Ted Lewis & His Band
120770bk TedLewis 8/7/05 4:20 PM Page 8
The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series …
8.120712 8.120762 8.120768 Available in our companion series Naxos Nostalgia …
8.120535 8.120628 8.120645
These titles are not for retail sale in the USA 120770bk TedLewis 8/7/05 4:20 PM Page 2
TED LEWIS & HIS BAND Personnel Tracks 1, 3–6 & 20: Walter Kahn, Dave Klein, Track 17: Muggsy Spanier, Dave Klein, cornets; ‘Is Everybody Happy?’ Original Recordings 1923-1931 cornets; George Brunies, Harry Raderman, George Brunies, Harry Raderman, trombones; trombones; Ted Lewis, clarinet, alto sax; Sol Ted Lewis, Benny Goodman, clarinet, alto sax; Klein, violin; Dick Reynolds, piano; Tony Louis Martin, alto & baritone sax; Hymie As the jazz and dance band world of the 1920s he had formed his first band and the next year Gerhardi, banjo, guitar; Harry Barth, tuba; Wolfson, tenor sax; Sam Shapiro, Sol Klein, and ’30s continues to fade into oblivion, only moved to New York. By mid-decade, he was John Lucas, drums violin; Jack Aaronson, piano; Tony Gerhardi, the most powerful images retain their vividness. performing with a comedian named Eddie Lewis, Track 2: Walter Kahn, Dave Klein, cornets; banjo, guitar; Harry Barth, bass, tuba; John One of the most indelible of these is an resulting in an erroneous billing listing the team Lucas, drums impeccably dressed man with a clarinet and a as Lewis and Lewis. ‘Ted Lewis’ sounded better Harry Raderman, trombone; Ted Lewis, clarinet, alto sax; Harry Barth, tuba; Dick Track 18: Muggsy Spanier, Dave Klein, cornets; battered top hat, leading a dance band that than ‘Ted Friedman’ so the young vaudevillian Reynolds, piano; Vic Carpenter, banjo; John George Brunies, Sam Blank, trombones; Benny entertained millions during the turbulent changed his name. Lucas, drums Goodman, clarinet, alto sax; Louis Martin, alto twenties. Ted Lewis began with a dance band After working at the College Arms Cabaret, Tracks 7-13: Walter Kahn, Dave Klein, cornets; & baritone sax; Hymie Wolfson, tenor sax; Sam but his vaudeville smarts enabled him to outlast Lewis joined Earl Fuller’s Rector Novelty Shapiro, Sol Klein, violin; Fats Waller, piano; the Depression, defying plummeting record sales Orchestra at Rector’s Restaurant, becoming a George Brunies, Harry Raderman, trombones; Ted Lewis, clarinet, alto sax; Don Murray, Tony Gerhardi, banjo, guitar; Harry Barth, bass, by doffing his hat, pointing his jaunty clarinet to sensation with his antics on the clarinet. In tuba; John Lucas, drums the heavens and asking the musical question, ‘Is 1917, the success of the Original Dixieland Jass clarinet, alto, tenor & baritone sax; Sol Klein, violin; Frank Ross, piano; Tony Gerhardi, Track 19: Muggsy Spanier, cornet; George EVVrybody HAPPeeee?’ For many, the name Band at the rival Reisenweber’s Café resulted in banjo, guitar; Harry Barth, tuba; John Lucas, Brunies, trombone; Ted Lewis, Benny Ted Lewis means pure, unadulterated corn, out- Lewis accentuating the barnyard animal effects drums Goodman, clarinet, alto sax; Sam Shapiro, Sol of-date even in his own time. But there was a used by members of the ODJB. Two years later, Klein, violin; Jack Aaronson, piano; Tony lot more to Lewis’ music than his squeaky, he started Ted Lewis & his Band, taking Track 14-16: Muggsy Spanier, Dave Klein, cornets; George Brunies, Harry Raderman, Gerhardi, banjo, guitar; Harry Barth, bass, hokey clarinet playing and saccharine non- members of Fuller’s group with him. He also tuba; John Lucas, drums singing vocal style. On much of the music he began a long association with Columbia Records trombones; Ted Lewis, clarinet, alto sax; Frank waxed between 1923 and 1931 there exists that would last until 1933. It was during this Teschemacher, clarinet; Jimmy Dorsey, clarinet, alto & baritone sax; Sol Klein, violin; Jack some of the hottest jazz of the period. period that he made his most successful Aaronson, piano; Tony Gerhardi, banjo, guitar; Lewis was born Theodore Leopold Friedman recordings. Bob Escamilla, tuba; John Lucas, drums on 6 June 1892 in Circleville, Ohio. As a boy, he During this time, Lewis developed his image was excited when travelling circuses came to as a showman, adding a silk top hat to his town, triggering a desire to become a performer wardrobe, which he had won in a game of himself. Taking up the clarinet, Ted joined his chance with a hansom cab driver parked in front brother Edgar, a cornetist, in a local boys’ band. of Rector’s. He took to asking the rhetorical Although his parents tried sending him to question, ‘Is everybody happy?’ which soon business school, Lewis bolted and went into became his catchphrase. He didn’t sing his vaudeville when he was only fourteen. By 1910 songs as much as he talked them, in a sing-
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13. She’s Funny That Way 3:20 18. Dallas Blues 3:18 songy lilt that was parodied for years to come the early stage of jazz clarinet playing, in which (Richard Whiting–Neil Moret) (Lloyd Garrett–Hart A. Wand) (Al Jolson often comes to mind when listening to novelty effects reflected the inclination toward Ted Lewis, vocal Fats Waller, vocal & piano Lewis’ vocals). Billing himself as ‘the top-hatted broad entertainment that was prevalent in Columbia 1656-D, mx W 147696-2 Columbia 2527-D, mx W 151397-3 tragedian of jazz’, addressing his audience as vaudeville during this period. On occasion, Recorded 5 December 1928, New York Recorded 6 March 1931, New York ‘folks’, and using phrases like ‘yes, sir!’ ad Lewis also played alto sax, as you will hear on 14. You’ve Got That Thing 3:01 19. Dip Your Brush In The Sunshine (And nauseum, Lewis was the audiovisual embodiment one of his signature numbers, When My Baby (Cole Porter) Keep On Painting Away) 3:07 of a carnival barker (there is even a photograph Smiles At Me, and a mawkish version of The Introduced by Ted Lewis (J. C. Johnson–Andy Razaf) of Lewis in top hat and tails, leading his band- Sweeheart Of Sigma Chi. Columbia 2088-D, mx W 149613-2 Ted Lewis, vocal members, who are dressed as circus clowns). But there is another element to his playing Recorded 23 December 1929, New York Columbia 2467-D, mx W 151513-2 By 1925, Columbia was taking out full-page that differs from that of slap-tonguing 15. On The Sunny Side Of The Street 3:36 Recorded 13 April 1931, New York ads in The Talking Machine World, promoting his clarinettists like Boyd Senter and Wilton (Jimmy McHugh–Dorothy Fields) 20. Good Night 3:26 personality more than his dance band. Lewis’ Crawley, a more klezmer-like influence that no Ted Lewis, vocal (Irving Bibo–Con Conrad–Leo Wood) early recordings included jazz standards such as doubt stemmed from his Jewish roots. Listen to Columbia 2144-D, mx W 150043-2 Ted Lewis, vocal Tiger Rag and Tin Roof Blues as well as more The New St. Louis Blues and you will hear Recorded 28 February 1930, New York Columbia 1296-D, mx W 145420-4 sedate dance band numbers. By the late ’20s, elements of this, not only played by Lewis, but 16. Yellow Dog Blues 3:19 Recorded 16 December 1927, New York Lewis recognized the trend toward hotter music especially by violinist Sol Klein (several other (W. C. Handy) and began hiring superb jazz musicians, Lewis musicians were of Jewish heritage, Columbia 38842, mx W 150482-1 Transfers & Production: David Lennick including stalwarts Muggsy Spanier on trumpet including cornetist Dave Klein, saxophonist Recorded 18 April 1930, New York Digital Restoration: Graham Newton and George Brunies on trombone. But despite Hymie Wolfson, and violinist Sam Shapiro). Original monochrome photo of Ted Lewis from 17. Just A Gigolo 3:19 the high grade of musicianship in his band, the Despite Lewis’ injecting his overwhelming Max Jones Files/Redferns (Leonello Casucci–Irving Caesar) main drawing card was still Lewis himself. personality into his records, one can hear Ted Lewis, vocal In 1929, Columbia produced a special evidence of his skill as a bandleader, especially Columbia 2378-D, mx W 151206-1 record label just for Lewis’ recordings: a striking on those recorded in 1927 and ’28, when Lewis Recorded 13 January 1931, New York silver and black design complete with a hat- used the talented but doomed reedman Don doffing Lewis drawing along with an attention- Murray, an alumnus of the Jean Goldkette getting sleeve that featured additional emoting orchestra with Bix Beiderbecke. Murray livens Producer's Note poses by Lewis. Along with Columbia label up the otherwise ordinary novelty train song Ted Lewis was one of Columbia’s best-selling performers in 1923, and the Popular Favourites medley mates Paul Whiteman and Guy Lombardo, Ted Hello Montreal! with some lively clarinet and is one of his most frequently found discs. The reason? It was sold for twenty-five cents as a special Lewis and his Band was one of the best selling sax take-offs. Lewis’ hiring of Frank promotional record to demonstrate the new quiet surfaces of Columbia Records. A mint dealer-stock acts in show business; at his peak in the late Teschemacher and Jimmy Dorsey for several copy was played for the first time, for this compilation. And while Lewis may have gone out of fashion ’20s, Lewis was earning $10,000 a week from his sessions in 1929 and 1930, as well as landing after the early 1930s, some of his records were to remain popular for decades, such as Good Night, a highly successful stage shows. Benny Goodman in 1931 also evidence Lewis’ favourite sign-off theme on radio stations. Also in this collection are three sides (tracks 1, 12 and 16) Ted Lewis’ clarinet playing was a combina- eye for talented jazz reedmen. It is conceivable which are alternative takes to the originals, issued for the first time in 1950. David Lennick tion of different styles; first and foremost was to surmise that Ted Lewis may have wanted to
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be a jazz man but was either stuck in his ‘yes, Benny! Sky blue, Benny!’ By the time Muggsy 1. When My Baby Smiles At Me 3:15 6. Keep Sweeping the Cobwebs Off the sir!’ persona or could not play the hot style Spanier takes over with a muted trumpet solo, (Ted Lewis–Andrew Sterling–Billy Munro) Moon 2:58 himself. Lewis’ enthusiasm has become unbridled: ‘Paint Ted Lewis, vocal (Oscar Levant–Sam Lewis–Joe Young) At times, the Lewis bands of the late ’20s it red, Muggsy! Paint it red! Red hot! Red hot! Columbia 38843, mx W 142951-1 Ruth Etting, vocal and early ’30s swung as hard as the similarly That’s it!’ It’s probably Lewis’ best and most Recorded 22 November 1926, Chicago Columbia 1242-D, mx W 145395-2 constructed small groups led by the likes of natural moment on record and shows that his 2. Ted Lewis Popular Favorites 3:02 Recorded 23 December 1927, New York Frankie Trumbauer, Miff Mole and Red Nichols, love of jazz wasn’t just commercially minded. Comprising excerpts from: Poet And 7. A Good Man Is Hard To Find 2:50 even including a Venuti-like hot solo by Sol After he left Columbia in 1933, Ted Lewis Peasant Overture (Franz von Suppé)— (Eddie Green) Klein, with Harry Barth’s tuba assuming the role continued his career, surviving the Depression to Blues My Naughty Sweetie Gives To Me Ted Lewis, vocal played by bass saxophonist Adrian Rollini. become a relic of the ‘hotcha’ 1920s. He (N. Swanstone–Charles R. McCarron–Carey Columbia 1428-D, mx W 145798-4 Highlights of these years include recordings of appeared in motion pictures, including a Morgan)—Tell Me (Max Kortlander)— Recording 22 March 1928, New York songs such as Clarinet Marmalade and Yellow starring role in Here Comes the Band (1935) and Sally, Won’t You Come Back? (David 8. A Jazz Holiday 2:58 Dog Blues and the appearance of guest pianist was the subject of a screen biography, entitled Is Stamper–Gene Buck)—Georgette (Lew (W. Benton Overstreet–Lester Melrose) When My Baby Fats Waller on Dallas Blues, featuring one of Everybody Happy (1943), with Michael Duana Brown–Ray Henderson)— Ted Lewis, vocal Smiles At Me (Ted Lewis–Andrew Sterling Waller’s earliest vocal performances. playing Lewis. Satisfied with his place in history, Columbia 1525-D, mx W 145953-3 –Billy Munro) One of Ted Lewis’ chief admirers was Benny Lewis never tired of the caricature he created for Recorded 3 April 1928, New York Columbia 1-S, mx 81218-3 Goodman, another musician of Jewish heritage, himself, and parlayed it into a comfortable Recorded 13 September 1923, New York 9. Jungle Blues 2:47 who in his formative years played for tips doing denouement to his career. With his wife Adah (Jelly Roll Morton) an imitation of Lewis on the clarinet. On acting as his business manager, Lewis performed 3. The New St. Louis Blues 2:58 Columbia 1525-D, mx W 145954-4 13 April 1931, Goodman joined his former idol regularly until his retirement in 1965. He died in (W. C. Handy) Recording 3 April 1928, New York on what is considered by many to be Lewis’ 1971 at the age of 79. In 1977, his wife Columbia 697-D, mx W 142276-2 Recorded 3 June 1926, New York 10. Hello Montreal! 2:46 hottest recording, Dip Your Brush In The established the Ted Lewis Museum in his home (Mort Dixon–Billy Rose–Harry Warren) Sunshine, on which Lewis gets carried away by town of Circleville. 4. Some Of These Days 2:55 Ted Lewis, vocal Goodman’s virtuosity and absolutely revels in it, (Shelton Brooks) Columbia 1346-D, mx W 145707-D urging Benny on with exhortations of ‘Paint it, Cary Ginell – a winner of the 2004 ASCAP/Deems Sophie Tucker, vocal Recorded 22 March 1928, New York Benny! Paint it! Aww, do it, Benny! Paint it blue, Taylor Award for music journalism Columbia 826-D, mx W 142955-2 Recorded 23 November 1926, Chicago 11. Shim-Me-Sha-Wabble 3:00 (Spencer Williams) 5. The Sweetheart Of Sigma Chi 3:05 Columbia 1573-D, mx W 146642-3 (F. Dudleigh Vernor–Byron D. Stokes) Recorded 16 July 1928, New York Ted Lewis, vocal Columbia 1296-D, mx W 144990-4 12. Clarinet Marmalade 3:08 Recorded 18 November 1927, New York (Larry Shields–Henry Ragas) Columbia 38841, mx W 146643-1 Recorded 16 July 1928, New York
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be a jazz man but was either stuck in his ‘yes, Benny! Sky blue, Benny!’ By the time Muggsy 1. When My Baby Smiles At Me 3:15 6. Keep Sweeping the Cobwebs Off the sir!’ persona or could not play the hot style Spanier takes over with a muted trumpet solo, (Ted Lewis–Andrew Sterling–Billy Munro) Moon 2:58 himself. Lewis’ enthusiasm has become unbridled: ‘Paint Ted Lewis, vocal (Oscar Levant–Sam Lewis–Joe Young) At times, the Lewis bands of the late ’20s it red, Muggsy! Paint it red! Red hot! Red hot! Columbia 38843, mx W 142951-1 Ruth Etting, vocal and early ’30s swung as hard as the similarly That’s it!’ It’s probably Lewis’ best and most Recorded 22 November 1926, Chicago Columbia 1242-D, mx W 145395-2 constructed small groups led by the likes of natural moment on record and shows that his 2. Ted Lewis Popular Favorites 3:02 Recorded 23 December 1927, New York Frankie Trumbauer, Miff Mole and Red Nichols, love of jazz wasn’t just commercially minded. Comprising excerpts from: Poet And 7. A Good Man Is Hard To Find 2:50 even including a Venuti-like hot solo by Sol After he left Columbia in 1933, Ted Lewis Peasant Overture (Franz von Suppé)— (Eddie Green) Klein, with Harry Barth’s tuba assuming the role continued his career, surviving the Depression to Blues My Naughty Sweetie Gives To Me Ted Lewis, vocal played by bass saxophonist Adrian Rollini. become a relic of the ‘hotcha’ 1920s. He (N. Swanstone–Charles R. McCarron–Carey Columbia 1428-D, mx W 145798-4 Highlights of these years include recordings of appeared in motion pictures, including a Morgan)—Tell Me (Max Kortlander)— Recording 22 March 1928, New York songs such as Clarinet Marmalade and Yellow starring role in Here Comes the Band (1935) and Sally, Won’t You Come Back? (David 8. A Jazz Holiday 2:58 Dog Blues and the appearance of guest pianist was the subject of a screen biography, entitled Is Stamper–Gene Buck)—Georgette (Lew (W. Benton Overstreet–Lester Melrose) When My Baby Fats Waller on Dallas Blues, featuring one of Everybody Happy (1943), with Michael Duana Brown–Ray Henderson)— Ted Lewis, vocal Smiles At Me (Ted Lewis–Andrew Sterling Waller’s earliest vocal performances. playing Lewis. Satisfied with his place in history, Columbia 1525-D, mx W 145953-3 –Billy Munro) One of Ted Lewis’ chief admirers was Benny Lewis never tired of the caricature he created for Recorded 3 April 1928, New York Columbia 1-S, mx 81218-3 Goodman, another musician of Jewish heritage, himself, and parlayed it into a comfortable Recorded 13 September 1923, New York 9. Jungle Blues 2:47 who in his formative years played for tips doing denouement to his career. With his wife Adah (Jelly Roll Morton) an imitation of Lewis on the clarinet. On acting as his business manager, Lewis performed 3. The New St. Louis Blues 2:58 Columbia 1525-D, mx W 145954-4 13 April 1931, Goodman joined his former idol regularly until his retirement in 1965. He died in (W. C. Handy) Recording 3 April 1928, New York on what is considered by many to be Lewis’ 1971 at the age of 79. In 1977, his wife Columbia 697-D, mx W 142276-2 Recorded 3 June 1926, New York 10. Hello Montreal! 2:46 hottest recording, Dip Your Brush In The established the Ted Lewis Museum in his home (Mort Dixon–Billy Rose–Harry Warren) Sunshine, on which Lewis gets carried away by town of Circleville. 4. Some Of These Days 2:55 Ted Lewis, vocal Goodman’s virtuosity and absolutely revels in it, (Shelton Brooks) Columbia 1346-D, mx W 145707-D urging Benny on with exhortations of ‘Paint it, Cary Ginell – a winner of the 2004 ASCAP/Deems Sophie Tucker, vocal Recorded 22 March 1928, New York Benny! Paint it! Aww, do it, Benny! Paint it blue, Taylor Award for music journalism Columbia 826-D, mx W 142955-2 Recorded 23 November 1926, Chicago 11. Shim-Me-Sha-Wabble 3:00 (Spencer Williams) 5. The Sweetheart Of Sigma Chi 3:05 Columbia 1573-D, mx W 146642-3 (F. Dudleigh Vernor–Byron D. Stokes) Recorded 16 July 1928, New York Ted Lewis, vocal Columbia 1296-D, mx W 144990-4 12. Clarinet Marmalade 3:08 Recorded 18 November 1927, New York (Larry Shields–Henry Ragas) Columbia 38841, mx W 146643-1 Recorded 16 July 1928, New York
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13. She’s Funny That Way 3:20 18. Dallas Blues 3:18 songy lilt that was parodied for years to come the early stage of jazz clarinet playing, in which (Richard Whiting–Neil Moret) (Lloyd Garrett–Hart A. Wand) (Al Jolson often comes to mind when listening to novelty effects reflected the inclination toward Ted Lewis, vocal Fats Waller, vocal & piano Lewis’ vocals). Billing himself as ‘the top-hatted broad entertainment that was prevalent in Columbia 1656-D, mx W 147696-2 Columbia 2527-D, mx W 151397-3 tragedian of jazz’, addressing his audience as vaudeville during this period. On occasion, Recorded 5 December 1928, New York Recorded 6 March 1931, New York ‘folks’, and using phrases like ‘yes, sir!’ ad Lewis also played alto sax, as you will hear on 14. You’ve Got That Thing 3:01 19. Dip Your Brush In The Sunshine (And nauseum, Lewis was the audiovisual embodiment one of his signature numbers, When My Baby (Cole Porter) Keep On Painting Away) 3:07 of a carnival barker (there is even a photograph Smiles At Me, and a mawkish version of The Introduced by Ted Lewis (J. C. Johnson–Andy Razaf) of Lewis in top hat and tails, leading his band- Sweeheart Of Sigma Chi. Columbia 2088-D, mx W 149613-2 Ted Lewis, vocal members, who are dressed as circus clowns). But there is another element to his playing Recorded 23 December 1929, New York Columbia 2467-D, mx W 151513-2 By 1925, Columbia was taking out full-page that differs from that of slap-tonguing 15. On The Sunny Side Of The Street 3:36 Recorded 13 April 1931, New York ads in The Talking Machine World, promoting his clarinettists like Boyd Senter and Wilton (Jimmy McHugh–Dorothy Fields) 20. Good Night 3:26 personality more than his dance band. Lewis’ Crawley, a more klezmer-like influence that no Ted Lewis, vocal (Irving Bibo–Con Conrad–Leo Wood) early recordings included jazz standards such as doubt stemmed from his Jewish roots. Listen to Columbia 2144-D, mx W 150043-2 Ted Lewis, vocal Tiger Rag and Tin Roof Blues as well as more The New St. Louis Blues and you will hear Recorded 28 February 1930, New York Columbia 1296-D, mx W 145420-4 sedate dance band numbers. By the late ’20s, elements of this, not only played by Lewis, but 16. Yellow Dog Blues 3:19 Recorded 16 December 1927, New York Lewis recognized the trend toward hotter music especially by violinist Sol Klein (several other (W. C. Handy) and began hiring superb jazz musicians, Lewis musicians were of Jewish heritage, Columbia 38842, mx W 150482-1 Transfers & Production: David Lennick including stalwarts Muggsy Spanier on trumpet including cornetist Dave Klein, saxophonist Recorded 18 April 1930, New York Digital Restoration: Graham Newton and George Brunies on trombone. But despite Hymie Wolfson, and violinist Sam Shapiro). Original monochrome photo of Ted Lewis from 17. Just A Gigolo 3:19 the high grade of musicianship in his band, the Despite Lewis’ injecting his overwhelming Max Jones Files/Redferns (Leonello Casucci–Irving Caesar) main drawing card was still Lewis himself. personality into his records, one can hear Ted Lewis, vocal In 1929, Columbia produced a special evidence of his skill as a bandleader, especially Columbia 2378-D, mx W 151206-1 record label just for Lewis’ recordings: a striking on those recorded in 1927 and ’28, when Lewis Recorded 13 January 1931, New York silver and black design complete with a hat- used the talented but doomed reedman Don doffing Lewis drawing along with an attention- Murray, an alumnus of the Jean Goldkette getting sleeve that featured additional emoting orchestra with Bix Beiderbecke. Murray livens Producer's Note poses by Lewis. Along with Columbia label up the otherwise ordinary novelty train song Ted Lewis was one of Columbia’s best-selling performers in 1923, and the Popular Favourites medley mates Paul Whiteman and Guy Lombardo, Ted Hello Montreal! with some lively clarinet and is one of his most frequently found discs. The reason? It was sold for twenty-five cents as a special Lewis and his Band was one of the best selling sax take-offs. Lewis’ hiring of Frank promotional record to demonstrate the new quiet surfaces of Columbia Records. A mint dealer-stock acts in show business; at his peak in the late Teschemacher and Jimmy Dorsey for several copy was played for the first time, for this compilation. And while Lewis may have gone out of fashion ’20s, Lewis was earning $10,000 a week from his sessions in 1929 and 1930, as well as landing after the early 1930s, some of his records were to remain popular for decades, such as Good Night, a highly successful stage shows. Benny Goodman in 1931 also evidence Lewis’ favourite sign-off theme on radio stations. Also in this collection are three sides (tracks 1, 12 and 16) Ted Lewis’ clarinet playing was a combina- eye for talented jazz reedmen. It is conceivable which are alternative takes to the originals, issued for the first time in 1950. David Lennick tion of different styles; first and foremost was to surmise that Ted Lewis may have wanted to
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TED LEWIS & HIS BAND Personnel Tracks 1, 3–6 & 20: Walter Kahn, Dave Klein, Track 17: Muggsy Spanier, Dave Klein, cornets; ‘Is Everybody Happy?’ Original Recordings 1923-1931 cornets; George Brunies, Harry Raderman, George Brunies, Harry Raderman, trombones; trombones; Ted Lewis, clarinet, alto sax; Sol Ted Lewis, Benny Goodman, clarinet, alto sax; Klein, violin; Dick Reynolds, piano; Tony Louis Martin, alto & baritone sax; Hymie As the jazz and dance band world of the 1920s he had formed his first band and the next year Gerhardi, banjo, guitar; Harry Barth, tuba; Wolfson, tenor sax; Sam Shapiro, Sol Klein, and ’30s continues to fade into oblivion, only moved to New York. By mid-decade, he was John Lucas, drums violin; Jack Aaronson, piano; Tony Gerhardi, the most powerful images retain their vividness. performing with a comedian named Eddie Lewis, Track 2: Walter Kahn, Dave Klein, cornets; banjo, guitar; Harry Barth, bass, tuba; John One of the most indelible of these is an resulting in an erroneous billing listing the team Lucas, drums impeccably dressed man with a clarinet and a as Lewis and Lewis. ‘Ted Lewis’ sounded better Harry Raderman, trombone; Ted Lewis, clarinet, alto sax; Harry Barth, tuba; Dick Track 18: Muggsy Spanier, Dave Klein, cornets; battered top hat, leading a dance band that than ‘Ted Friedman’ so the young vaudevillian Reynolds, piano; Vic Carpenter, banjo; John George Brunies, Sam Blank, trombones; Benny entertained millions during the turbulent changed his name. Lucas, drums Goodman, clarinet, alto sax; Louis Martin, alto twenties. Ted Lewis began with a dance band After working at the College Arms Cabaret, Tracks 7-13: Walter Kahn, Dave Klein, cornets; & baritone sax; Hymie Wolfson, tenor sax; Sam but his vaudeville smarts enabled him to outlast Lewis joined Earl Fuller’s Rector Novelty Shapiro, Sol Klein, violin; Fats Waller, piano; the Depression, defying plummeting record sales Orchestra at Rector’s Restaurant, becoming a George Brunies, Harry Raderman, trombones; Ted Lewis, clarinet, alto sax; Don Murray, Tony Gerhardi, banjo, guitar; Harry Barth, bass, by doffing his hat, pointing his jaunty clarinet to sensation with his antics on the clarinet. In tuba; John Lucas, drums the heavens and asking the musical question, ‘Is 1917, the success of the Original Dixieland Jass clarinet, alto, tenor & baritone sax; Sol Klein, violin; Frank Ross, piano; Tony Gerhardi, Track 19: Muggsy Spanier, cornet; George EVVrybody HAPPeeee?’ For many, the name Band at the rival Reisenweber’s Café resulted in banjo, guitar; Harry Barth, tuba; John Lucas, Brunies, trombone; Ted Lewis, Benny Ted Lewis means pure, unadulterated corn, out- Lewis accentuating the barnyard animal effects drums Goodman, clarinet, alto sax; Sam Shapiro, Sol of-date even in his own time. But there was a used by members of the ODJB. Two years later, Klein, violin; Jack Aaronson, piano; Tony lot more to Lewis’ music than his squeaky, he started Ted Lewis & his Band, taking Track 14-16: Muggsy Spanier, Dave Klein, cornets; George Brunies, Harry Raderman, Gerhardi, banjo, guitar; Harry Barth, bass, hokey clarinet playing and saccharine non- members of Fuller’s group with him. He also tuba; John Lucas, drums singing vocal style. On much of the music he began a long association with Columbia Records trombones; Ted Lewis, clarinet, alto sax; Frank waxed between 1923 and 1931 there exists that would last until 1933. It was during this Teschemacher, clarinet; Jimmy Dorsey, clarinet, alto & baritone sax; Sol Klein, violin; Jack some of the hottest jazz of the period. period that he made his most successful Aaronson, piano; Tony Gerhardi, banjo, guitar; Lewis was born Theodore Leopold Friedman recordings. Bob Escamilla, tuba; John Lucas, drums on 6 June 1892 in Circleville, Ohio. As a boy, he During this time, Lewis developed his image was excited when travelling circuses came to as a showman, adding a silk top hat to his town, triggering a desire to become a performer wardrobe, which he had won in a game of himself. Taking up the clarinet, Ted joined his chance with a hansom cab driver parked in front brother Edgar, a cornetist, in a local boys’ band. of Rector’s. He took to asking the rhetorical Although his parents tried sending him to question, ‘Is everybody happy?’ which soon business school, Lewis bolted and went into became his catchphrase. He didn’t sing his vaudeville when he was only fourteen. By 1910 songs as much as he talked them, in a sing-
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The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Also available in the Naxos Jazz Legends series …
8.120712 8.120762 8.120768 Available in our companion series Naxos Nostalgia …
8.120535 8.120628 8.120645
These titles are not for retail sale in the USA TED LEWIS Is Everybody Happy? 8.120770 E EI N I BAND HAPPY?” HIS EVERYBODY “IS AND LEWIS TED www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h 0 GoodNight 20. DipYour BrushInTheSunshine(AndKeepOnPainting Away) 19. DallasBlues 18. JustAGigolo 17. Yellow DogBlues 16. OnTheSunnySideOfStreet 15. You’ve GotThatThing 14. She’sFunny ThatWay 13. ClarinetMarmalade 12. HelloMontreal! 10. 1 Shim-Me-Sha-Wabble 11. .JungleBlues 9. AJazzHoliday 8. AGoodManIsHardTo Find 7. TheMoon KeepSweepingTheCobwebsOff 6. OfSigmaChi TheSweetheart 5. SomeOfTheseDays 4. TheNewStLouisBlues 3. Ted LewisPopular Favourites 2. .WhenMy Baby SmilesAtMe 1. & g 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 3:26 2:47 3:18 3:19 2:58 2:46 3:19 3:08 2:55 3:00 3:20 3:01 2:58 Made intheEU 3:02 3:15 2:50 3:05 3:36 Original 1923-31Original Recordings 2:58 62:07 ADD Total Time 3:07
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TED LEWIS Is Everybody Happy? Everybody Is LEWIS TED 8.120770