last studio recordings in Copenhagen in 1966. All Music has Hall recording as late as February 3, 1967, contributing to tracks on the album, 'Edmond Hall's Last Concert' (tracks from 1964 included). That '67 performance was Hall's last at the Governor Dummer Academy with George Poor. He died nine days later of heart attack. Hall was overall a steady, clean-living, non-drinking (preferring lemonade), wife-faithful (twice) musician. 'Blue Interval', below, is an excellent example of early "smooth" jazz.

Edmond Hall   1927

   Believe Me, Dear

      With Alonzo Ross

Edmond Hall   1932

   Hopkins Scream

      With Claude Hopkins

   Mush Mouth

       With Claude Hopkins

Edmond Hall   1941

   Last Mile Blues

      With Ida Cox

   Ole Man River

      Piano: Ken Kersey   Trumpet: Henry Red Allen

   Profoundly Blue

      Guitar: Charlie Christian

Edmond Hall   1944

   Blue Interval

      Piano: Teddy Wilson   Vibes: Red Norvo

   Night and Day

       Piano: Teddy Wilson

   When Or Where

Edmond Hall   1949

   Flyin' High

Edmond Hall   1955


Edmond Hall   1958

   Muskrat Ramble

      Film   Trumpet: Louis Armstrong


  Born in 1901 in Alameda, California, Horace Heidt put together his first band, the Californians, in 1923 while in college. His first recordings are thought to have been a couple tracks for Victor in April of 1927: 'Mine' and 'Hello cutie'. Heidt would also direct the Brigadiers and the Musical Knights, the latter first issuing for Columbia in 1939 per 'Good Morning' and 'Are You Havin' Any Fun?'. Heidt's catalogue isn't particularly prolific, one reason for which was his emphasis on radio, hosting 'Pot o' Gold', 'Tums Treasure Chest', 'The American Way' and 'The Horace Heidt Youth Opportunity Program' throughout the forties, the last becoming a television show in 1950. In the fifties Heidt largely traded music for business and other personal interests, building a resort apartment complex of 180 units, with a golf course, on ten acres of land in the San Fernando Valley (CA). Heidt is said to have been the first to put a band on a vaudeville stage, give away money via radio, host a television talent show and perform with a big band on television. He passed away in 1986.

Horace Heidt   1927

   Hello Cutie

Horace Heidt   1928

   Golden Gate

   What a Wonderful Wedding That Will Be

Horace Heidt   1929

   I'm Ka-Razy For You


   Turn On the Heat

   The Wedding of the Painted Doll

Horace Heidt   1937

   Gone With the Wind


   There's A Gold Mine In The Sky

Horace Heidt   1938

   The Bells Of St. Mary's (The Building Of A Band)

   Sing For Your Supper

Horace Heidt   1939

   Parade of the Wooden Soldiers

   Tomorrow Night

Horace Heidt   1941

   G´bye Now

   I Don't Want To Set The World On Fire

Horace Heidt   1942

   Deep in the Heart of Texas

Horace Heidt   1944

   Don't Fence Me In

Horace Heidt   1950



Birth of Swing Jazz: Horace Heidt

Horace Heidt

Source: Horace Heidt


Born in 1906 in Cambridge, Massachusetts, Johnny Hodges, clarinet and sax, is largely associated with Duke Ellington, both as a composer and musician. Hodges first played professionally as a kid, performing piano for eight dollars an evening. He was playing soprano sax by the time he was teenager and was making a local name for himself around Boston when he moved to New York City in 1924. After an unissued track with Chick Webb in 1926 he joined Ellington's orchestra in 1928. He is thought to have first recorded with Ellington with the latter's Washingtonians on June 25 that year: 'What a Life', 'Yellow Dog Blues' and 'Tishomingo Blues'. Hodges attended above a thousand sessions during his career, most of them with Ellington up to 'New Orleans Suite' in 1970 (Ellington's eighth, Hodges' final). Hodges first recorded as a band leader in NYC on May 20, 1937, 'Peckin' with vocal by Buddy Clark among them. Ellington contributed piano, backing Hodges' bands numerously throughout the decades to come. Hodges is thought to have released his first album as a band leader, 'Passion Flower', in 1946. His last performance was at the Imperial Room in Toronto, Ontario, in 1970. He died of heart attack at the dentist several days later, while working on his eighth studio album, 'New Orleans Suite', per above. All tracks for 1928 below are with Duke Ellington.

Johnny Hodges   1928

   Diga Diga Doo

   Hot And Bothered

   I Must Have That Man

   Just a Memory

   The Mooche

  Tishomingo Blues

      How it sounded in 1928

  Tishomingo Blues

  Yellow Dog Blues

     How it sounded in 1928

  Yellow Dog Blues

Johnny Hodges   1936

   It's Like Reaching For the Moon

      With Billie Holiday

Johnny Hodges   1938

   Jeep's Blues

Johnny Hodges   1941

   Passion Flower

Johnny Hodges   1946


Johnny Hodges   1956

   Passion Flower

      Album: 'Blue Rose'   With Duke Ellington

Johnny Hodges   1965

   Take the 'A' Train

      Album: 'Wings and Things'   With Wild Bill Davis

Johnny Hodges   1969

   Don't Get Around Much Anymore

      Live performance


Birth of Swing Jazz: Johnny Hodges

Johnny Hodges

Source: Michihisa Ishikawa


Born in 1904 in Clarinda, Iowa, trombonist/arranger Glenn Miller left high school for college in Boulder, Colorado. As a student he played in the band of Boyd Senter in Denver, then dropped out of school to tour with bands that eventually took him to Los Angeles where he found spots with Ben Pollack and Victor Young. Miller first recorded with Pollack and his Californians on September 14, 1926, those unissued by Victor. Miller is also listed on the 1979 issue of 'The Legendary Earl Baker Cylinders 1926', a collection of radio transcriptions performed in 1926. Miller's initial recordings were also Benny Goodman's, as would be his first issues, recorded on December 9: 'When I first met Mary' and 'Deed I Do'. While with Pollack Miller issued a couple titles with Red Nichols' Stompers in latter '27: 'Sugar' and 'Make My Cot Where the Cot-Cot-Cotton Grows'. 1928 saw the release of 'A Jazz Holiday' and 'Wolverine Blues' by Bennie Goodman's Boys With Jim And Glenn (Jimmy McPartland). Miller began setting tracks with the Sam Lanin Orchestra in January of '28: 'Everywhere You Go'. In March of '28 he was with Goodman and McPartland to record 'I'm More Than Satisfied' and two takes of 'Oh Baby' with Nat Shilkret's All Star Orchestra. Miller issued strongly in those early days with such as Red Nichols, the Dorsey Brothers Orchestra, Benny Goodman, the Boswell Sisters, Lee Wiley, Mildred Bailey and Clark Randall before releasing his first issues as a bandleader with vocalist, Smith Ballew, in 1935: 'A Blues Serenade', 'Moonlight on the Ganges', 'In a Little Spanish Town' and 'Solo Hop'. By 1939 Miller's band was such a success he performed at Carnegie Hall that year. Miller then began broadcasting on CBS for Chesterfield cigarettes on December 27, 1939, with the Andrew Sisters, a series that would run nearly three years with 'Slumber Song' as its theme. Among the vocalists with whom Miller worked were Gordon Tex Beneke, the Modernaires, Marion Hutton, Kay Starr and Dinah Shore. In 1941 Miller's dance band appeared in the film, 'Sun Valley Serenade', followed by 'Orchestra Wives' the next year. His last recordings for Chesterfield were on June 18, 1941. Victor issued 'Swing Low, Sweet Chariot' from that session. Miller gave his last concert in the United States on November 27, 1942 in Passaic, New Jersey. Miller then joined the Army for patriotic causes, sacrificing an income in the vicinity of $70,000 per month to lead an Army band. He was soon promoted to captain, then major, then even more swiftly downed over the English Channel in a plane with a faulty carburetor. Miller's last recordings had been in England in November of 1944, radio transcriptions with his Army Air Force Band with which he'd given some 800 performances. The next month his plane went down while returning from a trip to Paris. Among Miller's final recordings were 'Everybody Loves My Baby', 'Jeep Jockey Jump', 'All The Things You Are', 'Swing Low, Sweet Chariot', 'Body and Soul', 'Beat Me Daddy', 'Get Happy', 'Moonlight Serenade' and 'Auf Wiedersehen'. All tracks below are chronological by year only. All for year 1944 are with the Army Air Force Band. More Glenn Miller under Marion Hutton in Swing Jazz Song.

Glenn Miller   1927

   Deed I Do

      Bandleader: Ben Pollack

Glenn Miller   1934

   Annie's Cousin Fannie

      With the Dorseys

Glenn Miller   1935

   Dese Dem Dose

      With the Dorseys

   Solo Hop

Glenn Miller   1938

   Live at the Paradise Restaurant

      Radio broadcast   Vocals: Ray Eberle & Marion Hutton

Glenn Miller   1939

   In the Mood

   Little Brown Jug

   Moonlight Serenade

   Sunrise Serenade

Glenn Miller   1940

   Tuxedo Junction

Glenn Miller   1941

   Chattanooga Choo Choo

      Film: 'Sun Valley Serenade'

Glenn Miller   1942

   At Last

      Film: 'Orchestra Wives'   Vocals: Lynn Bari and Ray Eberle

   A String Of Pearls

Glenn Miller   1944

   All the Things You Are

      Vocal: Johnny Desmond

   Jeep Jockey Jump


   Moonlight Serenade

   Smoke Get's In Your Eyes

   War Bond Parade


Birth of Swing Jazz: Glenn Miller

Glenn Miller

Photo: Chesterfield (cigarettes)

Source: Glenn Miller Orchestra

Birth of Swing Jazz: Vic Dickenson

Vic Dickenson

Photo: 'Life' magazine

Source: Jazz Lives

Born in 1906 in Xeniz, Ohio, trombonist Vic Dickenson's career spanned early to modern jazz. He first played professionally in 1921 with the Elite Syncopators. He performed with a number of local and territory bands until making his debut recordings on trombone in 1927 with Willie Jones and his Orchestra for Gennett at its studios in Richmond, Indiana: 'Ragmuffin Stomp', 'Michigan Stomp' and 'Bugs'. He wouldn't appear on records again until 1931 with Luis Russell. His next issues were in 1934 with Blanche Calloway from a session in August in Chicago, leading to another in NYC, which town Dickenson made his neighborhood as a studio musician, he coming to a national stature. In 1936 Dickenson began three years with Claude Thornhill. He started working with Benny Carter in 1939 and Count Basie in 1940. After another brief time with Carter Dickenson gave up big bands for smaller ensembles. Together with leading his own bands Dickenson worked largely as a freelancer, performing with pianist, Eddie Haywood, Henry Red Allen, the Saints and the Sinners. Trumpeter, Bobby Hackett, would be a frequent session partner during his career, he first recording with Hackett with Peggy Lee and the Jubilee Allstars in 1945: 'You Was Right, Baby'. Dickenson's first issues as a leader were recorded in late 1947 in Los Angeles with his Sextet consisting of Jack Trainor (trumpet), Jewell Grant (alto sax), JD King (tenor sax), Skip Johnson (piano/arrangement), Billy Hadnott (bass), Chico Hamilton (drums as Forrest Hamilton). Dickenson issued as ramrod of various ensembles throughout his career, though not so extensively as were his backing engagements. In 1957 Dickenson participated in the CBS broadcast of 'The Sound of Jazz'. He and Eddie Condon toured Asia in 1964. Dickenson began working with Bobby Hackett in 1968. During the seventies he performed with The World's Greatest Jazz Band. Dickenson died of cancer in 1984 in New York City.

Vic Dickenson   1928


      Willie Jones and his Orchestra

     Thought to be Dickenson's 3rd recording issued

   Michigan Stomp

      Willie Jones and his Orchestra

     Thought to be Dickenson's 2nd recording issued

Vic Dickenson   1940

   Five O'Clock Whistle

      Count Basie Orchestra

   Take It, Pres

      Count Basie Orchestra

Vic Dickenson   1946

   It's Only A Paper Moon

      With Lester Young

   Love Me Or Leave Me

      Vocal: Kay Starr

   Sweet Lorraine

      Vocal: Kay Starr

Vic Dickenson   1953

   I Cover the Waterfront

Vic Dickenson   1958

   Russian Lullaby

   Basin Street


      Filmed live at Cannes

   Yellow Dog Blues


      Filmed live at Cannes

Vic Dickenson   1976

   La Grande Parade du Jazz

      Concert filmed live with Earl Hines

Vic Dickenson   1977


      Album: 'Live at the Roosevelt Grill'

      With Bobby Hackett

   Struttin' With Some BBQ

      Album: 'Live at the Roosevelt Grill'

      With Bobby Hackett

Vic Dickenson   1983

   If I Could Be Wih You

      Filmed live



Born in 1909 in Chicago, drummer Gene Krupa, expanded the drums ensemble beyond the usual bass, cymbals and snare. famous for his work with Benny Goodman, he recorded as early as 1927 with Eddie Condon and Red McKenzie. His first session with their Chicagoans was held in Chicago on December 8, yielding 'Sugar' and 'China Boy'. Another on the 16th wrought 'Nobody's Sweetheart' and 'Liza'. Several more unissued tracks with Condon followed in '28 until Thelma Terry and her Play Boys recorded 'Lady of Havana', among others, on March 29. From spring to summer that year Krupa found himself recording with Condon in various groups from the Chicago Rhythm Kings, the Jungle Kings, Frank Teschemacher's Chicagoans and a band run by Miff Mole to the Eddie Condon Quartet before recording with Wingy Manone's Club Royal Orchestra in September: 'Downright Disgusted' and ''Fare Thee Well'. Tracks were also recorded in September with the Wabash Dance Orchestra, partnering with Red Nichols and, again, Wingy Manone. Krupa finished 1928 with Red McKenzie in December, recording 'Crazeology' and 'Can't Help Lovin' That Man' with the Bud Freeman Orchestra. 1929 found Krupa backing Red Nichols' Five Pennies before more tracks with Condon and McKenzie, now with the Mound City Blue Blowers. He also performed with Emmett Miller, Red Nichols' Midnight Airedales and Fats Waller in '29, to begin 1930 with Irving Mills and further configurations run by Nichols such as the Louisiana Rhythm Kings. A load of recordings with Nichols, among others, followed into 1931. In latter 1934 Krupa joined the Benny Goodman operation, having first worked with Goodman on recordings with Nichols' Five Pennies in April of '29. Krupa remained with Goodman into 1938. Krupa had begun recording with his own orchestras in 1935, a session with his Chicagoans on November 19 that year yielding 'The Last Round-Up', 'Jazz Me Blues', 'Three Little Words' and 'Blues of Israel'. Goodman was also a member of his Swing Band in '36. Krupa and Goodman would record numerously together in various configurations throughout their careers. Krupa's last recordings were with the Benny Goodman Quartet at Carnegie Hall in NYC on June 29, 1973. Also in that ensemble were Lionel Hampton on vibes, Teddy Wilson on piano and Slam Stewart on bass. Krupa had first worked with Hampton with Benny Goodman in 1936 and would record with Hampton often, both with Goodman and in Hampton's orchestras. Teddy Wilson would drift in and out of his path on various occasions, including Krupa's bands. Krupa's film debut was in 1939 in Hollywood in the film, 'Some Like It Hot'. He was such a skilled drummer that it was inevitable the drum solo be introduced to jazz by him, drum battles to ensue (such as the example below for 1952). Krupa recorded extensively both with other musicians and his own ensembles, often quartets. Highlights of his career include several occasions with Norman Granz' Jazz at the Philharmonic, the first on February 12, 1945 in Los Angeles. (The initial Jazz at the Philharmonic was held on July 2, 1944 in Los Angeles.) He performed in the 'Timex All Star Jazz Show' for NBC in '57, '58 and '59. He would work with Condon again in 1961 per 'Chicago and All That Jazz' for NBC. His last performance as a leader listed in Tom Lord's discography was a quartet with Eddie Shu on tenor sax, John Bunch at piano and Nobil Totah on bass on April, 1973 at the New School in New York. Krupa died of leukemia and heart failure in Yonkers, New York, in October 1973. Much more Gene Krupa under Eddie Condon in Early Jazz 3.

Gene Krupa   1927

   China Boy

      With the Chicagoans

   I'm Nobody's Sweetheart

      With the Chicagoans

Gene Krupa   1928

   Starlight And Tulips

Gene Krupa   1929

   China Boy

      Film   With the Chicagoans

Gene Krupa   1930

   After You've Gone

Gene Krupa   1935

   Blues of Israel

      With the Chicagoans

   Jazz Me Blues

      With the Chicagoans

   Three Little Words

       With the Chicagoans

Gene Krupa   1937

   Sing, Sing, Sing

      Film: 'Hollywood Hotel'

      With Benny Goodman

Gene Krupa   1939

   Brush Drum Solo


Gene Krupa   1941

   Drum Boogie

      Film: 'Ball of Fire'

      Actress: Barbara Stanwyck

      Voice dubb: Martha Tilton

Gene Krupa   1946

   Follow That Music

      Film   Vocal: Judy Carroll

Gene Krupa   1948

   Bop Boogie

      Film: 'Thrills of Music'

      Vocal: Dolores Hawkins

Gene Krupa   1949

   Let Me Off Uptown


Gene Krupa   1952

   Drum Battle at JATP (Jazz at the Philharmonic)

       Live at Carnegie Hall

      With Buddy Rich

   Flying Home

      Live at Carnegie Hall   With Buddy Rich

Gene Krupa   1954

   Sing, Sing, Sing

Gene Krupa   1967


      With Benny Goodman


Birth of Swing Jazz: Gene Krupa

Gene Krupa

Source: Quotation Of

  Born James Kern Kyser in 1905 in Rocky Mount, North Carolina, Kay Kyser grooved his first records, for Victor, in November 1928 as a bandleader: 'Broken Dreams Of Yesterday' and 'Tell Her'. He had already led a band at the University of North Carolina, taking over the Carolina Club Orchestra in 1927 upon Hal Kemp, its prior leader, leaving for NYC to lead his first professional orchestra. Choosing the middle initial of his name to call himself Kay, Kyser was best known for his 'Kollege of Musical Knowledge' radio broadcasts beginning in 1938 for Mutual Radio, then NBC from 1939 to 1949. Albeit Kyser was a comedian he was also recognized as a top notch musician. He first appeared in film in 'That's Right You're Wrong' in 1939. Among the vocalists with whom Kyser recorded after World War II were the actress Jane Russell, Frank Sinatra and Dinah Shore. About 1955 Kyser became a Christian Scientist. Kyser died in Chapel Hill, North Carolina in June 1985.

Kay Kyser   1928

   Tell Her/Broken Dreams of Yesterday

   The Umbrella Man

Kay Kyser   1932


      Radio broadcast

Kay Kyser   1939

   Three Little Fishies

Kay Kyser   1940

   She's Making Eyes At Me

      Vocal: Sully Mason

   You'll Find Out


Kay Kyser   1941

   Romeo Smith And Juliet Jones

      Vocals: Harry Babbitt & Ginny Simms

Kay Kyser   1942

   Fuddy Duddy Watchmaker

      Vocal: Julie Conway

   Jingle Jangle Jingle

Kay Kyser   1943

   Praise The Lord & Pass The Ammunition

Kay Kyser   1946

   Ole Buttermilk Sky

      Vocal: Mike Douglas

Kay Kyser   1947

   Managua Nicaragua

      Vocal: Gloria Wood

Kay Kyser   1948

   On A Slow Boat To China

      Vocals: Harry Babbitt & Gloria Wood

   Woody Wood-Pecker

      Vocals: Harry Babbitt & Gloria Wood


Birth of Swing Jazz: Kay Kyser

Kay Kyser

Source: Pretty & Vacant

  Born in 1903 in Brighton, England, British bandleader Ray Noble studied at the Royal Academy of Music. His debut recordings were as an arranger with Jack Payne and his BBC Dance Orchestra on October 22, 1928: 'Out of the Dawn' and 'Sweet Sue, Just You'. Noble arranged more titles for Payne, also directing 'Am I Blue?" for Anona Winn in September, when the next month he began playing cello with the New Mayfair Dance Orchestra, a studio band for HMV Records. A session with Noble in that capacity was recorded at Small Queen's Hall on October 7, yielding 'Teardrops' with a couple of medleys. Noble was made leader of that orchestra, meanwhile continuing to work with Payne. He moved to New York City in 1934, whence he recruited Glenn Miller to both play trombone and help find members for his new orchestra. His first issue in the United States was 'Down By the River' with Al Bowlly at vocals in early 1935. Noble began appearing in films in 1935 ('Top Hat'). He died in London of cancer in 1978. Vocalist Al Bowlly appears on nearly all non-instrumental tracks below unless otherwise noted.

Ray Noble   1930

   Happy Days Are Here Again

      Jack Payne and his BBC Dance Orchestra

     Arrangement: Ray Noble

Ray Noble   1930

   Happy Days Are Here Again

      Vocal: Harry Shalson

   Harmony Heaven

   In the Moonlight

      Vocal: Pat O'Malley

   King of Jazz Medley

   Kleine Maat (Little Pal)

   Die Eensaam Weg (The Lonesome Road)

   The Prisoner's Song

   Song of the West Medley

Ray Noble   1931

   Goodnight Sweetheart

   Goodnight Sweetheart

      Vocal: George Metaxa

   There's Something In Your Eyes

   Time On My Hands

Ray Noble   1932

   Love Is the Sweetest Thing

   Pagan Moon

Ray Noble   1933

    Good Night Sweetheart

   Three Wishes

   What A Perfect Combination

Ray Noble   1934

   I Love You Truly

   It's All Forgotten Now

   Midnight, the Stars and You

   The Very Thought Of You

Ray Noble   1935

   Top Hat

Ray Noble   1936

   The Touch Of Your Lips

Ray Noble   1946


      Vocal: Buddy Clark


Birth of Swing Jazz: Ray Noble

Ray Noble

Source: Archive Org

Birth of Swing Jazz: Stuff Smith

Stuff Smith

Source: Discogs

Alternate: Rocker Stomp

Born in 1909 in Portsmouth, Ohio, it is thought that violinist Stuff Smith was the first to use electric amplification on a violin. He first recorded on October 11, 1928, with Alphonse Trent and his Orchestra, that the initial of three early sessions with Trent for Gennett Records in Richmond, Indiana, yielding 'Louder and Funnier' and 'Gilded Kisses'. He also recorded unissued tracks with Zach Whyte in '31 for Gennett, after which he went to New York City in 1935, formed a sextet and took residence at the Onyx Club. Smith's first session with his Onyx Club Boys on January 17, 1936, went unreleased by Vocalion, but a session on February 11 yielded 'I'se a Muggin', 'I Hope Gabriel Likes My Music' and 'I'm Puttin' All My Eggs in One Basket'. Smith largely recorded with his own bands, though backed others such as Dizzy Gillespie on occasion. He left the States to live in Copenhagen, capital of Denmark, in 1965. Completing well above 100 sessions during his career, Smith is thought to have last recorded on March 3 and 4, in Villingen, Germany, for the album, 'Black Violin'. He died several months later in September 1967 in Munich.

Stuff Smith   1930

   After You've Gone

      With Alphonse Trent

   St. James Infirmary

      With Alphonse Trent

Stuff Smith   1936

   Here Come the Man With the Jive

   I'se a Muggin'

   You'se a Viper

Stuff Smith   1944

   Desert Sands

   Don't You Think

   Look At Me

   Skip It

Stuff Smith   1961

   One O'clock Jump

Stuff Smith   1965

   Bugle Call Blues




Born in 1904 in Red Bank, New Jersey, pianist and swing band leader Count Basie began his musical career in Red Bank with drummer, Sonny Greer, playing at dances and resorts. About 1920 he made his way to Harlem where Greer, who had preceded him to NYC and was drumming for Duke Ellington, introduced him to his scene. Basie then began touring the States with vaudeville acts. Returning to Harlem in 1925, his first employment of note was at a place called Leroy's where cutting contests were held for upper class clientele. Finally, in 1928 Basie joined Walter Page's Blue Devils in Tulsa. Beginning to make progress now (and beginning to be called the "Count"), he joined Bennie Moten's band the next year in Kansas City. It was with Moten that Basie started to shine as a talent to be dealt with, also making his debut issued recordings with Moten in Chicago on October 23, 1921, 'The Jones Law' and 'Small Black' among several. Basie briefly led that orchestra upon Moten's eventual absence in the early thirties, renaming it the Cherry Blossoms. In 1936 he reshaped that orchestra, called it the Barons of Rhythm, and began a residency in Chicago at the Grand Terrace Ballroom. Basie's first recordings as a leader were with that orchestra (credited as Jones-Smith Incorporated) on November 9, 1936. They were also tenor saxophonist, Lester Young's, first four featured releases: 'Shoe Shine Boy', 'Evening', 'Boogie Woogie' and 'Oh, Lady Be Good'. The next year Basie began recording for Decca (such as 'Pennies From Heaven' and 'Honeysuckle Rose'), upon moving his band to NYC for a residency at the Roseland Ballroom. He also played at the Apollo Theater and the Savoy before hiring vocalist Helen Humes in 1938, who remained with him for the next four years. Following World War II Basie experimented with bebop while maintaining his disciplined rhythm. Basie first took his orchestra to Europe in 1958. He didn't begin wearing his trademark yachting cap until 1964. Basie died in Hollywood, Florida, in 1984.

Count Basie   1929

   The Jones Law

     With Bennie Moten

Count Basie   1936

  Boogie Woogie

     Credited as Jones-Smith Incorporated

   Oh, Lady Be Good

     Credited as Jones-Smith Incorporated

   Shoe Shine Boy

     Credited as Jones-Smith Incorporated

Count Basie   1937

   Honeysuckle Rose

   One O'clock Jump

   Pennies From Heaven

Count Basie   1938

   I Sent For You Yesterday and Here You Come Today

Count Basie   1939

   You Can Depend On Me

      With James Rushing

Count Basie   1948


Count Basie   1950

   Little White Lies

      Featuring Clark Terry

Count Basie   1951

   Every Tub

      Featuring Wardell Gray

Count Basie   1954

   Lover Man

      Vocal: Billie Holiday

Count Basie   1957

   April In Paris

   Corner Pocket

Count Basie   1960

   Blues in Frankie's Flat



      Live   Flute: Frank Wess

   Who Me?

      Composition: Frank Foster   Film

Count Basie   1968

   All of Me



Birth of Swing Jazz: Count Basie

Count Basie

Source: Time Toast

Birth of Modern Jazz: Les Brown

Les Brown

Source: Jazz Wax

Born in 1912 in Reinerton, Pennsylvania, although Les Brown (Sr.) played clarinet and saxophone he was better known as an arranger and bandleader, especially with actress/vocalist, Doris Day. Brown had enrolled at the Conway Military Band School in 1926. Tom Lord has him recording to issue as early as June 26, 1929, with Floyd Mills and his Marylanders: 'Hard Luck' with two takes of 'Chicago Rhythm'. Those were for Gennett at its studio in Richmond, Indiana, about the time he won a scholarship to study music at the New York Military Academy from which he graduated in 1932. He then graduated from Duke University in 1936, the same year he'd laid his first tracks as a bandleader in April with the Rhythmakers (also called the Duke University Blue Devils) for the Thesaurus label. Brown first appeared in film in 1942 in 'Seven Days' Leave'. His first recordings with his Band of Renown was a radio broadcast from the Cafe Rouge (Hotel Pennsylvania) in New York City on December 28, 1945, those issued by Giants of Jazz. Doris Day's study, Jane Harvey, was featured, due to Day having a cold. In 1950 Brown joined comedian, Bob Hope, in the first of eighteen USO tours and his Band of Renown would remain Hope's orchestra for decades to come. Brown's was also the house band for the Steve Allen Show (1959 to '61) and the Dean Martin Show (1965 to '72). Among the numerous big names with whom Brown had worked through the years were Ella Fitzgerald, Frank Sinatra and Nat King Cole. Brown died of lung cancer on January 4, 2001 in Los Angeles, after which Les Brown Jr. assumed leadership of the Band of Renown.

Les Brown   1929


      Floyd Mills and his Marylanders

   Hard Luck

      Floyd Mills and his Marylanders

     Thought to be Brown's 1st recording issued

Les Brown   1940

   Let's Be Buddies

      Vocal: Doris Day

   Three At a Table For Two

      Vocal: Doris Day

Les Brown   1949

   I've Got My Love to Keep Me Warm

Les Brown   1951


      Film montage   Vocal: Lucy Ann Polk

Les Brown   1963

   Lover, Come Back to Me

      Vocals: Brenda Lee

Les Brown   1983

   Mack the Knife

      Vocals: Henry Butch Stone

   Sing, Sing, Sing


      Vocals: Jo Ann Greer



Birth of Swing Jazz: Eddy Duchin

Eddy Duchin

Photo: Paramount Productions

Source: One's Media

Born in 1909 in Cambridge, Massachusetts, pianist Eddy Duchin was a pharmacist before hiring on to Leo Reisman's orchestra playing at the Central Park Casino in NYC in 1929. Duchin's first issued recording was with Reisman on August 6, 'Can't We Be Friends?', after which he kept with Reisman into latter 1930. By 1932 he became that band's leader. Albeit Duchin's was a "sweet" band, performing polite music intended for hotel dancing, his 1938 rendition of Louis Armstrong's 'Ol Man Mose' was banned in Great Britain, due that the lyric, "bucket," sounded like "fuck it." It nevertheless reached the No. 2 spot on Billboard in the States and sold a huge (at the time) 170,000 copies. (Billboard [magazine] itself was founded in 1894, covering all variety of live entertainment from carnivals and circuses to minstrels and vaudeville. It began covering film in 1909 and radio in the twenties. With the rise of the jukebox in the thirties Billboard began charting songs. Its first three categories were Pop, Rhythm and Blues, and Country and Western. The Hot 100 chart was conceived in 1958. Billboard had also begun covering television in the fifties.) Duchin served as an officer on a destroyer in the Pacific during World War II. He reentered the music industry after his tour, but didn't have long to accomplish a lot, dying of leukemia in February 1951 in New York City, only 41 years old.

Eddy Duchin   1929

   Can't We Be Friends?

      1st recording issued w Leo Reisman

     Vocal: Smith Ballew

Eddy Duchin   1932

   After You've Gone

   The Clouds Will Soon Roll By

   Now You've Got Me Worryin' For You

   Speak To Me Of Love

Eddy Duchin   1933

   Did You Ever See A Dream Walking

      Vocal: Lew Sherwood

Eddy Duchin   1934

   Dust On the Moon

   I Only Have Eyes For You

      Vocal: Lew Sherwood

   Let's Fall In Love

      Vocal: Lew Sherwood

Eddy Duchin   1935

   Lovely To Look At

   You Are My Lucky Star

Eddy Duchin   1936

   It's De-Lovely

   Love and Learn

Eddy Duchin   1938

   Ol Man Mose

      Original composition: Louis Armstrong

      Vocal: Patricia Norman

Eddy Duchin   1940

   My Twilight Dream

   Only Forever

Eddy Duchin   1941




Jean Goldkette's Orange Blossoms were formed in 1927. But Goldkette had trouble getting his musicians paid. So in 1929 the Blossoms became the Casa Loma Orchestra with sax player Glen Gray as leader, two takes of 'Love Is a Dreamer' among the titles from their first session in NYC on October 29. Gray incorporated the band, members paid by shares rather than hired, which may be what took the band through the Depression. The corporation was dissolved in 1942 but Gray kept the orchestra working with employed musicians until 1947. Gray returned with another version of the band in the fifties, which finally disbanded for good in 1963 upon Gray's death that year in August. Glen Gray means Casa Loma Orchestra in all the samples below.

Glen Gray   1929

   Love Is a Dreamer

Glen Gray   1932

   One Little Word

Glen Gray   1933

   Blue Prelude

   Under a Blanket of Blue

      With Kenny Sargent

Glen Gray   1937

   Smoke Rings

Glen Gray   1939

   Sunrise Serenade

      Piano: Frankie Carle

Glen Gray   1942

   Talk Of The Town


Birth of Swing Jazz: Glen Gray

Glen Gray

Photo: Rockwell O'Keefe Inc.

Source: Planet Barberella

Birth of Swing Jazz: Louis Jordan

Louis Jordan

Source: Bio



Born in 1908 in Brinkley, Arkansas, bandleader, saxophonist and vocalist Louis Jordan is thought to have begun his recording career with the Jungle Band of Chick Webb on June 14, 1929, contributing alto sax and clarinet to 'Dog Bottom' in New York City. He would later perform with Webb's band at the Savoy Ballroom in 1936. Which was great until Jordan developed the notion that Ella Fitzgerald might leave Webb's orchestra to help him form his own band. Webb fired him for the attempt, after which Jordan put his own band together anyway, 'Honey In the Bee Ball' and 'Barnacle Bill the Sailor' his first recordings as a bandleader in December 20, 1938, with his Elks Rendez Vous Band. From thereon Jordan never missed a beat, enjoying a stellar career that rivaled the likes of Cab Calloway and Count Basie, largely with his band, the Tympany Five which debut tracks were Jordan's second session as a leader on March 29, 1939. Jordan participated in well above 100 sessions into the seventies until his death by heart attack in 1975. Not only an important jazz musician, Jordan was a natural to rock & roll later in his career. (For samples of that see Louis Jordan in A Birth of Rock & Roll 1.)

Louis Jordan   1929

   Dog Bottom

     With Chick Webb's Jungle Band

     Thought Jordan's 1st recording issued

  Jungle Mama

     With Chick Webb's Jungle Band

     Thought Jordan's 2nd recording issued

Louis Jordan   1938

   Honey In the Bee Ball

Louis Jordan   1939

   Keep a Knocking But You Can't Come In

Louis Jordan   1944

   Deacon Jones

   Is You Or Is You Ain't My Baby

Louis Jordan   1946


   Don't Worry 'Bout That Mule

   Let the Good Times Roll

Louis Jordan   1947

   Open the Door, Richard!

   Wham, Sam!

      Film: 'Reet, Petite and Gone'   Dancing: Mabel Lee

Louis Jordan   1949

   Beans and Cornbread

Louis Jordan   1951

   You Will Always Have a Friend

Louis Jordan   1956

   Don't Let the Sun Catch You Crying


  Born in 1906 in Cleveland, Ohio, bandleader and tenor saxophonist Freddy Martin led his first band in high school. He also played alto and clarinet. He first recorded to issue on August 15, 1929, for Brunswick with Oliver Cobb and his Rhythm Kings: 'The Duck's Yas Yas Yas' and 'Hot Stuff'. 1930 found him with Jack Albin's Hotel Pennsylvania Music. (There are a number of tracks by Hotel Pennsylvania Music offered at YouTube, though we've not determined on just which Martin appears.) Martin next recorded in 1932 with Eddie Johnson's Crackerjacks for Victor: 'The Duck's Yas Yas Yas' and 'Good Old Bosom Bread'. Martin debuted with his own band in 1933. A session on January 16, 1933, in New York for Oriole resulted in 'When the Morning Rolls Around'. Martin and his band largely played dance music in hotels, recording little through the decades in comparison to other musicians. Radio was another of Martin's important venues, NBC's 'Maybelline Penthouse Serenade' among the numerous shows on which he appeared (1937). Among the vocalists Martin employed were Merv Griffin, Buddy Clark and Helen Ward prior to her time with Benny Goodman. Martin and his orchestra began appearing in Hollywood films in the forties. He performed with his band into the eighties, booking hotels in high demand most the way. Martin died in Newport Beach, California, in 1983.

Freddy Martin   1929

   The Duck's Yas Yas Yas

      With Oliver Cobb and his Rhythm Kings

   Hot Stuff

      With Oliver Cobb and his Rhythm Kings

Freddy Martin   1932

   The Duck's Yas Yas Yas

      With Eddie Johnson's Crackerjacks

Freddy Martin   1933

  Sorority Dance

  Tu Sais-Tango

   When the Morning Rolls Around

Freddy Martin   1934

   April In Paris

   Spin A Little Web Of Dreams

Freddy Martin   1935

   Love Dropped In For Tea

   A Two-Cent Stamp

Freddy Martin   1940

   Mama's Gone, Goodbye

Freddy Martin   1941

   Tonight We Love

Freddy Martin   1942

   Rose O'Day

Freddy Martin   1945


Freddy Martin   1946

   Managua, Nicaragua

   To Each His Own

Freddy Martin   1948

   The Dickey Bird Song

Freddy Martin   1949

   I've Got a Lovely Bunch of Coconuts

      With Merv Griffin

Freddy Martin   1951

   Deep In the Heart of Texas

      With Merv Griffin   The Freddy Martin Show

   I've Got a Lovely Bunch of Coconuts

      With Merv Griffin   The Freddy Martin Show


Birth of Swing Jazz: Freddy Martin

Freddy Martin

Source: Songbook


Born in 1908 in Dallas, trumpeter and vocalist Hot Lips Page (Oran Thaddeus Page), began his musical career as a teenager performing at circuses and minstrel shows. He would soon back blues singers such as Ma Rainey, Bessie Smith and Ida Cox. Page first recorded in Dallas, TX, on October 24, 1929, seven tracks with Eddie and Sugar Lou's Hotel Tyler Orchestra, including two takes of 'Eddie and Sugar Lou Stomp'. The next month he blew trumpet on a couple tracks by Walter Page's Blue Devils: 'Blue Devil Blues' and 'Squabblin'. The next year Page found himself with Bennie Moten through 1932. He would perform for Chu Berry (with whom he began recording vocals in addition to trumpet), Barney Rapp and Teddy Wilson during the thirties before forming his own band in NYC at Small's Paradise in Harlem in 1937. His first issues as a leader (also at trumpet and vocals) were from a session held March 10, 1938: 'Good Old Bosom Bread', 'He's Pulling His Whiskers', 'Down on the Levee' and 'A Old Man Ben'. Page recorded prolifically both with his own bands and major names in jazz such as Billie Holiday, Chu Berry again in 1941, Artie Shaw (1941-42), Eddie Condon in '44 and '49, Mezz Mezzrow (1944-45) and bluesman, Lonnie Johnson, from '47 into '49. Page died in New York in 1954, only 46 years of age. More Hot Lips Page in Early Jazz 1.

Hot Lips Page   1929

  Blue Devil Blues

      With Walter Page

   Eddie and Sugar Lou Stomp

     With Eddie and Sugar Lou's Tyler Hotel Orchestra

   K.W.K.H. Blues

     With Eddie and Sugar Lou's Tyler Hotel Orchestra

     Thought to be Page's 1st issued recording

Hot Lips Page   1930

   Somebody Stole My Gal

      With Bennie Moten

Hot Lips Page   1932

   Blue Room

      With Bennie Moten

Hot Lips Page   1940

   Gone With the Gin


Hot Lips Page   1941

   St. James Infirmary Blues

Hot Lips Page   1944

   Fish For Supper

   Rockin' at Ryans

   You Need Coachin'

Hot Lips Page   1945

   The Sheik Of Araby

Hot Lips Page   1949

   Baby It's Cold Outside

Hot Lips Page   1952

   Last Call For Alcohol


Birth of Swing Jazz: Hot Lips Page

Hot Lips Page

Photo: William P. Gottlieb

Source: Wikipedia


Born William Henry Webb in 1905 in Baltimore, drummer Chick Webb left Maryland for New York City in 1922 (age 17), to form his own band, the Harlem Stompers, in 1926. Webb's first recording in 1927, 'Low Levee - High Water', wasn't issued. Webb led his first orchestra to fruition in 1929 for the soundtrack to 'After Seben' released on May 18, those titles: 'Sweet Sue, Just You', 'Tiger Rag' and 'I Ain't Got Nobody'. Webb first appeared on vinyl for Brunswick backing the Jungle Band on June 15 1929: 'Dog Bottom'. Another session with that band was held on the 27th, yielding 'Jungle Mama'. His next titles as an orchestra leader weren't until March 30, 1931: 'Heebie Jeebies', 'Blues in My Heart' and 'Soft and Sweet'. It was 1931 that Webb had secured a gig at the Savoy Ballroom which would be his bastion for years to come. He recorded with his Savoy Orchestra on December 30, 1933: 'On the Sunny Side of the Street' and 'At the Darktown Strutter's Ball'. In 1935 he would discover Ella Fitzgerald, for which he is largely credited and known. It was a June 12 session that he and Fitzgerald released 'I'll Chase the Blues Away', 'Down Home Rag', 'Are You Here to Stay?' and 'Love and Kisses'. The Savoy was famous for its "Battle of the Bands" in which the "King of Swing" was voted. Webb won over Benny Goodman, lost to Duke Ellington in 1937, then won over Count Basie in '38 (though not without dispute by musicians). Webb's last recordings were with Fitzgerald for a radio broadcast from the Southland Cafe in Boston, MA, on May 4, 1939. Unfortunately Webb's great talent was cut short at the young age of 34 when spinal tuberculosis claimed his life on June 16 that year. His last words were reportedly, "I'm sorry, I've got to go." More Chick Webb under Ella Fitzgerald at Swing Jazz Song.)

Chick Webb   1929

   After Seben


   Dog Bottom

      With the Jungle Band

   Jungle Mama

      With the Jungle Band

Chick Webb   1931

   Blues In My Heart

Chick Webb   1934

   If It Ain't Love

      Vocal: Charles Litton

Chick Webb   1936

   A Little Bit Later On

      Vocal: Ella Fitzgerald

   Under the Spell of the Blues

      Vocal: Ella Fitzgerald

   Vote For Mister Rhythm

      Vocal: Ella Fitzgerald

Chick Webb   1937

   I Got a Guy

      Vocal: Ella Fitzgerald

   Midnight In a Madhouse

   You Showed Me the Way

      Vocal: Ella Fitzgerald

Chick Webb   1938

   F.D.R. Jones

      Vocal: Ella Fitzgerald

Chick Webb   1939


      Vocal: Ella Fitzgerald


Birth of Swing Jazz: Chick Webb

Chick Webb

Source: In One Ear

  Born Roland Bernard Berigan in 1908 in Hilbert, Wisconsin, trumpeter Bunny Berigan played in local orchestras as a teenager until joining Hal Kemp's band in 1930, with whom he made his first recordings the same year on March 14: 'Give Yourself a Little Pat' and 'Washin' the Blues from My Soul'. Tom Lord's discography notes though, that Berigan may have laid his first track per 'Beside an Open Fireplace' with the Dorsey Brothers Orchestra in January, as suggested by Bozy White in 'The Miracle Man of Swing' (2013).    Berigan toured Europe with Kemp, after which he became a session player in NYC. His recording debut as a singer is thought to have been 'At Your Command' in 1931. Berigan first performed with Benny Goodman in '31. He joined Paul Whiteman's orchestra in 1932 (recording 'Night and Day' in '33), later Abe Lyman's in '34. His first session as a bandleader was with his Blue Boys on December 13, 1935, releasing 'You Took Advantage of Me', 'Chicken and Waffles', 'I'm Coming, Virginia' and 'Blues'. As a studio musician Berigan recorded hundreds of tracks, among his most significant with Tommy Dorsey. In 1936 Berigan began performing on the 'Saturday Night Swing Club' radio show for CBS. Among the many Berigan backed during his career were Fred Rich, Mildred Bailey, the Boswell Sisters, Lee Wiley and guitarist, Dick McDonough. Berigan was something unique in that he consistently delivered high quality music while at once an alcoholic with a death wish, and it was alcohol that killed him of liver cirrhosis at the young age of only 33 (1942) in NYC.

Bunny Berigan   1930

   Them There Eyes

      With Hal Kemp and His Orchestra

Bunny Berigan   1931

   At Your Command

      With Fred Rich and His Orchestra

Bunny Berigan   1932

   Crazy People

      With the Boswell Sisters    Guitar: Eddy Lang

Bunny Berigan   1933

   Gosh Darn!

      With Bennie Krueger and His Orchestra

       Vocal: Dick Robertson

   If I Had My Way 'Bout My Sweetie

      With the ARC Studio Band

   We're In the Money

      As Benno Bondy

Bunny Berigan   1934

   Blue Moon

Bunny Berigan   1936

   I Can't Get Started With You

   That Foolish Feeling

   Until Today

      Live with the Freddie Rich Orchestra

Bunny Berigan   1937

   Blue Lou



   I Can't Get Started

   Mother Goose

   The Prisoner's Song

Bunny Berigan   1939


      Live radio broadcast at Manhattan Center


Birth of Swing Jazz: Bunny Berigan

Bunny Berigan

Source: Jazz Profiles


Born in 1907 in Rochester, New York, extraordinary performer Cab Calloway was the younger brother, by nearly six years, of Blanche Calloway. Early associated with the Savoy and the Cotton Club, Calloway made his first recording in 1930 with his own orchestra, those in NYC on July 24, 1930 for Brunswick: 'Got a Darn Good Reason Now' (two takes), 'I'll Be a Friend with Pleasure' and 'St. Louis Blues'. Upon graduating from high school, the zoot-suited indisputable master of hi-de-ho and jive had joined his sister in the traveling revue, 'Plantation Days'. He then attended Crane College while playing drums in various Chicago nightclubs, eventually becoming vocalist for the Alabamians. He next led a band called the Missourians in 1930, which would become Cab Calloway and His Orchestra, mentioned above, to fill Duke Ellington's vacant spot at the Cotton Club. This was so Ellington could tour. Ellington would then fill Calloway's vacancy while the latter toured. Calloway's fame was by then made, as NBC regularly broadcasted live from the Cotton Club. His famous 'Minnie the Moocher' was recorded with 'Doin' the Rhumba' for Brunswick in NYC on March 3, 1931. Calloway's arranger in those early days was Walter Thomas. Calloway began appearing in films in the early thirties, Hollywood's another venue instrumental to Calloway's soaring career. In 1944 he published 'The New Cab Calloway's Hepsters Dictionary: Language of Jive'. He also wrote a column called 'Coastin' with Cab' for 'Song Hits Magazine'. In 1976 he published his memoir, 'Of Minnie the Moocher and Me'. Calloway died in 1994 in Delaware.

Cab Calloway   1930

   Gotta a Darn Good Reason Now

Cab Calloway   1931

   Minnie the Moocher

   The Nightmare

   St. James Infirmary

Cab Calloway   1932

   I Gotta Right To Sing The Blues


   The Scat Song

Cab Calloway   1933

   Reefer Man

  Zaz Zuh Zaz

Cab Calloway   1935

   Jitterbug Party


Cab Calloway   1939

   Jumpin' Jive

   The Ghost of Smokey Joe

Cab Calloway   1941

   Geechy Joe

Cab Calloway   1943

   Geechy Joe

      Film: 'Stormy Weather'

   Jumpin' Jive

      Film: 'Stormy Weather'

Cab Calloway   1950

  Calloway Boogie

   Filmed live

Cab Calloway   1988

  Minnie the Moocher

   Filmed live


Birth of Swing Jazz: Cab Calloway

Cab Calloway

Source: Songbook

  Born in 1909 in New Jersey, drummer Cozy Cole began his professional career in 1928 by joining the Wilbur Sweatman band. In 1930 he joined Jelly Roll Morton's Red Hot Peppers, with whom he recorded for the first time that year on May 5 in NYC: 'Each Day', 'If Someone Would Only Love Me', 'That Will Never Do' and 'I'm Looking for a Little Bluebird'. His next session with Morton on June 2 yielded Cole's drum solo on 'Load of Coal' among others. Cole's first recordings as a band leader were on February 22, 1944, in NYC with his All Stars: 'Blue Moon', 'Father Co-operates', 'Just One More Chance' and 'Thru' for the Right'. He later recorded with Benny Goodman and Ella Fitzgerald before joining Louis Armstrong's All-Stars in 1949. In 1954 he opened a drumming school with Gene Krupa, remaining in business until Krupa's death in 1973. In 1957 Cole toured Europe with Earl Hines and Jack Teagarden. He was awarded an honorary degree from Capital University in Columbus in 1983, where he often lectured as well. Cole died of cancer in 1981 in Columbus, Ohio.

Cozy Cole   1930

   Load of Coal

      With Jelly Roll Morton

Cozy Cole   1936

   These Foolish Things

      With Billie Holiday

   Here Comes The Man With The Jive

      With Stuff Smith

Cozy Cole   1939

   The Ghost Of Smokey Joe

      With Cab Calloway

Cozy Cole   1940

   One Sweet Letter From You

      With Lionel Hampton

   Are You Hep to the Jive

      With Cab Calloway

Cozy Cole   1944

   Blue Moon

   Stompin' At the Savoy

   Wrap Your Troubles In Dreams

Cozy Cole   1945

   Willow Weep For Me

Cozy Cole   1957


      Live with Gene Krupa

Cozy Cole   1958


      With Earl Hines

   Topsy Part 1

   Topsy Part 2

   The World of Jazz After Hours


       Saxophone: Coleman Hawkins   Trumpet: Roy Eldridge

Cozy Cole   1974

   Cozy Cole



Birth of Swing Jazz: Cozy Cole

Cozy Cole

Source: Ecstatic Presentation

Birth of Swing Jazz: Roy Eldridge

Roy Eldridge

Source: Sooze Blues & Jazz

Born in 1906 in Pittsburgh, trumpeter, Roy Eldridge (Little Jazz) began his recording career with Clarence Williams and his Jazz Kings in NYC on June 23, 1930, to release 'High Society Blues' and 'Lazy Levee Loungers'. In early 1932 he recorded the soundtrack for 'Smash Your Baggage' with Elmer Snowden's Smalls Paradise Orchestra. Eldridge began featuring in trumpet solos with Teddy Hill in 1935, that session on February 26 in NYC, yielding 'Lookie, Lookie, Lookie', 'Got Me Doin' Things', 'When the Robin Sings His Song Again' and 'When Love Knocks at Your Heart'. Eldridge had gotten expelled from school in ninth grade, whence he began working in traveling shows of small repute. Back in Pittsburgh at age twenty, he led a band billed as Roy Elliott and his Palais Royal Orchestra, after which he joined various bands, among them those directed by Horace Henderson (brother of Fletcher Henderson) and Speed Webb. Finally making it to New York in 1930, where we pick him up above, Eldridge recorded with Putney Dandridge on June 25, 1935, before his first issues with Teddy Wilson and his Orchestra in 1935, among them 'What a Little Moonlight Can Do'. Along with Eldridge on trumpet and Wilson at piano, members of that outfit were Benny Goodman (clarinet), Ben Webster (tenor sax), John Trueheart (guitar), John Kirby (bass), Cozy Cole (drums) and Billie Holiday on vocals. Eldridge and Goodman would find themselves working together frequently in coming years. Eldridge hung with the  Wilson orchestra into 1939, though he and  Wilson would be frequent partners throughout their careers. In the meantime he had released his first issue as leader in 1936: 'Christopher Columbus' from a session Chicago that February. That same month he made his first recordings with Gene Krupa's band, 'I Hope Gabriel Likes My Music', 'Mutiny in the Parlor', 'I'm Gonna Clap My Hands' and 'Swing Is Here'. Eldridge swung with Krupa until the latter was arrested for cannabis possession in 1943, the band dissolved. Krupa had been jailed and fined on a previous occasion when he picked a fight with a restaurant manager who didn't wish to serve Eldridge because he was black. Be as may Eldridge and Krupa would record often in the fifties. Their last together are thought to have been with Lionel Hampton's Orchestra in 1972, live at Philharmonic Hall. Another big name followed Krupa's the next month, Eldridge recording with Fletcher Henderson in March of '36, another rendition of 'Christopher Columbus' among other titles. Eldridge backed countless musicians during his career. One name highly significant in years to come was that of Count Basie, with whom he first recorded at the Make Believe Ballroom in NYC for WNEW Radio on June 14, 1940, with Coleman Hawkins' outfit: 'Body and Soul', 'Ad Lib Blues' and 'King Porter Stomp'. Basie and Eldridge would record together often in years to come in various orchestras including Basie's. Eldridge last recorded with Basie at the Montreux Jazz Festival in Switzerland in 1977 in Basie's operation. Eldridge recorded frequently with Billie Holiday as late as 1957 for CBS television among its 'Sound of Jazz' series, that being 'Fine and Mellow'. He recorded with Artie Shaw's orchestra in 1944-45. In addition to other recordings in Europe in 1950 and '51 Tom Lord's discography has Eldridge recording piano solos in Paris in 1950: 'Improvisation', 'Boogie Roy', 'Just Fooling' and 'List Blues'. In 1951 Eldridge established a residency at the Birdland in NYC with another of his bands. Ella Fitzgerald was another important name to grace recordings with Eldridge, those in '49, '53, '57 and numerously from '63 into the seventies, including Jazz at the Philharmonic performances. In 1969 Eldridge began a residency of several years at Jimmy Ryan's in Manhattan. His last recordings as a bandleader are thought to have been at the Montreux Jazz Festival in Switzerland in 1977. A heart attack in 1980 forced Eldridge to cease performing. He died nine years later in Valley Stream, New York.

Roy Eldridge   1933

   Bugle Call Rag/Tiger Rag

      Elmer Snowden Orchestra   Film

Roy Eldridge   1935

   Miss Brown to You

      With Billie Holiday

Roy Eldridge   1936

   Blue Lou

      With Fletcher Henderson

   Christopher Columbus

      With Fletcher Henderson

Roy Eldridge   1937

   Wabash Stomp

   Where the Lazy River Goes By

      Vocal: Gladys Palmer

Roy Eldridge   1941

   After You've Gone

Roy Eldridge   1942

   Let Me Off Uptown

      Drums: Gene Krupa   Vocal: Anita O'Day

   Thanks For the Boogie Ride

      Drums: Gene Krupa   Vocal: Anita O'Day

Roy Eldridge   1945

   Little Jazz Boogie

   Fish Market

   Rockin' Chair

Roy Eldridge   1949

   Watch Out!

      Drums: Gene Krupa   Vocal: Dolores Hawkins

Roy Eldridge   1957

   It Don't Mean a Thing

      Guitar: Herb Ellis   Piano: Oscar Peterson

      Vocal: Ella Fitzgerald

Roy Eldridge   1961





Birth of Swing Jazz: Nat Gonella

Nat Gonella

Source: R2OK

Folks in America were oblivious to the existence of bandleader and vocalist, Nat Gonella, but in England his would come to be a huge name. Born in 1908 in London, Gonella's first professional engagement was playing trumpet with a pit orchestra, the Busby Boys Band, in 1924. He quit that band in 1928 to work for the Louisville Band, then joined Billy Cotton's orchestra in '29, with which he issued his first recordings the following year from a session on August 14 for the Regal label: 'The Rhythm Man', 'Sittin' on a Rainbow' and 'I've Gotta Have You'. The next year he released his first titles as a leader under the pseudonym, Eddie Hines, from a session on September 14: 'I Can't Believe that You're in Love with Me' and 'I Hreard'. In 1933 Gonella published 'Modern Style Trumpet Playing'. 'Georgia on My Mind' (Hoagy Carmichael) was issued with 'Sweet Sue, Just You' (Victor Young) in the summer of '34. Due the popularity of his band's performances of Carmichael's tune Gonella named his band the Georgians. His first issues as such were from a session on November 2, 1934: 'Don't Let Your Love Go Wrong', 'Moonglow' and a couple fox trot medleys. The first configuration of that ensemble had recorded 'Caroline' and 'I Can't Dance' the prior month: Albert Torrance and George Evans (alto sax), Don Barrigo (tenor sax), Harold Hood (piano), Arthur Baker (guitar), Will Hemmings (bass) and Bob Dryden (drums). Of Gonella's long catalogue of releases, the vast majority were by his own bands, though during his earlier career he had also worked with such as Roy Fox, Ray Starita, The Blue Mountaineers, Lew Stone and Ray Noble. Gonella interrupted his career in 1941 to join the Army, becoming a member of Stars in Battledress, a British Armed Forces entertainment organization during World War II. After the war Gonella put the Georgians back together. Tom Lord's discography lists Gonella's final recordings per the Concorde Club in Southampton on February 8, 1998, dying later in August.

Nat Gonella   1930

   Bessie Couldn't Help It

     Billy Cotton and his Band

  You Brought a New Kind of Love to Me

     Billy Cotton and his Band

Nat Gonella   1931

   Tell Me Are You From Georgia

     With Roy Fox

Nat Gonella   1932

   Crazy Song

     With Ray Starita

Nat Gonella   1933

   It Ain't No Fault of Mine


   Let Him Live

Nat Gonella   1934

  Blue Jazz

   Georgia On My Mind

Nat Gonella   1935

   Black Coffee



Nat Gonella   1936

   Bye Bye Blues

  Singin' the Blues

   You Rascal You

Nat Gonella   1988


      Live performance



Birth of Swing Jazz: Woody Herman

Woody Herman

Source: Jazz Wax

Born in 1913 in Milwaukee, Wisconsin, clarinetist and sax player Woody Herman first recorded on February 3, 1930, with Tom Gerunovitch in Chicago for Brunswick (4755): 'Atta Boy'. He is shown as a vocalist in 1932 with the Tom Gerun Orchestra, also for Brunswick: 'My Heart's At Ease' and 'Lonesome Me'. His first employment in a major band was that of Isham Jones's, first recording with Jones on April 29, 1935 per radio transcriptions in New York City. He remained with Jones into 1936, then made his debut recordings as a band leader for Decca in NYC on November 6, 1936, with 'Wintertime Blues' ('Wintertime Dreams') and 'Someone to Care for Me'. In 1944 Herman put together his First Herd, a progressive ensemble blending swing with bebop. Albeit that band was a phenomenal success Herman retired it in 1946 to be with his family. In 1947 he formed his Second Herd, followed by his Third Herd from 1950 to 1956, followed in turn by the New Thundering Herd in 1959, of which there would be other formations for the next thirty years. (Having performed and/or recorded with nigh all the big names in the book for the last four decades, Herman formed the Young Thundering Herd in 1974 to make opportunity for inexperienced musicians.) Herman died in West Hollywood in 1987.

Woody Herman   1935

   Because of Once Upon a Time

      From 1st session w Isham Jones

Woody Herman   1936

   Wintertime Blues (Wintertime Dreams)

Woody Herman   1939

   Blue Flame

   Golden Wedding

   Woodchopper's Ball

Woody Herman   1943

   Down Under

Woody Herman   1945


      First Herd


      First Herd

Woody Herman   1947

   Four Brothers

     Second Herd

Woody Herman   1949

   Summer Sequence

      Recorded 1946-47   Composition: Ralph Burns

Woody Herman   1963

   After You've Gone

Woody Herman   1964

   Sister Sadie

      Live performance



Birth of Swing Jazz: Buddy Rich

Buddy Rich

Source: VK

Born in 1917 in Brooklyn, Buddy Rich was another remarkable drummer who was twelve years old when he danced, played drums and sang vocals for the 1930 short film, 'Buddy Traps in Sound Effects'. It would be another seven years before he visited his first recording studio with the Andrew Sisters and the Vic Schoen Orchestra to record 'Bei Mir Bist Du Shon' on November 24, 1937 (per 'Drummin' Men' by Burt Korall 1990, Wikipedia and other consensus though no detailed discography is found of such). 'Bei Mir Bist Du Shon' was apparently published on the same date by its composer, Sholom Secunda. Be as may, Tom Lord's discography doesn't include it, at least not with the Andrew Sisters. Rich did record that tune not much later with Adrian Rollini and Bobby Hackett on January 18, 1938, among other titles. Rich had laid his first tracks with Rollini the week before in NYC on January 7, 1938, to the result of 'Bill', 'Singin' the Blues' and 'The Sweetest Story Ever Told'. A couple more sessions followed with Rollini before he was picked up by Maxine Sullivan with the Claude Thornhill Orchestra to record, the same year, 'Moments Like This', "Please Be Kind', 'It Was a Lover and His Lass' and 'Dark Eyes'. A session with Joe Marsala's Chicagoans followed on March 16, 1938, yielding 'Mighty Like the Blues', 'Woo Woo', Hot String Beans' and 'Jim Jam Stomp'. He took a change of prescription from Rollini and Sullivan with Bunny Berigan on September 13 of '38, 'High Society' among those titles. Among Rich's most important associations was Artie Shaw, with whom he may have initially recorded on December 25, 1938 for the Old Gold 'Melody and Madness' radio series #6: those titles 'Shine On, Harvest Moon', 'Deep In a Dream', 'Jeepers Creepers' and 'Hold Your Hat'. Tom Lord's discography notes that may be arguable, also placing Rich with Shaw on the same date at the Paul Whiteman Christmas Concert on the same date, backing him on 'The Blues'. Among other guest performers, that was concert was Louis Armstrong's first at Carnegie. Be as may, Rich recorded with Shaw numerously into 1944. November 24, 1939, saw Rich's debut with the Tommy Dorsey Orchestra in Chicago, to issue 'Careless', 'Darn That Dream', 'Faithful to You' and 'Losers Weepers'. Dorsey was Rich's main vehicle at the height of his career, laying innumerable tracks with Dorsey into 1955. In 1942 Rich thought to enter the delightful hell that was World War II as a Marine. He never saw conflict and was officially discharged in '44 for reasons of health, but military service that may account for Rich's gap in sessions with anyone between early '43 and June of '44 in Tom Lord's discography, leaving off with Dorsey's tracks for the film, 'Girl Crazy', not record again until December 18 of '44 with Dorsey for NBC's 'All Time Hit Parade' in Hollywood, V-Disc to issue 'Small Fry', 'Pennies from Heaven' and 'Somebody loves Me' from that radio broadcast. Rich was also an intent bandleader, his first session as such on December 24, 1945, for the 'AFRS Spotlight Bands' radio series #785 (AFRS = Armed Forces Radio Service). The 'Coca Cola Theme' was one of those tracks. Rich's titles for AFRS were made available in 1979 on an album titled 'A Young Man and His Dreams' (minus the Coca Cola theme). While leading his own orchestra Rich played in other well-regarded bands. Among them was that of Harry James with whom Rich first recorded in 1941 in the Metronome All Stars: 'Bugle Call' and 'One O'Clock Jump'. He would back James again during a radio broadcast in NYC in 1953 on 'You'll Never Know' and 'Two O'Clock Jump'. He then recorded strongly with James from '62 into '66. Rich's favored drum sets were made by Slingerland and Ludwig-Musser. Known for his temper, from January 1983 to January '85, Rich's pianist, Lee Musiker, secretly recorded a number of Rich's tantrums on touring buses or backstage. Though not precisely music to one's ears (and glad my own tantrums were never recorded), those tapes bottom out the index below, revealing a musician frustrated by his own unusually high standards. Explosion that he was, Rich performed nigh to his dying day. Tom Lord's discography has his last session at Grendal's Lair in Philadelphia on December 8, 1986, leading off with 'Wind Machine'. Rich passed away in 1987 of heart failure following an operation for a brain tumor.

Buddy Rich   1938

   Bei Mir Bist Du Schoen

      With the Andrews Sisters

   Bei Mir Bist Du Schoen

      With Adrian Rollini   Vocal: Sonny Schuyler

   Singin' The Blues

      With Adrian Rollini   Vocal: Pat Hoke

   The Sweetest Story Ever Told

      With Adrian Rollini   Vocal: Pat Hoke

Buddy Rich   1942

   Ship Ahoy

      Film excerpt   With Eleanor Powell

Buddy Rich   1955

   Barney's Bugle

      With Sweets Edison

   Easy Does It

      With Sweets Edison

   Nice Work If You Can Get It

      With Sweets Edison

   One O'Clock Jump

      With Sweets Edison

   You're Getting To Be A Habit With Me

      With Sweets Edison

   Yellow Rose of Brooklyn

      With Sweets Edison

Buddy Rich   1965

   Drum Solo

      Television broadcast with Jerry Lewis

   Two O'Clock Jump


Buddy Rich   1970

   Drum Solo


Buddy Rich   1972

   Dancing Men

Buddy Rich   1973

   Norwegian Wood

       Live performance

Buddy Rich   1978

   Drum Duet

      The Tonight Show   With Ed Shaughnessy

Buddy Rich   1982

   Bugle Call Rag

Buddy Rich   1983

   The Buddy Tapes



Born in 1910 in New York City, clarinetist Artie Shaw, also a writer, liked to mix classical into his jazz. One of the more unique of the big band leaders, Shaw's first known recordings are thought to have been in Chicago with Irving Aaronson on August 28, 1930: 'Why Have You Forgotten Waikiki?' and 'Moonlight on the Colorado'. Tracks with both Paul Specht and Fred Rich followed in 1931. He was with Roger Wolfe Kahn in '32, then Adrian Rollin in '33 and '34. He backed a few other big names, including the Boswells and Frank Trumbauer, as a session musician until recording his first title as a bandleader on May 24, 1936, at the Imperial Theatre in NYC: 'Interlude in B Flat'. But it was his rendition of Cole Porter's 'Begin the Bequine' in 1938 that launched his career. It was also 1938 when Shaw hired Ella Fitzgerald and began touring the South. He began appearing in films in 1939. Like other big band leaders, Shaw formed a band within a band in 1940, calling it the Gramercy Five and recording eight tracks with it that year. The Gramercy Five disbanded in 1941 but its recordings are available on a CD called 'The Complete Gramercy Five Sessions' released in 1990. During World War II Shaw served as a bandleader in the Pacific. After the conflict, instead of returning to his prior highly successful status, he walked away from a million dollar career in jazz to join the New York Philharmonic under Leonard Bernstein. (Shaw was an early proponent of Third Stream, to wit, classical-jazz fusion, the term coined by Gunther Schuller in 1957.) In 1952 Shaw published his autobiography, 'The Trouble With Cinderella: An Outline of Identity', and later published novels and short stories. Shaw stopped playing clarinet in 1954, citing compulsive perfectionism as the reason. (If such the statement was more than banter, and Shaw was experiencing compulsive disorder, he had a very good reason to stop playing.) In 1981 he formed another small band, but assigned its leadership to clarinetist Dick Johnson. Shaw topped out with eight wives during his life, said to be abusively domineering. Beyond music, Shaw was an expert marksman and fly fisherman. One measure of Shaw's enormous popularity during his swing years is the fact that he did nothing for money, and yet died in 2004, in Thousand Oaks, California, with an estate worth $1,420,000. (He was making $60,000 per week as a bandleader before the war.) His rendition of 'Moonglow' below is eight years after it was first recorded in 1933 by jazz violinist Joe Venuti.

Artie Shaw   1931

   You Forgot Your Gloves

     With Paul Specht

Artie Shaw   1936

   Interlude in B Flat

Artie Shaw   1938

   Begin the Bequine

Artie Shaw   1940

   Concerto For Clarinet

Artie Shaw   1941


Artie Shaw   1942

   Dancing In the Dark

Artie Shaw   1945

   Artie Shaw and His Orchestra Play Gershwin


Artie Shaw   1953

   Besame Mucho


Birth of Swing Jazz: Artie Shaw

Artie Shaw

Photo: Michael Ochs Archives/Getty Images

Source: Jazz Wax


Born Wilbur Schwictenberg in 1912 in Newton, New Jersey, trombonist, Will Bradley, first appeared on records in 1931. His debut was from a session with Bob Haring on May 5: 'Building a Home for You'. Tom Lord's discography, however, qualifies that with "possibly". On October 2 that year Bradley laid tracks with Red Nichols: 'Get Cannibal' and 'Junk Man Blues'. November 2 found him backing Connie Boswell on 'Time on My Hands' and 'Concentratin'', he to finish the year with Nichols and begin 1932 with Bing Crosby on 'Shine'. Bradley is thought to have changed his name from Schwictenberg when he began to lead his own orchestra in 1939 with drummer/vocalist Ray McKinley in the band. His initial titles as a leader were recorded September 19: 'Forever More', 'Love Nest', 'Memphis Blues' and 'Old Doc Yak'. Sessions followed in October and consistently beyond. Bradley's band would become well-known for boogie woogie. He spent some time in the military during World War II as a member of Glenn Miller's Air Force band. World War II also made it difficult to keep an orchestra together. While playing in Detroit Bradley lost six musicians all at once to the draft. Along with leading his own outfit Bradley backed every jazz musician on the planet, among them Ray Noble, the Boswell Sisters, Jack Shilkret, Benny Goodman, Ella Fitzgerald, Mildred Bailey, Jerry Jerome, Sarah Vaughan, Billy Butterfield, Tommy Dorsey, Artie Shaw, Ralph Flanagan and Neal Hefti. Bradley later become a member of the Tonight Show Band (Carson era). Via boogie woogie Bradley well represents a bridge between swing jazz and later rock n roll. He died in 1989 in La Mesa, CA.

Will Bradley   1931

   Time On My Hands

      With Connie Boswell

     Possibly issued in 1932 (recorded 11/2/1931)

Will Bradley   1940

   Beat me Daddy, Eight to the Bar

      Piano: Freddie Slack

   Down the Road a Piece

      Piano: Freddie Slack

   Rock-A-Bye The Boogie

   Scramble Two

   Scrub me Mama, With a Boogie Beat

Will Bradley   1941

   Chicken Gumboog(ie)


Birth of Swing Jazz: Will Bradley

Will Bradley

Source: Last FM


  Bandleader, vocalist and actor Phil Harris began his career as a drummer in a circus band, his parents both circus performers. In the latter twenties he and Carol Lofner formed an orchestra in San Francisco in which he performed as both a drummer and singer. First recording with Lofner in 1931, upon the dissolution of their partnership in 1932 Harris put together his own orchestra with which he released his first records as a bandleader in 1933. He won an Academy Award that same year for the film, 'So This Is Harris!' (The Academy Awards or, Oscars, were conceived in 1929.) In 1941 Harris married actress and singer Alice Faye, having previously been married to Marcia Ralstone. In 1946 he became musical director for the radio program, 'The Jell-O Show Starring Jack Benny', with which he remained some years. It was also 1946 when he and Alice Faye began 'The Phil Harris-Alice Faye Show', which aired until 1954. In the latter sixties Harris began working as a voice actor on a number of Disney animated films, which he would continued into the latter eighties. His last film role was in 1991 for 'Rock-a-Doodle'. Harris died in California in 1995 of heart attack.

Phil Harris   1931

   The River

      Carol Lofner Orchestra

   I'm Sorry Dear

      Carol Lofner Orchestra

Phil Harris   1933

   What Have We Got To Lose?

   It's Gonna Be You

      Vocal: Leah Ray

Phil Harris   1935

   Between the Devil and the Deep Blue Sea

   Riddle Me This

Phil Harris   1947

   The Preacher and the Bear

   Smoke! Smoke! Smoke! (That Cigarette)

   That's What I Like About The South

Phil Harris   1948

   Minnie and the Mermaid

Phil Harris   1950

   The Old Master Painter

   The Thing


Birth of Swing Jazz: Phil Harris

Phil Harris

Source: Famous Fix

  Born in 1910 in Baltimore, pianist, Clyde Hart, began his professional career in 1930 with Gene Coy, also playing with Jap Allen. The next year he joined Blanche Calloway's orchestra, making his first recordings with her Joy Boys. in Camden NJ, on March 27, 1931: 'Just a Crazy Song', 'Sugar Blues', 'I'm Getting Myself Ready for You' and 'Loveless Love'.  Upon leaving Calloway in 1935 Hart was in NYC where he began doing session work. Among the numerous luminaries with whom Hart recorded were  Henry Red Allen, Stuff Smith, Hot Lips Page, Billie Holiday, Roy Eldridge, Coleman Hawkins, Larry Adler, John Kirby and Dizzy Gillespie with whom he first performed in September 1939 in Lionel Hampton's band. He also had occasion to work with Charlie Parker, first with the Tiny Grimes Quintet in '44, then with his own All Stars in January of '45, again the next month with the Dizzy Gillespie Sextet. Among the highlights of Hart's career was Mildred Bailey, for whom he worked per the CBS broadcast, 'Mildred Bailey and Company', on July 26, 1944. Several CBS broadcasts with Bailey followed into 1945. Hart wasn't strong in running bands, though led a couple in 1944 and '45, his Hot Seven and his All Stars. Sadly, Hart was stricken with tuberculosis and died on March 19, 1945, only 35 years old. His last recordings had been the previous month with the Dizzy Gillespie Sextet: 'Groovin' High', 'All the Things You Are' and 'Dizzy Atmosphere'.

Clyde Hart   1931

   Just a Crazy Song

      With Blanche Calloway

Clyde Hart   1931

   I Got What It Takes

      With Blanche Calloway

   It's Right Here for You

      With Blanche Calloway

Clyde Hart   1936

   A High Hat A Piccolo & A Cane

      Trumpet: Henry Red Allen

      Vocal: Putney Dandridge

   The Skeleton In The Closet

      Trumpet: Henry Red Allen

      Vocal: Putney Dandridge

   When My Dreamboat Comes Home

      Trumpet: Henry Red Allen

Clyde Hart   1939

   Twelfth Street Rag

      With Lionel Hampton

   Wizzin' The Wizz

      With Lionel Hampton

Clyde Hart   1945

   All the Things You Are

      Saxophone: Charlie Parker

      Trumpet: Dizzy Gillespie

   Sorta Kinda

      Saxophone: Charlie Parker

      Trumpet: Dizzy Gillespie



Drummer Ray McKinley was born in Fort Worth, Texas in 1910. He is believed to have met Glenn Miller in Dallas in 1929 when Miller was with Smith Ballew. (Miller first recorded in 1926, largely with Ben Pollack.) They found themselves together on McKinley's first issued recordings in 1931 for Red Nichols in 1931: 'Just a Crazy Song', 'You Rascal You and 'Moan You Moaners'. A second session in June, same year, with Nichols yielded How Long Blues' and two takes of 'Fan It'. In the summer of '32 they recorded 'Let's Try Again' and 'The Lady I Love' with Ballew before joining the Dorsey Brothers in 1934 together. Doing session work while with the Dorseys, McKinley soon began backing such as Ethel Waters, the Boswell Sisters and Louis Armstrong. When the Dorsey Brothers Orchestra made its last recording in September of 1935 McKinley continued onward with the Jimmy Dorsey Orchestra. He had first recorded with Jimmy in '31 with Nichols. Tom Lord's discography has McKinley as a bandleader in Los Angeles on March 31, 1936, two takes of 'Shack in the Back' among those titles. In 1939 McKinley exchanged Jimmy for Will Bradley, sharing leadership of Bradley's band. 1940 saw McKinley recording 'Down the Road a Piece' with the Ray McKinley Trio consisted of Freddie Slack on piano and Doc Goldberg at bass. He began recording with his Quartet the next year, then with his full orchestra in '42, Imogene Lynn at vocals. After Bradley McKinley joined the Glenn Miller Army Air Force Band, first recording with that operation for CBS at Yale University in Connecticut on June 5, 1943. That was a legacy orchestra, Miller having sacrificed a weekly income ranging from $15,00 to $20,00 to join the Army per World War II, whence he would lose his life over the English Channel due to a faulty plane carburetor. McKinley's career saw him participate in well above 400 sessions, not a few with Glenn Miller ghost orchestras. His last recordings are thought to be per June 5, 1977, with just Lou Stein at piano in NYC for Chiaroscuro, 'Stompin' 'Em Down' the title of that album. McKinley is drummer in some of the entries for Glenn Miller.

Ray McKinley   1931

   You Rascal You/Just a Crazy Song

      With Red Nichols

Ray McKinley   1941

   Barnyard Bounce

Ray McKinley   1942

   Big Boy

   Hard Hearted Woman

Ray McKinley   1946


      Piano: Lou Stein

Ray McKinley   1947

   Jimmy Crickets

Ray McKinley   1950

   Blue Moon

  My Heart Stood Still

Ray McKinley   1961


Ray McKinley   1965

   A String of Pearls

Ray McKinley   1984

   Glenn Miller Medley


Birth of Swing Jazz: Ray McKinley

Ray McKinley

Photo: William P. Gottlieb

Source: Jazz Wax


Birth of Swing Jazz: Chu Berry

Chu Berry

Source: Vintage Jazz & Dance Band

Born in Wheeling, West Virginia, in 1908, tenor saxophonist Chu Berry got his first break from Sammy Stewart in 1929. He first recorded with sax player Benny Carter and pianist Teddy Wilson in 1932 ('Tell All Your Daydreams to Me'). Berry worked with Carter's outfit until they both recorded with Spike Hughes upon the latter's visit to America in 1933. They then performed in the Chocolate Dandies together (along with Wilson), a session on October 10, 1933, yielding 'Blue Interlude', 'I Never Knew', 'Once Upon a Time' and 'Krazy Kapers'. His initial titles with the Fletcher Henderson Orchestra were recorded for Vocalion on March 27, 1936, to release 'Christopher Columbus', 'Grand Terrace Swing', 'Blue Lou' and 'Stealin' Apples'. From 1937 to 1941 Berry played for Cab Calloway. He also recorded as a bandleader for the first time in 1937 for the Variety label, his Stompy Stevedores issuing 'Now You're Talking My Language', 'Indiana', 'Too Marvelous for Words' and 'Limehouse Blues' from that session on March 23. Berry died in his prime, a passenger in an auto accident, in 1941. Traveling from a gig in Brooklyn to another in Toronto, the auto slid into the end of a bridge fifteen miles from Conneaut, Ohio. His last session had been with Calloway on September 10 of '41 toward the issue of 'Blues in the Night', 'My Coo-Coo Bird' and 'Says Who?'. He had also recorded a couple duets with tenor saxophonist, Charlie Ventura, in September: 'Dream Girl' and 'Get Lost'. With a recording career of only a decade, and only four sessions of sixteen individual titles as a bandleader, Berry nevertheless managed to become one of the most memorable names in jazz.

Chu Berry   1932

   Tell All Your Day Dreams to Me

      With the Benny Carter Orchestra

     Thought to be Berry's 1st recording issued

Chu Berry   1933

   Blue Interlude

      With Benny Carter and Teddy Wilson (Chocolate Dandies)

   I Never Knew

       With Benny Carter and Teddy Wilson (Chocolate Dandies)

   Krazy Kapers

       With Benny Carter and Teddy Wilson (Chocolate Dandies)

Chu Berry   1937


Chu Berry   1939

   Shufflin' At the Hollywood

       With Lionel Hampton

   Sweethearts On Parade

      With Lionel Hampton

   Wizzin' The Wizz

      Guitar: Allen Reuss   Piano: Milt Hinton


Born Kenneth Norville in 1908 in Beardstown, Illinois, vibraphonist Red Norvo's is said to have sold his pet pony to buy his first marimba. Heading to Chicago in 1925, Norvo began his professional career in a band called the Collegians. His first recordings under his own name were circa October of 1929, those unissued by Brunswick: 'In a Mist' and 'Song of the Bayou'. He first saw vinyl in 1932 from a session on April 5 with Frank Trumbauer, a couple of medleys for Columbia. March of 1933 found him recording with Victor Young. The next month he laid his first issued titles for the Brunswick label: 'Knockin' on Wood' and 'Hole In the Wall'. Jimmy Dorsey was clarinet on those. Some of the bigger name bands with whom he became employed were Paul Whiteman's, Benny Goodman's, Charlie Barnet's and Woody Herman's. In 1938 Norvo scored two No. 1 positions on the charts with 'Please Be Kind' and 'Says My Heart'. Norvo formed a trio in 1949 of vibraphone, bass and guitar, which through the years would employ such as Red Kelly, Mundell Lowe, Tal Farlow, Jimmy Raney, Charles Mingus and Red Mitchell. In 1959 he toured Australia with Frank Sinatra. Norvo continued performing and touring until a stroke retired him in the eighties. He passed away in 1999 in a nursing home in Santa Monica, California. Norvo's most important musical association was also his wife for twelve years, Mildred Bailey, whom he had married in 1931 and with whom he made numerous recordings. More Red Norvo will be found under Mildred Bailey in Swing Jazz Song.

Red Norvo   1932

   Isham Jones Medley

      With Frank Trumbauer

     Thought Norvo's 2nd recording issued

   Sizzlin' One-Step Medley

      With Frank Trumbauer

     Thought Norvo's 1st recording issued

Red Norvo   1933

   Hole In the Wall

   Knockin' On Wood

Red Norvo   1935

   Blues In E Flat

Red Norvo   1937


Red Norvo   1938

   Please Be Kind

      With Mildred Bailey

   Says My Heart

      With Mildred Bailey

Red Norvo   1939

   Three Little Fishies

      With Mildred Bailey

Red Norvo   1945

   Downhearted Blues

      With Mildred Bailey

Red Norvo   1957



Birth of Swing Jazz: Red Norvo

Red Norvo

Source: Last FM



Birth of Swing Jazz: Art Tatum

Art Tatum

Photo: William P. Gottlieb

Source: Bo Knows Music

Born in 1909 in Toledo, Ohio, Pianist Art Tatum, nigh completely blind, is thought to have made his first recordings in 1932 with Adelaide Hall. on August 5 for Brunswick: 'Strange As It Seems' and ''I'll Never Be the Same'. Those were followed on August 10 by 'You Gave Me Everything But Love' and 'This Time It's Love'. Tatum played a lot of classical music as well and was highly regarded by Sergei Rachmaninoff. Due much to virtuosos like Fats Waller, Earl Hines and Art Tatum the piano bar (lounge music) became a favorite American late-night haunt. Tatum was learning to play piano at age three. His piano teacher, like most, taught classical, and discouraged Tatum's inevitable creativity, improvisation and jazz. His first professional position was for WSPD radio in 1927. At nineteen he began creating a reputation for himself among some of the bigger names in jazz at the Waiter's and Bellmans' clubs. Thus Adelaide Hall stole him away for her world tour in 1931. In 1933 Tatum entered a stride piano cutting contest at a place called Morgan's in NYC with James Johnson, Willie the Lion Smith and Fats Waller. His win against such intimidating competition was well trumpeted, and Tatum would soon be leaving the old stride masters behind as he joined such as Earl Hines and Teddy Wilson as a developer of swing and, though he wasn't much a composer of original material, nor pursued bebop, a herald of modern jazz. Tatum grooved his first name solo for Brunswick in 1932: 'Tiger Rag'. Thereafter his favored venue was nightclubs, though he toured to England in 1938. Tatum also preferred to play solo rather than with groups, his ornate style demanding such, though he did lead smaller ensembles such as his Swingsters in 1937: 'Body and Soul', 'With Plenty of Money and You, 'What Will I Tell My Heart?' and 'I've Got My Love to Keep Me Warm'. Among the highlights of his career were recorded performances on January 18, 1944, at the Metropolitan Opera House in NYC with Louis Armstrong, Roy Eldridge, Jack Teagarden, Barney Bigard, Coleman Hawkins, Lionel Hampton, Al Casey, Oscar Pettiford, Sidney Catlett, Billie Holiday, Mildred Bailey and Red Norvo. Tatum spent his last couple years performing in Detroit at a club called Baker's Keyboard Lounge until in April 1956. He meanwhile toured the States, recording in Los Angeles, Chicago, New York and Washington DC during his last year. His last recordings are thought to have been a radio broadcast from the Red Hill Inn in Pennsauken, NJ, on October 14, 1956: 'Flying Home', 'Would You Like to Take a Walk?' and 'You Go to My Head' (RI Disc). In Tatum's Trio were Everett Barksdale on guitar and Bill Pemberton on bass. Tatum died the next month of uremia in November 1956 in Los Angeles.

Art Tatum   1932

   Sophisticated Lady

   Strange As It Seems

      Vocal: Adelaide Hall

   Tea For Two

   This Time It's Love

      Vocal: Adelaide Hall

   You Gave Me Everything

      Vocal: Adelaide Hall

Art Tatum   1933

   Tiger Rag

Art Tatum   1943

   Esquire Blues

      With the Leonard Feather All Stars

   Esquire Bounce

      With the Leonard Feather All Stars


      Bass: Slam Stewart   Guitar: Tiny Grimes

Art Tatum   1944

   I Know That You Know

      Bass: Slam Stewart   Guitar: Tiny Grimes

   My Ideal

      With the Leonard Feather All Stars

Art Tatum   1947

   Art's Blues

      With the Dorseys

Art Tatum   1948


Art Tatum   1956

   The Album

    Album with Ben Webster 



Birth of Swing Jazz: Teddy Wilson

Teddy Wilson

Photo: Hank O'Neal

Source: Hank O'Neal

Born in 1912 in Austin, pianist Teddy Wilson studied piano and violin at Tuskegee Institute in Alabama before heading to NYC where he worked with Speed Webb, Louis Armstrong, Roy Eldridge and became an understudy to Earl Hines at the Grand Terrace Cafe. Wilson didn't mess around, starting directly at the top with Benny Carter and his Orchestra for his debut recording on June 23, 1932: 'Tell All Your Daydreams to Me'. Titles from his next session with Carter were unissued by Victor, but Wilson would record with Carter soon again. Wilson began 1933 with a session on January 23 with Armstrong's orchestra in Chicago, 'High Society' among several titles issued by Victor. Two more sessions with Armstrong followed that month. Wilson next joined Carter in the Chocolate Dandies for a session on October 10 yielding two takes of 'I Never Knew' among others. His next session with Carter on the 18th wrought two takes of 'Devil's Holiday' among others. On May 14, 1934, Wilson joined Benny Goodman's outfit to record 'Moonglow' and 'Breakfast Ball' among others. That would be one of the more auspicious dates in jazz, leading to decades of friendly rivalry between their bands, each often performing in the other's and recording together extensively into the eighties. Wilson recorded his first piano solos on May 22, 1934: 'Somebody Loves Me', 'Sweet and Simple', 'Liza' and 'Rosetta'. Another important date was July 2, 1945, when Wilson not only first recorded as a bandleader but had hired Billie Holiday for vocals. Wilson is probably best known as Holiday's bandleader. That debut session for Holiday yielded 'I Wished on the Moon', 'What a little Moonlight Can Do', 'Miss Brown to You' and 'A Sunbonnet Blue'. The members of Wilson's band were Roy Eldridge (trumpet), Benny Goodman (clarinet), Ben Webster (tenor sax), John Trueheart (guitar), John Kirby (bass) and Cozy Cole on drums. Another session was held on the 31st that month with something different personnel though Kirby would hang until '38, Cole and Eldridge until '39. Eldridge would be back with Wilson in '44 and later in the fifties. Wilson and Holiday pumped out a host of titles until their last session on February 10, 1942, six takes of 'It's a Sin to Tell a Lie' among other titles. The next month Helen Ward was recording with Wilson's band, but he would see considerably more of Mildred Bailey, beginning with Eldridge's Esquire All Stars at the Metropolitan Opera House in NYC on January 18, 1944, titles finding issue from those sessions being 'Rockin' Chair', 'Squeeze Me' and 'Honeysuckle Rose' among others. Wilson's last session with Bailey was January 17, 1949, a radio broadcast from WPIX Radio in NYC. 'Anthropology' among the tracks that was performed, personnel included Miles Davis (trumpet), Kai Winding (trombone), Buddy DeFranco (clarinet), Lucky Thompson (tenor sax), Charlie Ventura (tenor and baritone sax), Al Haig (piano), Oscar Pettiford (bass) and Shelly Manne on drums. Wilson also employed vocalists Lena Horne ('41), Lee Wiley and Helen Merrill ('70). Wilson taught summer music classes at Julliard between 1945 and 1952. He actively performed into the final years of his life, he thought to have last recorded for PBS television on October 27, 1985, at the Marriott Marquis Hotel, 'Goodbye' at the tail of those titles. Wilson died a huge figure in jazz for decades in 1986 in New Britain, Connecticut.

Teddy Wilson   1932

   Tell All Your Day Dreams to Me

      With Benny Carter

Teddy Wilson   1934


      Piano solo

Teddy Wilson   1935

   Body and Soul

      With Benny Goodman and Gene Krupa

   Eeny Meeny Miney Mo

      With Billie Holiday

   If You Were Mine

      With Billie Holiday

   I'm Painting the Town to Red

      With Billie Holiday

   Life Begins When You're In Love

      With Billie Holiday

   Spreadin' Rhythm Around

      With Billie Holiday

   These 'N' That 'N' Those

      With Billie Holiday

   What a Little Moonlight Can Do

      With Billie Holiday

   You Let Me Down

      With Billie Holiday

Teddy Wilson   1937

   Can't Help Lovin' Dat Man

      With Billie Holiday

   The Hour Of Parting

      With Boots Castle

   There's a Lull In My Life

      With Billie Holiday

   Where or When

      With Benny Goodman and Gene Krupa

Teddy Wilson   1938

   You're So Desirable

      With Billie Holiday

Teddy Wilson   1939


      With Billie Holiday

   Tiger Rag

Teddy Wilson   1941

   Smoke Gets In Your Eyes

Teddy Wilson   1944

   Rose Room

Teddy Wilson   1956

   All Of Me

      Duet with Lester Young

   Sophisticated Lady

Teddy Wilson   1985

   But Not For Me

      Live performance



Birth of Swing Jazz: Charlie Barnet

Charlie Barnet

Source: VK



Born in 1913 in NYC, bandleader and saxophonist Charlie Barnet began his recording career in NYC in 1933 with Melotone Records, the year he shaped his own orchestra. Those tracks for the Banner label were 'What Is Sweeter', 'I'm No Angel', 'I Want You-I Need You' and 'Buckin' the Wind'. Born to a wealthy family, Barnet largely retired from music in 1949. From 1963 to 1984 Barnet contributed to countless titles issued by the orchestra of trumpeter/vocalist, Ray Anthony. Barnet's autobiography, 'The Swinging Years', was published in 1984. Barnet died of Alzheimer's disease and pneumonia in San Diego in 1991.

Charlie Barnet   1934

   Baby Take a Bow


      Vocal: Helen Heath

Charlie Barnet   1936

   I'm an Old Cowhand

Charlie Barnet   1939

   Lilacs In The Rain

Charlie Barnet   1940

   Redskin Rhumba

   Southern Fried

   Where Was I

Charlie Barnet   1941

   Afraid to Say Hello

Charlie Barnet   1943

   The Moose

      Piano: Dodo Marmarosa


Charlie Barnet   1947

   Charleston Alley

   Pompton Turnpike

   Rockin' in Rhythm

Charlie Barnet   1948

   East Side, West Side

      With Doc Severinsen   Vocal: Bunny Briggs

Charlie Barnet   1962

   Jazz Skyliner


  Born in 1913 in Spokane, bandleader and vocalist Bob Crosby, younger brother of Bing Crosby, began his singing career as one of the Delta Rhythm Boys in 1931. He also began working with the Anson Weeks Orchestra in 1931. No recordings by Crosby with Weeks are found earlier than 1933 for Brunswick: 'It's Not a Secret Anymore' (6604), 'Marching Along Together' (6609), 'I'll Be Faithful' (6661) and 'You've Got Everything' (6661). Crosby was hired to the Dorsey Brothers Orchestra from '34 to '35, his first with that outfit on August 14, 1934: 'Heat Wave' and 'By Heck'. Crosby put together his first orchestra in 1935 with previous members of the Ben Pollack Orchestra. His initial tracks with that outfit were recorded for Decca on June 1, 1935 in NYC: 'Flowers for Madame', 'The Dixieland Band', 'In a Little Gypsy Tea Room' and 'Beale Street Blues'. Crosby would then form his Dixieland octet, the Bob-Cats, as a band within a band. Among the vocalists with whom Crosby performed was Doris Day. When World War II broke out Crosby served as a bandleader in the Marines in the Pacific. Afterward, radio became a major venue for Crosby, airing 'The Bob Crosby Show' from 1943 to 1950, then 'Club Fifteen' from 1947 to 1953. Married once (1938), Crosby died of cancer in 1993 in La Jolla, California.

Bob Crosby   1933

   It's Not A Secret Anymore

      With the Anson Weeks Orchestra

Bob Crosby   1934

   Waitin' at the Gate for Katy

Bob Crosby   1936

   Swing Me A Lullaby

      With Connee Boswell

Bob Crosby   1937

   South Rampart Street Parade

Bob Crosby   1939


   The World Is Waiting For the Sunrise

Bob Crosby   1942

   That Dada Strain


Birth of Swing Jazz: Bob Crosby

Bob Crosby

Source: persons-info

Birth of Swing Jazz: Richard Himber

Richard Himber

Source: Songbook

Born Herbert Richard Imber in 1900 in Newark, New Jersey, violinist and sweet/swing bandleader Richard Himber had been sent to military school when he was fifteen, from which he ran away to New York City to play violin in Sophie Tucker's Five Kings of Syncopation. He next worked vaudeville and in Tin Pan Alley before becoming a booking manager for Rudy Vallée. Himber first recorded in 1933 for Vocalion as Dick Himber, 'It Isn't Fair' among his first tracks. He is thought to have begun recording as Richard with his Ritz-Carlton Orchestra in NYC on Jul7 27, 1935: 'Me and the Moon'. Himber didn't do a lot of recording during his career in comparison to other musicians, a good parcel of which were radio transcriptions due his main claim to fame as a hotel operation in NYC, performing at various throughout the years. Himber was also a magician, often performing sleight of hand during performances with his band. He died in NYC in 1966. Vocals on all tracks tracks below are by Stuart Allen or Joey Nash unless otherwise indicated.

Richard Himber   1933

   It Isn't Fair

   Life's So Complete

Richard Himber   1934


      Vitaphone film   Violin: Richard Himber

   Say When

   Stars Fell On Alabama

   Winter Wonderland

Richard Himber   1935

   Broadway Rhythm

   Monday In Manhattan

   You Hit the Spot

   Zing Went The Strings Of My Heart

Richard Himber   1936

   Every Once In a While

   So This Is Heaven

Richard Himber   1937

   Parade of the Bands

Richard Himber   1940

   Whose Theme Song?

Richard Himber   1941

   I Know Why

      Vocal: Johnnie Johnston



Birth of Swing Jazz: Louis Prima

Louis Prima

Photo: Manny Korman/Frank Driggs Collection

Source: Peoples

Born in 1910 in New Orleans, trumpeter/vocalist Louis Prima, whose parents were Sicilian immigrants, played clubs in New Orleans before making New York City his home. He first worked, however, in Chicago, joining the David Rose Orchestra at radio station WGN in 1933. His first issued recordings were with the Dave Rose Trio on September 28, 1933 for the Bluebird label. With Rose on piano and Norman Gast on violin that session wrought 'Chinatown, My Chinatown', 'Sophisticated Lady' and 'Dinah'. A second session the next day produced 'Shadows', 'Jig-Saw Rhythm' and 'Jamboree'. In New York City in 1934, Prima first recorded with his New Orleans Gang on September 27, 1934, two takes of 'Stardust' among those titles. Prima was well known in association with Keely Smith, whom he hired into his band in 1947, to become his duet partner in Las Vegas the next year. Tom Lord's discography lists Smith's first recordings with Prima and His Orchestra in late 1949 in NYC for Mercury, two sessions yielding 'Charley My Boy', 'Yes, We Have No Bananas', 'I Beeped When I Shoulda Bopped', 'The Manuelo Tarantel' and 'Leap Before You Look'. Smith and Prima married in 1953, their divorce and last performance together at the Desert Inn in Las Vegas in 1961. Their last recordings together were released the same year on the album, 'Return of the Wildest'. Prima's own last album was released in 1975: 'The Wildest'. Prima died in 1978 in a nursing home in New Orleans after three years in coma, following surgery to remove a brain stem tumor in 1975.

Louis Prima   1934

   Let's Have a Jubilee

   Sing It Way Down Low

Louis Prima   1936

   Cross Patch

Louis Prima   1957

   Oh Marie/Buona Sera

Louis Prima   1959

   Just a Gigolo/I Ain't Go Nobody

      Live performance with Keely Smith



Born in 1908 in Terre Haute, Indiana, bandleader, composer and pianist Claude Thornhill was 16 when he and Artie Shaw began their careers together in Cleveland with Austin Wiley. Six years later, in 1931, they went to New York City together. It was September 22, 1933 when Thornhill recorded his first tracks with the Meyer Davis Orchestra: 'Lonely Heart' and 'Heat Wave'. He joined Benny Goodman's Music Hall Orchestra for recordings in latter '34, 'Bugle Call Rag' among titles from his first session on August 16, 'I'm Getting Sentimental Over You' among others from a second session on September 11. Six days later he was recording with Louis Prima's New Orleans Gang, 'Stardust' among titles issued from that first session with Prima. He wouldn't record with Shaw until June 23, 1936 with Dick McDonough's orchestra: 'Summer Holiday', 'I'm Grateful to You', 'Dear Old South hand' and 'Way Down Yonder in New Orleans'. As a major name in jazz Thornhill bumped shoulders with a number of luminaries. Among them was Glenn Miller with whom he first recorded with the Ray Noble Orchestra on February 9, 1935: 'Down By the River'. Guitarist, George Van Eps, was in on that, as he would be in Thornhill's next session with Al Bowlly's operation on March 15, to release 'Basin Street Blues'. On April 25 Thornhill backed Glenn Miller's first name recordings with His Orchestra: 'A Blues Serenade', 'Moonlight on the Ganges', 'In a Little Spanish Town' and 'Solo Hop'. His first session with Chick Bullock arrived on May 15 that year: 'Life Is a Song' and 'Way Back Home'. Thornhill first recorded with his famous orchestra for a 'Saturday Night Swing Club' radio broadcast on June 12, 1937: 'Flight of the Bumble Bee' and 'Classics in Jazz'. Two days later on the 14th, having hired Maxine Sullivan, she made her first recordings with Thornhill's orchestra: 'Whisper in the Dark', 'Harbor Lights', 'Stop, You're Breaking My Heart' and 'Gone with the Wind'. Thornhill was earning about $40,000 per month at the Paramount Theater in NYC when he gave it up to join the Navy during World War II, becoming a bandleader in the Pacific. His last recordings before military service were on June 24, 1942. On January 30, 1943 he recorded 'Nightmare' and 'Begin the Beguine' with CBS radio in Honolulu with Artie Shaw and his U.S. Navy Rangers on 'America Salutes the President'. Thornhill recorded nothing in '44 and '45, but was released from the Navy in 1946 for his first title as a civilian again from a June 9 session in NYC (as will have been nigh all Thornhill's recordings with few exceptions) yielding 'Twilight Song'. Thornhill began experimenting with bebop after the War and was later Tony Bennett's musical director for a brief period in the fifties. He died of heart attack in 1965. More Claude Thornhill under Gil Evans.

Claude Thornhill   1933

   Heat Wave

      With Meyer Davis   Vocal: Charlotte Murray

   Lonely Heart

      With Meyer Davis   Vocal: Lew Conrad

Claude Thornhill   1937

   Harbor Lights

      Vocal: Jimmy Farrell

   I'm Coming, Virginia

      Vocal: Maxine Sullivan

   Loch Lomond

      Vocal: Maxine Sullivan

Claude Thornhill   1941

   Autumn Nocturne


   Where Or When

Claude Thornhill   1942

   Buster's Last Stand

Claude Thornhill   1947


      Arrangement: Gil Evans

   A Sunday Kind of Love

      Vocal: Fran Warren


Birth of Swing Jazz: Claude Thornhill

Claude Thornhill

Source: Bill Crow

Lucky Millinder

Source: Black Kudos

Born Lucius Venables in 1910 in Anniston, Alabama, bandleader Lucky Millinder was raised in Chicago. He played no instrument but is an important bridge from swing jazz to rock and roll. He began his career as a bandleader in 1931, touring for RKO Pictures. He is first found on vinyl in 1934 from a session on December 4, 1933, with the Mills' Blue Rhythm Band: 'Drop Me Off in Harlem', 'Reaching for the Cotton Moon' and 'Love Is the Thing'. Originally the Coconut Grove Orchestra, that became the Mils' Blue Rhythm Band upon Irving Mills assuming management in 1931. Millender took over from 1934 into 1937, then formed his own orchestra to record 'Ride, Red, Ride' and 'Jazz Martini' for the film, 'Readin', 'Ritin' and Rhythm' in latter 1938. Winning a contract with Decca in 1941, Millinder that year began recording en force with his band, Sister Rosetta Tharpe to be the first vocalist in his employ. 'Trouble In Mind' was among the titles from his first session with Tharpe. It was during his time with Tharpe that Millinder began advancing toward rhythm and blues. He would hire Wynonie Harris in 1944, then Ruth Brown. Millinder's band began waning in popularity in the fifties, he having to take a job as a disc jockey in 1952, though he continued to tour and record until 1960. His last tracks are thought to have been for Warwick that year: 'Slide Mr. Trombone' and 'Big Fat Mama'. Millinder died in NYC six years later of a liver ailment. More Lucky Millinder in Rock 1.

Lucky Millinder  1934

   Drop Me Off In Harlem

      Mills Blue Rhythm Band

     Vocal: Adelaide Hall

Lucky Millinder  1941

   Trouble In Mind

      Vocal: Rosetta Tharpe

   Big Fat Mama

      Vocal: Trevor Bacon

   Mason Flyer

Lucky Millinder  1942

   Are You Ready

Lucky Millinder  1943


       Vocal: Trevor Bacon

Lucky Millinder  1950

   Silent George

      Vocal: Myra Johnson



Birth of Swing Jazz: Putney Dandridge

Putney Dandridge

Source: Last FM

Born in 1902 in Richmond, Virginia, pianist and vocalist Putney Dandridge began his professional career in 1918, spending a decade or so touring and doing shows before forming his own band in Ohio in the early thirties. He first released his own recordings in 1935. Recorded on March 25 for Vocalion in NYC were 'You're a Heavenly Thing' and 'Mr Bluebird'. Members of his band are thought to have been Herman Autrey (trumpet), Gene Sedric (tenor sax), Al Casey (guitar), Henry Turner (bass) and Harry Dial (drums). A few months later Dandridge recorded as one of Adrian Rollini's Tap Room Gang before continuing with his own orchestras, leading only eleven more sessions in '35 and '36 before he went ghost, Wikipedia noting that he may have dropped out of the music business due to poor health. Though his career was brief it had held a lot a of promise. He'd been able to recruit some of the big shots in jazz into his bands, such as Roy Eldridge and Henry Red Allen. His last session is listed as of December 10, 1936 in NYC for Vocalion with Doc Cheatham (trumpet), Tom Mace (clarinet), Teddy Wilson (piano), Allan Reuss (guitar) Ernest Hill (bass) and Sidney Catlett (drums): 'I'm in a Dancing Mood', 'With Plenty of Money and You', 'That Foolish Feeling' and 'Gee, You're Swell'. Dandridge died in New Jersey in 1946, only 44 years of age.

Putney Dandridge   1935

  Chasing Shadows

   Double Trouble

  Mr. Bluebird


  You're a Heavenly Thing

  You Took My Breath Away

Putney Dandridge   1936

   It's The Gypsy In Me



Born in 1907 in Chicago, clarinetist Joe Marsala had played with such as Wingy Manone and Ben Pollack in the twenties. He left Chicago for New York City in 1936 to play at the Hickory House for the next decade. Marsala's major recording period was the decade from '35 to '45, though he laid tracks on occasion until his last on July 3, 1970, with Louis Armstrong at the Shrine Auditorium in Pasadena, California. He first appeared on record shelves in 1935 resulting from a March session with Charles LaVere and his Chicagoans yielding 'Bugaboo Blues', 'All Too Well' and 'Ubangi Man'. Another session with LaVere was held in April before recording with Adrian Rollini's Tap Room Gang in June, first performing with Putney Dandridge in that group. He also connected with Wingy Manone in Rollini''s band. Manone would be a major figure in Marsala's career to 1944, his initial titles with Manone's band on July 5, 1935: 'Let's Swing It, 'A Little Door', 'Love and Kisses' and 'Rhythm Is Our Business'. Other major collaborators were vocalist, Tempo King, and guitarist, Eddie Condon. Marsala's debut recordings as a bandleader were with his Chicagoans on April 21, 1937, in NYC, to issue: 'Wolverine Blues', 'Chimes Blues', 'Jazz Me Blues' and 'Clarinet Marmalade'. His first titles with his Delta Four were recorded April 4, 1940: 'Wandering Man Blues', 'Sally Mama Blues', 'Three O'Clock Jump' and 'Reunion in Harlem'. Marsala recorded as a leader on above twenty occasions, but imore numerously backed other musicians. His earlier recording in 1935 with Adrian Rollini is available on a Rollini album issued as 'Bouncin' In Rhythm' in 1995. In 1948 Marsala largely retired from performing upon becoming a music publisher. He died of cancer in 1978 in Santa Barbara, California.

Joe Marsala   1935

   I Got A Need For You

      With Adrian Rollini & Jeanne Burns

   I'd Rather Be With You

      With Charles LaVere and his Chicagoans

Joe Marsala   1936

   A Star Fell Out of Heaven

      With Putney Dandridge

   If We Never Meet Again

      With Putney Dandridge

   The Skeleton In The Closet

      With Henry Red Allen

   Swingin' On That Famous Door

      With Roy Eldridge and the Delta Four

Joe Marsala   1941

   Bull's Eye

Joe Marsala   1944

   Unlucky Woman

      With Linda Keene

Joe Marsala   1945

   Gotta Be This Or That

   My Melancholy Baby

Joe Marsala   1948

   Someone to Watch Over Me

Joe Marsala   1952

   Sweet Mama, Papa's Getting Mad


Birth of Swing Jazz: Joe Marsala

Joe Marsala

Photo: William P. Gottlieb/font>

Source: Flickr

Birth of Swing Jazz: Allan Reuss

Allan Reuss

Source: Pro Jazz Club

Born in 1915 in North Hollywood, Allan Reuss began studying guitar under George Van Eps in 1933. He replaced Van Eps on his first recordings in Benny Goodman's band in NYC on April 19, 1935. Those titles for Victor were 'Japanese Sandman', 'You're a Heavenly Thing', 'Restless' and 'Always'. Reuss' first solos were recorded with Goodman in 1935 ('If I Could Be With You' and 'Rosetta'). With some 400 sessions listed by Tom Lord's discography this would be a long column if we didn't highlight but a few: Jack Teagarden is an apt place to start. Teagarden was in the band when Reuss first recorded with Goodman.    and they would join one another often with the same. In the latter thirties they both recorded frequently with the Paul Whiteman Orchestra, Reuss later to back Teagarden's orchestra heavily. Teddy Wilson was another giant name in Reuss' early career, Reuss first performing with Wilson in Goodman's band in '36. Their first session together was with the Goodman Trio on April 24, 1936 in Chicago, recording 'China Boy', 'More Than You Know' and 'All My Life'. (Gene Krupa and Helen Ward were also in on that.) Later that year Reuss backed Wilson's own orchestra in Los Angeles on August 24, 'You Came to My Rescue' the lead track among four. (Lionel Hampton was in on that as well.) Reuss would see a lot of Wilson's operation and record with him frequently into the forties. Gene Krupa was another towering associate of Reuss'. They had first recorded together in Goodman's Rhythm Makers on June 6, 1935, a long list of Thesaurus transcriptions leading off with 'Makin' Whoopee'. Reuss and Krupa would work side by side in Goodman's band for the next couple of decades. Lionel Hampton was another giant figure in Reuss' early career, first performing with Hampton in Goodman's band in '36. Their first session together was in Hollywood in August, yielding 'St. Louis Blues', 'Love Me Or Leave Me' and 'Bugle Call Rag'. (Wilson was also in on that.) They recorded with Goodman often, upon which Reuss would back Hampton's band as well. His first session with Hampton was in NYC on February 8, 1937, recording two takes of 'My Last Affar' with three others. (Gene Krupa was in on that.) Come Billie Holiday in October 1936 to record, with both Wilson and Krupa, 'Easy to Love', 'With Thee I Swig and 'The Way You Look Tonight'. Reuss would also lay tracks with Holiday's orchestra on January 12, of '37, two takes of 'I've Got My Love to Keep Me Warm' among three others. Harry James' had invaded his life only days earlier, James first recording with Reuss in Goodman's orchestra on January 6, a radio broadcast from NYC to London consisting of 'Body and Soul', 'Dinah' and 'Stompin' at the Savoy'. James and Reuss saw a lot of sessions together with Goodman, also recording with Wilson's orchestra before Reuss' first session with James' orchestra on May 25, 1944, 'Jiggers' the lead title. Of the 'One Night Stand' radio series that was #246. From that point onward Reuss backed James' heavily into the sixties. Reuss had his first session with Paul Whiteman per the latter's Swingin Strings on November 15, 1938: 'Japanese Sandman', "Ragging the Scale', "Lady Be Good' and 'Liza'. Reuss would stick with Whiteman into '39, the year Glenn Miller moved into his space per the Meadowbrook radio broadcast in Cedar Grove, NJ, for WOR Radio: 'Sold American', 'Please Come Out of Your Dream' and 'Poinciana'. Jimmy Dorsey featured in 1942, Red Nichols in 1958 and '59. Though largely a rhythm guitarist, Reuss was often employed as more than only a beat accompanist, but as the rhythmic drive to which bands attuned themselves. Reuss died in 1988 in North Hollywood, having lived in Los Angeles since 1945.

Allan Reuss   1935

   If I Could Be With You

      With Benny Goodman

Allan Reuss   1936

   Pennies from Heaven

      With Billie Holiday

Allan Reuss   1938

   Ring Dem Bells

      With Lionel Hampton

Allan Reuss   1939

   Pickin' For Patsy

      With Jack Teagarden

Allan Reuss   1941

   Peck's Bad Boys

Allan Reuss   1945

   Someone To Watch Over Me

       Sax: Coleman Hawkins

      Trumpet: Howard McGhee

       Bass: John Simmons

      Drums: Denzil Best


       Sax: Coleman Hawkins

      Trumpet: Howard McGhee

       Bass: Oscar Pettiford

      Drums: Denzil Best

Allan Reuss   1946

   Bye Bye Blues

      With Benny Carter

Allan Reuss   1968




Birth of Swing Jazz: Erskine Hawkins

Erskine Hawkins

Photo: Jerry Tavin/Everett Collection

Source: Jazz Wax

Born in 1914, trumpeter Erskine Hawkins attended high school in Birminham, Alabama. While in high school he formed the band, the Bama State Collegians, with which he made his first recordings in 1936 for Vocalion: 'I Can't Escape From You' and 'Until the Real Thing Comes Along' among others. In the latter thirties Hawkins alternated with Chick Webb's band at the Savoy Ballroom in Manhattan. In the early fifties Hawkins moved away from the big band sound toward smaller ensembles, swing having begun its evolution toward rhythm and blues. From 1967 to 1993 Hawkins' was the resident band at the Concord Resort Hotel in Kiamesha Lake, New York. Of the 72 sessions Tom Lord's discography lists, his last is given per May 27, 1971 for the album, 'Live at Club Soul Sound'. He isn't thought to have issued any further recordings although he didn't pass away in his home until November of 1993, yet performing at the Concord.

Erskine Hawkins   1936

   I Can't Escape From You

Erskine Hawkins   1937

   Deviled Ham


Erskine Hawkins   1938

   Rockin' Rollers Jubilee

Erskine Hawkins   1939


   Tuxedo Junction

Erskine Hawkins   1942

   Don´t Cry, Baby

      Vocal: Jimmy Mitchell

Erskine Hawkins   1945


      Vocal: Ace Harris

   Tippin' In

Erskine Hawkins   1946

   Hawk's Boogie

Erskine Hawkins   1949

   Corn Bread

Erskine Hawkins   1950

   Tennessee Waltz



Born in 1916 in Albany, Georgia, trumpeter Harry James had circus personnel for parents, his father a bandleader, and his mother an acrobat and horseback rider, with the Haag Circus. His parents settled in Beaumont, Texas, in 1931 where, at age fifteen, James began playing with local bands. He was with a band led by Herman Waldman when he was discovered by Ben Pollack, whose orchestra he joined in 1935. His first issues with Pollack seem to have been in 1936 with Brunswick in NYC: 'I'm One Step Ahead of My Shadow', 'Thru the Courtesy of Love', 'I Couldn't Be Mad at You and 'Song of the Islands'. In 1937 James switched to Benny Goodman's operation, joining him in a radio broadcast from NYC to London in January. He would work in Goodman's band, then Goodman in his, into the forties. In December of 1937 James recorded his initial titles as a leader in NYC, 'I Can Dream, Can't I?' among them. James' was the first band of stature to employ Frank Sinatra in 1939, a vocalist he would see a lot of. In 1942 James filled Glenn Miller's vacant spot on the 'Chesterfield Radio Show' upon Miller joining the Army. In 1946 James dismantled his orchestra, at least partially for financial causes, and put together a smaller ensemble called the Music Makers. Beyond music, James loved horseracing, owned several that won stakes and was an original investor in the Atlantic City Race Track (now Atlantic City Race Course) in New Jersey which first opened in July 1946. (Other investors included Xavier Cugat, Sammy Kaye, Bob Hope and Frank Sinatra). James last performed in 1983 in Los Angeles, nine days before his death in Las Vegas of lymphatic cancer.

Harry James   1936

   I Couldn't Be Mad at You

     With Ben Pollack

     Thought James' 3rd recording issued

Harry James   1939

   You made Me Love You


Harry James  1942

   I Had the Craziest Dream

   I've Heard That Song Before

      With Helen Forrest

Harry James   1945

   It's Been a Long, Long Time

      With Kitty Kallen

Harry James   1952

   You'll Never Know

      With Rosemary Clooney


Birth of Swing Jazz: Harry James

Harry James

Source: The Music's Over


Born in 1909 in Woodville, Mississippi, Lester Young began his career in 1933 in Kansas City, playing clarinet, tenor sax and trumpet with various bands. Young first recorded in 1936 in the orchestra of pianist Count Basie, in Chicago on November 9, 1936: 'Shoe Shine Boy', 'Evenin'', 'Boogie Woogie' and 'Lady Be Good'. Basie would be a huge figure throughout Young's career, their last of an extensive number of recordings thought to be on December 5, 1957, during a rehearsal in NYC for the CBS 'Sound of Jazz' television series. Those titles: 'Dickie's Dream' and 'I Left My Baby'. During his early intermittent Basie days Young also played in Fletcher Henderson's and Andy Kirk's orchestras. After his first few sessions with Basie he next recorded with Teddy Wilson's orchestra on January 25, 1937, Billie Holiday included. Those tracks for Brunswick were 'He ain't Got Rhythm', 'The Year's Kisses', 'Why Was I Born?' and 'I Must Have That Man'. Young and Holiday also recorded together extensively, including in each other's orchestras. It was Holiday who nicknamed him "The Pres". Their last recordings together are thought to have been on December 8, 1957 for the CBS television series, 'The Sound of Jazz', only a few days after his last with Basie above. Young would encounter Wilson often, generally with Holiday's orchestras. In 1939 his clarinet was stolen, so he played not that instrument again until 1957. Most of Young's long catalogue of above eighty sessions was with his own bands. He first recorded as a leader for Radio WNYC on February 15, 1941: 'Tickle Toe' and 'Taxi War Dance'. His last recordings in that capacity were in Paris with drummer, Kenny Clarke, in February and March of 1959 shortly before his death. Those issued from sessions on March 11 (by the Philology label) were 'There Will Never Be Another You' and 'I Cover the Waterfront'. Young attended a good number of sessions in one manner or another, including a band he ran with his brother, drummer, Lee Young, before his first of a few sessions with pianist, Nat King Cole. That was a trio with Red Callender on bass netting 'Indiana', 'I Can't Get Started', 'Tea for Two' and 'Body and Soul'. Cole and Young would record again in '46. Young was drafted into the Army, then dishonorably discharged after serving a year in detention for alcohol and marijuana possession. In 1946 Young joined Norman Granz's Jazz at the Philharmonic (JATP) with which he kept for the next twelve years. In 1955 Young experienced a nervous breakdown, said to be precipitated by alcohol abuse. In 1956 Young laid tracks with Teddy Wilson for the album, 'Prez and Teddy', also recording the album, 'Jazz Giants '56'. That same year he toured Europe with both Miles Davis and the Modern Jazz Quartet. He also performed engagements at the Patio Lounge in Washington D.C.. Young gave his last performances in Paris in March of 1959 per above. He died that year within hours of returning to NYC, having drank himself to death. His long-time friend, Holiday, died four months later, she also a heavy drinker. Young is said to have coined the colloquialisms, "cool" for fashionable and "bread" for money. Most of the earlier examples below are with Basie.

Lester Young   1936

   Boogie Woogie

      With Count Basie

   Oh, Lady Be Good

      With Count Basie

   Shoe Shine Boy

      With Count Basie

Lester Young   1937

   Swingin' the Blues

      With Count Basie

Lester Young   1938

   Allez Oop

      With Count Basie

   Way Down Yonder In New Orleans

      With the Kansas City Six

Lester Young   1939

   Exactly Like You

      With Glenn Hardman

   Lester Leaps In

   You Can Depend On Me

      With Count Basie   Vocalist: James Rushing

Lester Young   1940

   Blues for Greasy

   Take It, Pres

      Count Basie Orchestra

   Wholly Cats

      Guitar: Charlie Christian   Piano: Count Basie

Lester Young   1946

   It's Only A Paper Moon

Lester Young   1948

   Just You, Just Me

      Drums: Roy Haynes

   Mean to Me

      Drums: Roy Haynes   Piano: Junior Mance

   Sweet Georgia Brown

      Drums: Roy Haynes

Lester Young   1949

   Be Bop Boogie

      Drums: Roy Haynes   Piano: Junior Mance

   Blues n' Bells

      Drums: Roy Haynes   Piano: Junior Mance

   I Cover the Waterfront

Lester Young   1951

   Ghost of a Chance

Lester Young   1955

   One O'Clock Jump

      Bass: Ray Brown   Piano: Oscar Peterson

      Drums: Buddy Rich   Trumpet: Sweets Edison

Lester Young   1956

   All of Me

      Piano: Teddy Wilson

Lester Young   1957

   Waldorf Blues

Lester Young   1958

   Mean to Me

      Live performance


Birth of Swing Jazz: Lester Young

Lester Young

Source: Soose Blues & Jazz

Birth of Swing Jazz: Buck Clayton

Buck Clayton

Source: Brown Bag Discussion Group


Born in 1911 in Parsons, Kansas, arranger and trumpeter Buck Clayton formed his first band in 1929 upon graduating from high school. Five years later he took off for Shanghai and played jazz with Chinese musicians. Upon his return he first recorded with Count Basie on January 21, 1937, in NYC: 'Honeysuckle Rose', 'Pennies from Heaven', 'Swingi' at the Daisy and 'Roseland Shuffle'. While he was with Basie he also recorded with Teddy Wilson, therefore Billie Holiday as well. Clayton's first titles with Wilson's orchestra were on January 25, 1937: 'He Ain't Got Rhythm', 'This Year's Kisses', 'Why Was I Born?' and 'I 'Must Have that Man'. Future sessions followed with Wilson, after which Clayton would record with Billie Holiday & Her Orchestra. Though Clayton also freelanced, he stayed with Basie until he was drafted in 1943. Upon honorable discharge he put together a band in NYC called the Buck Clayton Quintet and recorded four titles on June 7: 'Diga Diga Doo', 'Love Me or Leave Me', 'We're in the Money' and 'B.C. Blues'. Though Clayton thereafter recorded prolifically with his own ensembles he began arranging for Basie in 1946, as well as Benny Goodman and Harry James. He also joined Norman Granz’s Jazz at the Philharmonic (JATP). The following year he served a residency at the Café Society in NYC. Clayton took his band to France in 1949, then Italy in 1953. He also toured Japan, Australia and New Zealand in 1964, then England in 1965. During the fifties and sixties his career would consist of shuttling between France, England and the States on various occasions. Due to lip surgery Clayton ceased playing trumpet in 1972. He made an attempt to perform during a tour of Africa in 1977, but had to give it up permanently in 1979. Clayton's autobiography, 'Buck Clayton’s Jazz World', was published in 1986, the same year he formed his last band, to tour internationally. Clayton died in his sleep in New York City in 1991.

Buck Clayton   1937

   Why Was I Born

      With Billie Holiday

   Swingin’ at the Daisy Chain

Buck Clayton   1942

   St. Louis Blues

Buck Clayton   1949

   Good Morning Blues

      Guitar: Charlie Christian   Saxophone: Lester Young

Buck Clayton   1953

   The Huckle-Buck

      With Joe Newman

   Sentimental Journey

Buck Clayton   1955

   Rock-A-Bye Basie

      With Coleman Hawkins

Buck Clayton   1958

   All Of Me

      Live performance

Buck Clayton   1961

   Outer Drive

      Live performance

   Rompin' at Red Bank

      With Buddy Tate

   Stomping at the Savoy

      Live performance

   Thou Swell

      With Buddy Tate

   Why Can't We Be Friends

      With Buddy Tate

Buck Clayton   1967

   My Romance

      Tenor sax: Ben Webster



Born in 1910 in Lakewood, Ohio, Sammy Kaye got his first real start in 1938 with his own orchestra, billing at the Commodore Hotel, where Tommy Dorsey had been playing. Also a vocalist, Kaye would become known for "sweet" swing (dance music originating and popular in hotels). Though Kaye played both saxophone and clarinet he never performed or recorded solos. He died in Manhattan in 1987.

Sammy Kaye   1937

   Swing and Sway

Sammy Kaye   1938

   Love Walked In

Sammy Kaye   1941


Sammy Kaye   1946

   The Old Lamplighter

      Vocal: Billy Williams

Sammy Kaye   1951

   Goodnight Sweetheart

   I Love You Because


Birth of Swing Jazz: Sammy Kaye

Sammy Kaye

Photo: James Kriegsmann

Source: Wikiwand


Born Gordon Lee Beneke in 1914 in Fort Worth, Texas, Tex Beneke was a singer who began playing saxophone professionally in 1935 with bandleader, Ben Young. In spring of 1938 Beneke was hired by Glenn Miller (who began calling him "Tex"). Recommended to Miller by Gene Krupa, Beneke shared tenor sax with Stanley Aronson on his first recordings with Miller's band on May 23, 1938, two takes each of 'Don't Wake Up My Heart', 'Why'd Ya Make Me Fall in Love?', 'Sold American' and 'Dippermouth Blues'. Proving to be a talent of first order, Miller held on to Beneke thereafter, they next to record for NBC radio from the Paradise Restaurant in NYC on four occasions in June.  The earliest example found featuring Beneke at saxophone is alongside sax man, Al Klink, in 'In the Mood' in 1939 (both featured below in a 1941 version as well). Beneke was also a highly popular vocalist with Miller before assuming leadership of Miller's orchestra upon Miller's death (1944). Beneke, however, first joined the Navy and led a military band in Oklahoma before taking over the Glenn Miller orchestra in 1945. Beneke's first issues as leader of that band were from a session on February 21, 1946: 'One More Tomorrow', 'Swing Low, Sweet Chariot', 'I'm Headin' for California' and 'It Couldn't Be True'. He finally left the Miller ghost band in 1949 to form his own in 1950, but would always be a swing musician maintaining Miller style. Beneke died of respiratory failure in Costa Mesa, California, in 2000. Most of the tracks below are with the Glenn Miller operation.

Tex Beneke   1938

   Sold American

Tex Beneke   1939

   In the Mood

Tex Beneke   1941

   Chattanooga Choo Choo

      Film: 'Sun Valley Serenade'

   In the Mood

      Film: 'Sun Valley Serenade'

Tex Beneke   1942

   Gal in Kalamazoo

      Film: 'Orchestra Wives'

Tex Beneke   1946

   Blue Skies

   A Girl In Calico

   Give Me Five Minutes More


   In the Mood


      With Lillian Lane

   The Woodchuck Song

Tex Beneke   1965

   Chattanooga Choo Choo

        Film   With Paula Kelly & the Modernaires


Birth of Swing Jazz: Tex Beneke

Tex Beneke

Source: Obits in Orbit

  Born in 1916 in Pittsburgh, PA, arranger, trumpeter and composer, Billy May, began his career with swing and would come to compose for film and television. At first playing tuba in high school, his initial notable employment was in 1938, arranging for the Charlie Barnet Orchestra. His first titles to be issued as an arranger with Barnet were RCA Thesaurus radio transcriptions on May 16 in New York City. Among titles arranged for Barnet in 1939 was Ray Noble's 'Cherokee'. He doesn't appear to have played trumpet with Barnet until August that year at the Palomar Ballroom radio transcriptions in Hollywood. ('The Duke's Idea' below is from a later session for the Bluebird label). May would record frequently with Barnet into the sixties. Composing numerously with Barnet, a few of his titles were 'The Wrong Idea', 'Lumby' and 'Wings Over Manhattan'. While yet with Barnet May arranged and played trumpet for Glenn Miller on numerous titles in various venues from 1940 to '42. He was featured on trumpet in 'Anvil Chorus' in 1941, as well as on muted trumpet on 'Song of the Volga Boatmen' (both below per 1941). May would arrange for Glenn Miller ghost bands in '51 and '54. (1942 was the year that Miller wrapped up his band to join the Army per World War II, to be killed in 1944.) After Glenn Miller May arranged for what would seem the heavenly host of jazz, among them, Tex Beneke, Ray Anthony, Harry James, Georgie Auld, Les Brown, George Shearing and Glen Gray. He was a staff arranger for NBC radio, then Capitol Records. His initial issues as a band director were for Capitol in December of 1945: 'Body and Soul', 'Honeysuckle Rose', 'Sweet Lorraine' and 'Sunset and Vine Blues' among others that month. May composed 'Sparky's Magic Piano' in 1948 with pianist, Ray Turner. In 1952 he issued his LP, 'A Band Is Born', containing the track, 'Charmaine'. 'A Big Band Bash' followed the same year. In 1956 May and his orchestra appeared in the film, 'Nightmare'. Among May's compositions for television were 'Somewhere in the Night' in 1960 for the 'Naked City' series. He would work with Nelson Riddle for that show. Among the films for which he composed were 'Sergeants 3' ('62) and 'Johnny Cool' ('63). Among the vocalists with whom May worked were Ella Mae Morse, Frank Sinatra, Keely Smith, Bing Crosby, Jeri Southern, Anita O'Day, Mel Tormé, Nancy Wilson, Bobby Darin, Ella Fitzgerald and Peggy Lee. Having released nearly thirty albums as a leader or co-leader into the latter seventies, May died in January of 2004 in San Juan Capistrano, California. Per 1959 below, 'Just One of Those Things' is a sample of May arranging Cole Porter compositions.

Billy May  1939

  The Duke's Idea

      With Charlie Barnet

     Lead trumpet among four may be Bob Burnet

Billy May  1941

  Anvil Chorus

      With Glenn Miller

   Song of the Volga Boatmen

      With Glenn Miller

Billy May  1948

   Sparky's Magic Piano

      Part 1

   Sparky's Magic Piano

      Part 2

   Sparky's Magic Piano

      Part 3

Billy May  1952

  All of Me

      LP: 'A Band Is Born'


      LP: 'A Band Is Born'

   If I Had You

      LP: 'A Band Is Born'

   My Silent Love

      LP: 'A Band Is Born'


      LP: 'Big Band Bash'

Billy May  1956

   The Man with the Golden Arm

Billy May  1958

  Big Fat Brass

      Side 1

   Big Fat Brass

      Side 2

Billy May  1959

  Just One of Those Things

      LP: ''Anita O'Day Swings Cole Porter'

Billy May  1960

  The Odd Couple Theme

Billy May  1962

  Once Again

      LP: 'Process 70'


Birth of Swing Jazz: Billy May

Billy May

Source: Rate Your Music

Birth of Swing Jazz: Jimmy Blanton

Jimmy Blanton

Source: Sooze Blues & Jazz


Born in 1918 in Chattanooga, Tennessee, phenomenal double bassist Jimmy Blanton joined the Jeter-Pillars Orchestra upon graduating from college. Briefly afterward Blanton began working with Duke Ellington, with whom he first recorded during an NBC radio broadcast from the Coronado Hotel in St. Louis, Missouri, on November 1, 1939. Those titles were 'Pyramid', 'Pussy Willow' and 'I'm Checkin' Out, Goom Bye'. Release dates aren't known and it generally took took a couple months for companies to issue recordings not in a rush, but a 1939 issue date was possible. Blanton also played bass on titles recorded that month (November) by Barney Bigard: 'Minuet in Blues', 'Lost in Two Flats' and 'Honey Hush'. Blanton was highly favored by Ellington and continued with him throughout his entire brief career. They recorded 'Blues' and 'Plucked Again' on November 22 of '39, then more radio broadcasts while on tour. They recorded 'Body and Soul' and 'Mr. J.B. Blues' in Chicago on October 1, 1940, among other titles on that occasion. Unfortunately Blanton's last recording sessions were in September and October of 1941. On September 29 he laid tracks in Hollywood with Bigard again: 'Brown Suede', 'Noir Bleu', 'C Blues' and 'June'. His last titles with Ellington were during a Kraft Music Hall radio broadcast in Hollywood on October 9: 'Take the 'A' Train' and 'Flamingo'. Blanton then entered a sanatorium for tuberculosis, of which he died in California in July 1942, only 23 years of age. Blanton is featured with Ellington on all tracks below.

Jimmy Blanton   1940

   Body and Soul

   Ko Ko

   Mellow Tone

   Mr. J.B. Blues

   Pitter Panther Patter

   Sophisticated Lady

Jimmy Blanton   1941

   Jive Rhapsody



Birth of Swing Jazz: Charlie Christian

Charlie Christian

Source: New Vintage Guitars

Born in 1916 in Bonham, Texas, though raised in Oklahoma City, Charlie Christian was too talented to play guitar only to keep rhythm, thus was instrumental in helping to make the guitar a primary solo instrument in modern jazz. He had made a name for himself in the Midwest when he was discovered by Mary Lou Williams. Having switched from acoustic to electric guitar about 1936, Williams referred Christian to record producer, John Hammond, who in turn referred him to Benny Goodman. It's thus Goodman with whom Christian made his debut recordings per the 'Hollywood Bowl' Camel Caravan broadcast in Los Angeles on August 19, 1939: 'Flying Home' and 'Jumpin' at the Woddside'. The majority of the examples of Christian below are with Goodman. Playing with all the big names from Buck Clayton to Fletch Henderson to Count Basie, Christian was among the first to employ the electric guitar. (Others were Alvino Rey, George Barnes and T-Bone Walker.) Christian joined Goodman about the middle of the swing era (oft rigidly demarcated from 1935-'46, generally figured in this history from development to decline from 1930-'50) but pursued bebop with Dizzy Gillespie as well. Christian and Gillespie had recorded some tracks together with Lionel Hampton's band in 1939. They also left tracks at Minton's Playhouse in Harlem in 1941, among them 'Up on Teddy's Hill' and 'Down on Teddy's Hill'. He participated as a leader on recordings at Milton's. Unfortunately Christian had little opportunity to greater advance, as he died of tuberculosis March 2, 1942. Christian was inducted into the Rock & Roll Hall of Fame in 1990.

Charlie Christian   1939

   Flying Home

   I Never Knew

      Trumpet:  Buck Clayton

   Rose Room

       Piano:  Fletcher Henderson

   Roast Turkey Stomp


Charlie Christian   1940

   Poor Butterfly

   With Lionel Hampton

   Till Tom Special

      With Lionel Hampton and Count Basie

Charlie Christian   1945

   Echoes of Harlem



Born in 1915 in Pittsburgh, vocalist Billy Eckstine first recorded with Earl Hines on February 13, 1940, in New York City: 'My Heart Beats for You'. Eckstine stayed with Hines' orchestra, releasing such as 'Jelly, Jelly' and 'Stormy Monday Blues', until 1942. Tom Lord's discography lists his last session with Hines on March 19, resulting in 'She'll Always Remember', 'Skylark', 'Second Balcony Jump' and 'Stormy Monday Blues'. Eckstine recorded a jam with Charlie Parker in Chicago in February of '43 before scratching his first issues as a leader, recorded April 13, 1944, back in NYC. His DeLuxe All Star Band put down 'I Got a Date with Rhythm', 'I Stay in the Mood for You' and 'Good Jelly Blues' for the Deluxe label. Like Frank Sinatra, his major rival, Eckstine would bring jazz crooning into the popular vein and is a bridge from late swing to modern jazz. He recorded his last album with Benny Carter in 1986: 'Billy Eckstine Sings with Benny Carter'. Eckstine died in March of 1993. More of Eckstine under Art Blakey in Jazz 9.

Billy Eckstine   1940

   My Heart Beats for You

     Leader/Piano: Earl Hines

     1st vocal issued with Earl Hines

Billy Eckstine   1942

   Stormy Monday Blues

     Leader/Piano: Earl Hines

      Original composition: T-Bone Walker

Billy Eckstine   1944

   Good Jelly Blues/I Stay In the Mood For You

     1st recordings issued as a leader

Billy Eckstine   1945

   I Love The Rhythm In A Riff

   Prisoner of Love

Billy Eckstine   1946

   Cool Breeze

Billy Eckstine   1947

   Blues For Sale

   Everything I Have Is Yours

Billy Eckstine   1948

   Blue Moon

Billy Eckstine   1949


   My Foolish Heart

Billy Eckstine   1950

   I Apologize


Birth of Swing Jazz: Billy Eckstine

Billy Eckstine

Photo: William P. Gottlieb

Source: Time Goes By


BBorn in 1916 in Muscogee, Oklahoma, bandleader and pianist Jay McShann left Oklahoma for the Kansas City music scene in 1936, forming his own orchestra that same year. He was with his band in Wichita, Kansas, when he was recorded live at the Trocadero Ballroom on August 9, 1940: 'Jumpin' at the Woodside' and 'Walkin' and Swingin'. Those aren't thought to have been issued until several decades later. More broadcasts followed in November and December from KFBI Radio to be issued by Onyx, 'I've Found a New Baby' and 'Body and Soul' from November. McShann won a contract with Decca in 1941, his first recordings for that label in Dallas, Texas, on April 30, 1941: 'Swingmatism', 'Hootie Blues' 'Dexter Blues', 'Vine Street Boogie', 'Confessin' the Blues' and 'Hold 'Em Hootie'. McShann's 'Get Me on Your Mind' sat at #7 on Billboard's R&B in 1943. McShann and/or his orchestra were giant magnets in support of other musicians. Significantly so was vocalist, Jimmy Witherspoon, with whom he began to work after World War II, having been drafted in 1944. McShann backed Witherspoon in 1945-48, later in '57 and '59. His first titles with Witherspoon had been in July of '45 with his Jazz Men: 'Confessiin the Blues' and 'Hard Working Man Blues'. His last in circa January of 1959 were such as 'Goin' Down Slow' and 'I'll Get By'. We back up to 1949 for McShann's second Top Ten R&B title, 'Hot Biscuits', that reaching #9. In 1955 McShann backed Kansas City rocker, Priscilla Bowman, on titles like 'Hands Off' and 'Hootie Blues'. The former topped Billboard's R&B at #1. Highlighting the sixties came saxophonist/vocalist, Eddie Cleanhead Vinson, for numerous recordings in Paris in 1969, later at the 1973 Newport Jazz Festival (at Lincoln Center in NYC) and, finally, the Montreux Jazz Festival in Switzerland in 1974 to bear Vinson's 'Jamming the Blues'. Highlighting the seventies were dual pianos with Ralph Sutton in December of 1979, those to be found on Vol 1 & 2 of 'The Last of the Whorehouse Players'. McShann and Sutton would put two pianos to use again in 1989 for a third issue of 'The Last of the Whorehouse Players'. Dual pianos would come into play again with Axel Zwingenberger at the Jazzland in Vienna, Austria, in March of 1990 for titles that would see issue on 'Swing the Boogie' and 'Blue Pianos'. McShann followed those with June sessions which titles would appear on 'Stride Piano Summit' in 1991. McShann also appeared on 'Eastwood After Hours' released in 1997, an album by various artists in honor of actor, Clint Eastwood, recorded at Carnegie Hall in 1996. McShann is thought to have made his last recordings in Toronto, Ontario, in February 2001 for an album that would be issued as 'Hootie Blues' in 2006 a couple months before his death in June that year, his career spanning more than six decades. Discogs proffers this list of titles by McShann with songwriting credits. See recordings w Charlie Parker as well. More Jay McShann in Blues 4.

Jay McShann   1941

   Dexter Blues

       Composition: Jay McShann

   Body and Soul

       Saxophone: Charlie Parker

       Composition: See Wikipedia

   Hold 'Em Hootie

       Composition: Jay McShann

   Lady Be Good

       Saxophone: Charlie Parker

       Composition: George & Ira Gershwin

Jay McShann   1944

   Come On Over to My House

       Vocal: Julia Lee

       Composition: Julia Lee

Jay McShann   1946

   I Want a Little Girl

       Vocal: Jimmy Witherspoon

       Composition: Murray Mencher/Billy Moll

Jay McShann   1949

   Hot Biscuits

       Composition: Jay McShann

Jay McShann   1981

   Jump the Blues

       Live performance

       Composition: Jay McShann


Birth of Swing Jazz: Jay McShann

Jay McShann

Source: Kickmag


Born in Husum, Sweden, in 1919, pianist, Reinhold Svensson, is a more obscure figure in jazz as a Scandinavian musician. But he was an important figure in the development of swing jazz culture in Stockholm, a rather more remote region in Svensson's time than now. Scandinavian and Eastern European musicians trail rather behind the rest of Europe in Jazz. Great Britain, for example, was producing jazz musicians in the second decade of the century and going strong in the twenties. France was host to big names such as swing musicians, Django Reinhardt and Stephane Grappelli, in the thirties. But distance and world events didn't hear Scandinavian or Eastern European musicians making a lot of a noise in the world of jazz until the sixties, some to found in Sixties International Jazz. Svensson became blind of unknown causes some time after his birth. He graduated in organ in 1941 from the Royal College of Music in Stockholm. It was December that year that he first recorded for vinyl with the Sonora (Swing) label in Sweden, a couple piano solos: 'Ain't Misbehavin'' and 'Body And Soul'. Another discography shows those released for the Tono label in Denmark as well, as recordings by Sonora often were. 'Rosetta'/'Tea for Two' was issued in 1942 by Sonora, recorded September 8th. On November 11 he set tracks with No Sisters(ville), also by Sonora: 'Jersey Bounce' and 'Blues in the Night'. Those were with the ensemble of violinist, Hasse Kahn, of immediate importance to Svensson's career, laying tracks with Kahn on November 25 of 1943: 'At a Dixie Roadside Dinner' and 'A Nightingale Sang in Berkeley Square'. Svensson would back Kahn on numerous occasions into the latter forties. On February 5, 1944, he recorded the organ solos, 'Jazz Me Blues'/'That's a Plenty'. In 1945 he recorded 'Roses of Picardy' and 'Tango Illusion' with violinist, Ake Jelving, also Sonora. Svensson put down some tunes for Odeon with his Trio on April 2, 1947. With himself at piano, Kalle Lohr on guitar and Roland Bengtsson on bass he put down 'Begin the Beguine', Yesterdays', 'Sinbad the Sailor' and 'Estrella'. He switched to Cupol for his next Trio recording, also exchanging Lohr for Georg Oddner on drums: 'What Is This Thing Called Love?' and 'I Can't Get Started'. Svensson would record numerously as a leader of smaller ensembles into the latter fifties. The most important figure to his career was Putte Wickman whose sextet he joined in 1949, his initial tracks with Wickman: 'Liza' and 'Blue Skies' on January 26. Svensson would stick with Wickman the remainder of his career, his last recordings to be with a Wickman sextet in 1960 ('Low Some' among four). Svensson also first recorded with alto saxophonist, Arne Domnérus and trumpeter, Gosta Torner, in 1949, to issue 'Sweet Sue, Just You' and 'Exactly Like You'. That was followed by his organ solos, '12th Street Rag' and 'Tiger Rag' on March 8th. On May 24, of '49 Svensson's Kvartett recorded 'I'm Getting Sentimental Over You'/'Memories Of Paris' and 'I Surrender, Dear'/'There's a Small Hotel', again Sonora. Among the highlights of Svensson's career was his trip to France with Wickman, Domnérus and Torner in 1949 to record at the Paris Jazz Festival in May, 'Indiana' among them. Another big figure entered Svensson's space in 1950, his first recordings with harmonica player, Toots Thielemans, on November 23 in the latter's Trio with Sven Stiberg at banjo: Jazz Me Blues' with 'Black Eyes'. More sessions with Thielemans followed to January of '51, then later in '59. By 1950 Svensson was among Sweden's main talents on keys, having accomplished Sonora's purpose, to spread swing jazz in Sweden. He and Wickman were an especially powerful combination. They were among the names who played at the Nalen nightclub with Wickman's house band, the Nalen being Stockholm's jazz hotbed where musicians from Europe and the United States inevitably performed on tour. Thus Svensson's reputation began to grow internationally, though less so with fans than musicians. By that time Stockholm was producing musicians who could well hold their own with those from the Continent, the U.K. and the U.S.. Svensson had also recorded as Ralph Bell in the early fifties. In the latter fifties he expanded into film and theatre. During that period he also issued numerous duets with boogie woogie pianist, Charlie Norman, as Ralph and Bert Berg (Metronome) as well as the Olson Brothers (Metronome and Musica). Svensson died in November of 1968. Per below, the list reflects Svensson's early career and varietal repertoire apart from Wickman, with the track in 1958 lending a taste of what Wickman had been doing at the Nalen.

Reinhold Svensson   1944

  Song of Paradise

    Violin: Einar Groth

  Song of Songs

    Violin: Einar Groth

Reinhold Svensson   1949

  How Deep Is the Ocean

  I've Got My Love to Keep Me Warm

Reinhold Svensson   1951

  Flying Home

  I Wished Upon the Moon

Reinhold Svensson   1954

  Den Gula Paviljongen


Reinhold Svensson   1955


Reinhold Svensson   1958

  Softly As In a Morning Sunrise

    Clarinet: Putte Wickman


Birth of Swing Jazz: Reinhold Svensson

Reinhold Svensson

Source: Discogs
Birth of Swing Jazz: Don Fagerquist

Don Fagerquist

Source: Le Coeur Qui Jazze

Born in 1927 in Worcester, Massachusetts, Don Fagerquist was sixteen when he hired on to the band of Mal Hallett in 1943. He joined Gene Krupa's band in 1944, with whom he is thought to have first recorded in August that year as first of four trumpeters in Krupa's band. That was for a radio broadcast at the Hotel Astor in New York City. A few more radio broadcasts followed before Fagerquist's first studio date with Krupa in November, yielding for Columbia: 'What is There To Say' unissued, 'I Walked In (With My Eyes Wide Open)' and 'I'll Remember Suzanne'. Fagerquist continued recording with Krupa into latter 1950. He was first trumpet in Artie Shaw's outfit about the same time, his debut titles with Shaw being the Thesaurus transcriptions of December 1, 1949, in New York City, 'So Easy' among those titles. Fagerquist was also a member of Shaw's Gramercy Five before further Thesaurus transcriptions recorded in January of 1950, 'Fred's Delight' among them. Upon leaving Krupa in NYC Fagerquist joined Woody Herman's operation in California, his first recordings with Herman on May 15, 1951, at the Hollywood Palladium. Among those titles were two peformances of 'Perdido'. Fagerquist met trumpeter, Shorty Rogers, while with Herman, he later to record numerously for Rogers. Following Herman came Les Brown. Fagerquist first recorded with Brown in Hollywood in latter 1952, followed him back to New York City to lay tracks for the Coral label, then remained with Brown's band back in Hollywood into 1956. Fagerquist met tenor saxophonist, Dave Pell, in Brown's band. He would record with Pell numerously, beginning with the 1953 release of 'The Dave Pell Octet Plays Irving Berlin'. In January of 1956 Fagerquist would record 'West Coast vs East Coast - A Battle of Jazz' with Leonard Feather's West Coast Jazz Stars. Piano by Pete Rugolo was added, a figure with whom Fagerquist would issue often. Fagerquist led his own octet for titles recorded in two sessions in latter 1957. Among his most important musical associates in the sixties was Nelson Riddle. Poor health forced Fagerquist to retire by 1970. Tom Lord's discography has his last sessions with Charlie Barnet in Hollywood in December of 1969. He died in California in January 1974.

Don Fagerquist   1944

   I'll Remember Suzanne

      With Gene Krupa and the G-Notes

   I Walked In

       With Gene Krupa

Don Fagerquist   1950

   Fred's Delight

      With Artie Shaw

Don Fagerquist   1950

   Love Is Just Around the Corner

Don Fagerquist   1957

   All the Things You Are

  Easy Living

  Easy to Love

  Lullaby of Broadway

  Smoke Gets In Your Eyes

  The Song Is You

Don Fagerquist   1963

   All The Things You Are

      Ella Fitzgerald & the Nelson Riddle Orchestra


  Born in 1923, Remo Palmier (Palmieri) had originally intended to become an artist, supporting his studies by playing guitar. It was 1942 when he decided to make music his career, forming a trio with guitarist Nat Jaffe and bassist Leo Guarnieri. None of his first four recordings with that trio in 1944 are found for this history: 'Blues In Nat's Flat', 'These Foolish Things', 'A Hundred Years From Today' and 'If I Had You'. While with the Nat Jaffe Trio Palmier worked briefly with sax player Coleman Hawkins  in 1943, then with vibraphonist Red Norvo in 1944. Though Palmier recorded as late as 1985 he is most remembered as a swing musician, due largely to a career as an uncredited accompanist. Indeed, he worked for CBS for 27 years with the Arthur Godfrey Show. In 1952 Palmier changed his name from Palmieri to avoid confusion with the Puerto Rican bandleader, Eddie Palmieri. Upon the cancellation of the Arthur Godfrey Show in 1972 Palmier began playing nightclubs in New York. He continued performing well into the nineties, also teaching guitar. Palmier died in 2002.

Remo Palmier   1944

   Seven Come Eleven

      Vibes: Red Norvo

   Wrap Your Troubles in Dreams

      Clarinet: Barney Bigard

Remo Palmier   1945

   All the Things You Are

      Trumpet: Dizzy Gillespie

   Time After Time

      Vocal: Sarah Vaughan


Birth of Swing Jazz: Remo Palmier

Remo Palmier

Photo: Phil Lindsay

Source: Discogs


With Remo Palmier we pause this history. We will be adding more material as such occurs.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Modern Blues 3: Black Gospel Appendix


Medieval - Renaissance


Galant - Classical

Romantic: Composers born 1770 to 1840

Romantic - Impressionist

Expressionist - Modern

Modern: Composers born 1900 to 1950




Country Western


Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Other Instrumentation

Early Jazz 3: Ragtime - Song - Hollywood

Swing Era 1: Big Bands

Swing Era 2: Song

Modern 1: Saxophone

Modern 2: Trumpet - Other Horn

Modern 3: Piano

Modern 4: Guitar - Other String

Modern 5: Percussion - Other Orchestration

Modern 6: Song

Modern 7: Latin Jazz - Latin Recording

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

Rock & Roll

Early - Boogie Woogie - R&B - Soul - Disco

Doo Wop

The Big Bang - Fifties American Rock

UK Beat

British Invasion

Total War - Sixties American Rock

Other Musical Genres - Popuar Music Appendix

Musician Indexes

Classical - Medieval to Renaissance

Classical - Baroque to Classical

Classical - Romantic to Modern

The Blues

Bluegrass - Folk

Country Western

Jazz Early - Ragtime - Swing Jazz

Jazz Modern - Horn

Jazz Modern - Piano - String

Jazz Modern - Percussion - Latin - Song - Other

Jazz Modern - 1960 to 1970

Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco

UK Beat - British Invasion

Sixties American Rock - Popular

Latin Recording - Europe

Latin Recording - The Caribbean - South America


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