IN MEMORIAM Just out of High School

Total Page:16

File Type:pdf, Size:1020Kb

IN MEMORIAM Just out of High School Page Two KISKI MINUTES December 16, 1943 KISKI MINUTES Editor-in-Chief John Holt Record Review Library Club To Associate Editor David Martens Editorial Board Lucien Jones, Chairman Chicago Jazz Classics Continue Plays Thomas Smyth, Secretary During the last few months Moore, Chantler, McGowan, Lodge, McGuire Decca has been reissuing some Continuing the hectic program Business Manager John Thompson albums of old jazz records under of the pre-Thank’sgiving period, Staff Typist Ralph Chilcott the Md Brunswick label. Four of the Literary Club under the fan these platters, released under the atic leadership of Lucien Jones, name of Benny Goodman and His Chairman; Fritz Blatt, secretary; Boys, were made by eight boys and Jerry Holt, treasurer, stumb IN MEMORIAM just out of high school. They les weakly on. The members re were at the time (1928-29) all covering from the effects of the members of Ben Pollack’s great “Bon Ton” episode, have been band. Wingy Manone and Jimmy racking their brains out to con Mac Partland alternated on cor tinue the spasmotic entertainment. net. Glenn Miller tried vainly to The first raido play of the year, play jazz on his slip-horn, but he “Bon Ton”, seems to have been r did a good job of arranging some generally misunderstood, judging 5 .4. of the slow numbers. Benny from the casual comments and Goodman, then only eighteen years queries aroused by this “play”, old, played piano; Dick Morgan, the general effect was one of veil guitar; Harry Goodman, (Benny’s ed secrecy. The combination of brother), bass; Bob Conselman Lucien Jones, the calm vocabulary played drums on most of the rec spitting devil and Fritz Blatt, who ords, but Ray Bauduc, later te through practically the whole lat become the core of Bob Crosby’s ter part of the play was intoxicat “Bob Cats”, played on a few of ed (too many bumpers of Mois them. In fact Jimmy Mac Part- seux) was too much for any nor land was a member of the famous mal mind to digest. “Wolverines”. Benny Goodman However, the club promises bet played with Red Nichol’s “Five ter results from the play “Scrooge” Pennies” alongside Jack Teagar which is set for the last Wednesday den, Jimmy Dorsey, and Gene before Xmas vacation. The meet Krupa, etc. ings of the club consist of general “Wolverine Blues” is one of the confusion and mental and physical best sides in the album. It shows ‘entanglement. Mad plans circulate the influence of Bix Beiderbecke and the meeting usually ends with on Mac Partland, and Frank nothing accomplished. The club Teschemachers, one of the great has resolved, however, to reform est of all white clarinetists, influ and enter into a vigorous program ence on Benny Goodman. “Shirt for the betterment and entertain Tail Stomp” is pure corn right off ment of Kiski. A major problem the cob ‘with Benny imitating Ted that has not been solved is that of Lewis and Mac Partland making a new name. The title “Library like Clyde McCoy. Glenn Miller’s Club” has not been sufficient tram sounds like cows on his enough for some of the member’s Iowa farm. Fud Livingston just and the attempt to change it has doodles around on his sax. Benny been made for the past two give’s out with an excellent bari months. Some of the names sug BYRON BAHR tone sax solo on “Room 1411”, a gested by its seemingly mentally slightly strangled but very hot confused members are: Armenian With the passing of :Byron Bahr on October 27, the Kiski Fresh Youth Organization, K. K. K. man class lost its leader. Byron had just been elected President of cornet solo on “Jungle Blues”, and (Kiski Kultur Klub), Slav Club, Gables Dormitory. Not only was Byron an honor student but also he a wonderful alto sax solo on “Blue”. The best side in this al Order of the Silver Moose, etc., was a spirited player in any game in which he joined. He was ex etc. The results of this campaign ceptionally interested in music, playing the clarinet in the school band. bum, in my opinion, is “Muskat Ramble” on irhich the Goodman to change the name have been He was pleasant to every one and in his unobtrusive way contributed clarinet leads the band on to play marvelous and revolutionary. The much to the Kiski spirit. His passing leaves a gap that will not easily one of the finest examples of white name is now, “The Library Club.” be filled. Yet, the way he conducted himself shall be always an inspir jazz ever recorded. Beiderbecke’s A recent activity of the club has ation to us all. influence is again noticeable’ on been its fiery, exciting, and color “A Jazz Holiday” on which Benny ful debates. These have been a Thanks to Mr. I-lund 1-lerbert Keller, ‘43 and Mac Partland are the stars. source of inspiration for many of Bud Freeman takes the limelight the members. In the last debate on his own composition “After (which was also the first) the We, the staff, wish to thank Air Cadet Dies Awhile” which was arranged by scene was one o’f momentous de Mr. Hund for his kind and pa cision and saturated tension. Since Herbert Keller, Kiski ‘43, an Glenn Miller. tient service in helping us to print neither side seemed to know what aviation cadet, died late in No To sum the whole thing up, this they •were talking about it was a our small editions of the “Kiski vemiber, at the flying field in Cali album is one of the best collections tie. The other activities of the Minutes”. Every time our Editor fornia, where he was stationed. of white jazz that has been issued. club are many and varied and to He had successfully completed It is of special interest to people ial Board has had a brainstorm, even probe into them here would forty of his fifty flight hours who aren’t especially interested in Mr. Hund has stood quietly by to take endless pages. Some facts when he was stricken with infan Jazz music to show their favorite pick up the scraps and remains about the club, however, are: $2 tile paralysis. bandleaders of today such as Ben and has printed them on his ditto ny Goodman, and Glenn Miller dues for the year, (payable in any installments), membership limited machine. What’s this about Mr. Heinz sounded fifteen years ago. to 20 members, and so forth. He was often kept up late at telling Lucien Jones to keep out The many of you who have (Continued on page 4) nights working busily with ink of his hair? heard the Don Cossacks Choir * * * * brush and paper in order that the will be interested in the new Co and “song of the plains.” All rec The mathematics department lumbia Album, “Don Cossack’s on ords are excellent but no record students might have the news reports that Charles Lefkowitz the Attack.” I believe the best ing comes close to being as excit fresh from the mimeogfaph. wants to know whether zero is records in the album are: “In the ing or vibrant as when you see Thanks at lot, Mr. Hund. plus or minus. Village,” “Three Cossack Songs,” Serge Jaroff’s chorus in person..
Recommended publications
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • The Story Behind Glenn Band, His Style, His Life
    October 20. 1951 DOWN BEAT —PART 2 3 The Story Behind Glenn Miller—His Band, His Style, His Life, His Death On a thickly-befogged afternoon in December, tlton Glenn Miller, born of a farmer father and a 1944, an army specialist» corp» major tossed his schoolteacher mother in Clarinda, Iowa, March 1, 1905, gear into a battered C-47 at an RAF base near ac«(uired his first horn, a broken-down trombon«. from a butcher, for whom he ran errand« as a child. He was Bedford, England, and asked a rhetorical ques­ a relentless plugger from the start, ami bv the time he tion of a fellow officer. waa a teen-ager, working after high-school clashes in a “Whei'e,” inquired Major Glenn Miller, “are the para­ barbershop and later, in a sugar-beet factory, Glenn al­ chutes?” ready was playing concerts »ilh the town band. When the “What the hell, Miller,” jokingly replied Lt. Col. Nor­ ink waa hardly dry on hia high school diploma, ihe mal' Baes*el, “do you want to live forever?" hard-working Glenn was playing with bis first hand—that Throughout most of the nearly 10 years since the dis­ of Boyd Senter. - appearance of the well-known bandleader on that ill-fated Next came college «lays in Boulder, Colo., where Miller flight across the English Channel, many a wishful rumor began trying his hand at arranging. He left college to was heard to the effect that Miller, somehow, had man­ land a job in California with Ben Pollack’s band, the aged to cheat death, after all.
    [Show full text]
  • 334 XIII. Revivals and Recreations; The
    XIII. Revivals and Recreations; The Sociology of Jazz By the early 1970s, as we have seen, jazz was in a state of stylistic chaos. This was one reason why the first glimmers of “smooth jazz” came about as both an antidote to fusion and an answer to “outside jazz.” But classical music was also in a state of chaos. The majority of listen- ers had become sick of listening to the modern music that had come to dominate the field since the end of World War II and had only become more abrasive and less communicative to a lay audience. In addition, the influx of young television executives in that period had not only led to the cancellation of many well-loved programs who they felt only appealed to an older audience demographic, but also the chopping out of virtually all arts programming. Such long-running programs as The Voice of Firestone and The Bell Telephone Hour were already gone by then. Leonard Bernstein had been replaced at the New York Philharmonic by Michael Tilson Thomas, an excellent conductor but not a popular communicator, and thus CBS’s “Young People’s Con- certs” no longer had the same appeal. In addition, both forms of music, classical and jazz, were the victims of an oil shortage that grossly affected American pressings of vinyl LPs. What had once been a high quality market was now riddled with defective copies of discs which had blis- ters in the vinyl, scratchy-sounding surfaces and wore out quickly. Record buyers who were turned off by this switched to cassette tapes or, in some cases, the new eight-track tape format.
    [Show full text]
  • Guide to the Joseph "Wingy" Manone Papers
    Guide to the Joseph "Wingy" Manone Papers This finding aid was created by Joyce Marshall on July 06, 2018. Persistent URL for this finding aid: http://n2t.net/ark:/62930/f1wc9c © 2018 The Regents of the University of Nevada. All rights reserved. University of Nevada, Las Vegas. University Libraries. Special Collections and Archives. Box 457010 4505 S. Maryland Parkway Las Vegas, Nevada 89154-7010 [email protected] Guide to the Joseph "Wingy" Manone Papers Table of Contents Summary Information ..................................................................................................................................... 3 Biographical Note ............................................................................................................................................ 3 Scope and Contents Note ................................................................................................................................ 4 Arrangement .................................................................................................................................................... 4 Administrative Information ............................................................................................................................. 4 Names and Subjects ........................................................................................................................................ 5 Collection Inventory .......................................................................................................................................
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • Settimanale Di Migros Ticino Quello Swing Perduto
    Quello swing perduto Settantacinque anni or sono in questo periodo ancora ci si interrogava su cosa ne fosse stato di Glenn Miller / 17.02.2020 di Enza Di Santo In quei giorni di metà dicembre del 1944, su nord e centro Europa le condizioni metereologiche erano pessime. Il 15 dicembre la nebbia avvolse le coste inglesi e si estese lungo il Canale della Manica, ma il «Norseman» Noorduyn UC-64 monomotore decollò lo stesso per Parigi, destinazione che avrebbe raggiunto poco meno di due ore più tardi attraversando una rotta sicura. A bordo del velivolo militare, il Pilota J. Morgan, il Tenente Colonnello N.F. Baesell e il Maggiore Anton Glenn Miller incaricato dell’intrattenimento delle truppe alleate in Inghilterra e a capo della Air Force band. Miller avrebbe dovuto esibirsi con la sua grande orchestra nella Capitale francese da poco liberata dai tedeschi, ma non ci arrivò mai. Del Norseman si persero le tracce. La scomparsa del Maggiore, annunciata solo alla vigilia di Natale, ebbe un notevole impatto mediatico: nell’era dello swing, durante la grande depressione, Glenn Miller, arrangiatore, trombonista e soprattutto capofila della più famosa big band di quei tempi, era svanito nel nulla, lasciando il silenzio nelle sale da ballo frequentate dai soldati che avevano smarrito uno dei simboli della loro generazione. Che fine aveva fatto l’artista che tra 1939 e il 1942 aveva venduto più dischi di tutti? La nebbia aveva inghiottito il compositore per il quale era stato ideato il disco d’oro, premio assegnatogli nel 1942 per aver raggiunto, in soli 3 mesi, il milione di copie venute del 78 giri di Chattanooga Choo Choo e I Know Why.
    [Show full text]
  • Red Nichols from Wikipedia, the Free Encyclopedia
    Red Nichols From Wikipedia, the free encyclopedia Background information Birth name Ernest Loring "Red" Nichols the hood man Born May 8, 1905 Ogden, Utah, US Died June 28, 1965 (aged 60) The Mint Las Vegas Genres Jazz Occupation(s) Musician, bandleader, composer Instruments Cornet Associated acts California Ramblers, Paul Whiteman Ernest Loring "Red" Nichols (May 8, 1905 – June 28, 1965) was an American jazz cornettist, composer, and jazz bandleader. Over his long career, Nichols recorded in a wide variety of musical styles, and critic Steve Leggett describes him as "an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone." Biography Early life and career Nichols was born on May 8, 1905 in Ogden, Utah. His father was a college music professor, and Nichols was a child prodigy, because by twelve he was already playing difficult set pieces for his father's brass band. Young Nichols heard the early recordings of the Original Dixieland Jazz Band, and later those of Bix Beiderbecke, and these had a strong influence on the young cornet player. His style became polished, clean and incisive. In the early 1920s, Nichols moved to the Midwest and joined a band called The Syncopating Seven. When that band broke up he joined the Johnny Johnson Orchestra and went with it to New York City in 1923. New York would remain his base for years thereafter. In New York he met and teamed up with trombonist Miff Mole, and the two of them were inseparable for the next decade.
    [Show full text]
  • Great Escape Vol. 23
    THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Issue No 23 March/April 2011. Presented by: www.dixieswing.com What Took "In The Mood" So Long? BY Browser Joe Carlton The song "In The Mood" is the most requested am not familiar with the Hayes band and certainly not song that the Glenn Miller Orchestra plays. It's almost knowingly heard his rendition). always been that way. According to the John Flower Somewhere along this time, Artie Shaw took this book "Moonlight Serenade", Glenn didn't record it until song under his wing but when he played it, it was about July 28, 1939. It certainly was one of his hits that vaulted 8 minutes in length, played slowly and in a ponderous the Glenn Miller Orchestra to No. 1 on most people's manner. Not a hit by any standard. When Artie walked charts. But, this song had been around for quite a while off the bandstand during one of the times he was miffed in one form or another. with the music scene, Glenn Miller was able to employ Previously, Glenn had had an orchestra which Artie's brilliant arranger Jerry Gray. It then became broke up after playing its final date on January 2, 1938 in Jerry's task to write a proper arrangement, which he did Bridgeport, Connecticut. Glenn was disappointed but and the rest is history. "In The Mood" was reborn. still was determined to write some new arrangements Whew!! and find the right personnel for his next band.
    [Show full text]
  • The Tri-State Skylark Strutter
    THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance Member of American Federation of Jazz Societies and Jersey Arts VOLUME 19 NUMBER 3 BEST OF SOUTH JERSEY 2008 NOVEMBER 2008 ********************************************************************************************************************************* THE STRUTTER HAS GONE EMAIL The Tri-State Jazz Society proudly presents: We have reduced our costs of printing and mailing. If you wish to help by receiving an email edition in place of this edition, please send in your email address If you did not receive it in pdf, please let us know! Please help us save money for good bands!! We would be glad to put your friends on the email list. AARON WEINSTEIN Dd Quartet Concert Admission WITH $20 ADMISSION Dan Levinson, Ed Wise, and Frank Vignola $15 MEMBERS $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door No Advanced Sales S AMERICAN LEGION HALL BROWNING ROAD AND RAILROAD AVENUE, BROOKLAWN, NJ 08030 OUR NEXT BAND CONCERT Aaron Weinstein was named a “rising star violinist” by Downbeat Magazine. He grew up in Chicago (New Trier High School) and SUNDAY, NOVEMBER 16 graduated from Boston‟s Berklee School of Music. He founded a 2 PM high school group that was voted nation‟s BEST. He has won many competitions in Illinois and eksewhere. He has played concerts with the legendary Bucky Pizzarelli, John Pizzarelli, Warren Vache, Skitch Henderson, Annie Ross, Dick Hyman, Scott Hamilton, Les Paul, Howard Alden, Frank Vignola, Claude (The Fiddler) Williams, Johnny Frigo, Jay Geils, Gene Bertoncini, and more stars. He has appeared at festivals and concerts in NYC, Chicago, Iceland, France, and other European nations.
    [Show full text]
  • Carl Dengler Scrapbooks
    CARL DENGLER COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Mary J. Counts, spring 2006 and Mathew T. Colbert, fall 2007; Finding aid revised by David Peter Coppen, summer 2021 Carl Dengler and his band, at a performance at The Barn (1950): Tony Cataldo (trumpet), Carl Dengler (drums), Fred Schubert (saxophone), Ray Shiner (clarinet), Ed Gordon (bass), Gene Small (piano). Photograph from the Carl Dengler Collection, Scrapbook 3 (1950-1959). Carl Dengler and His Band, at unidentified performance (ca. 1960s). Photograph from the Carl Dengler Collection, Box 34/15. 2 TABLE OF CONTENTS Description of Collection . 4 Description of Series . 8 INVENTORY SUB-GROUP I: MUSIC LIBRARY Series 1: Manuscript Music . 13 Series 2: Published Sheet Music . 74 Series 3: Original Songs by Carl Dengler . 134 SUB-GROUP II: PAPERS Series 4: Photographs . 139 Series 5: Scrapbooks . 158 Series 6: Correspondence . 160 Series 7: Programs . 161 Series 8: Press Material . 161 Series 9: Association with Alec Wilder . 162 Series 10: Books . 163 Series 11: Awards . 165 Series 12: Ephemera . 165 SUB-GROUP III: SOUND RECORDINGS Series 13: Commercial Recordings . 168 Series 14: Instantaneous Discs . 170 Series 15: Magnetic Reels . 170 Series 16: Audio-cassettes . 176 3 DESCRIPTION OF COLLECTION Shelf location: M4A 1,1-7 and 2,1-8 Extent: 45 linear feet Biographical Sketch (L) Carl Dengler, 1934; (Center) Carl Dengler with Sigmund Romberg, ca. 1942; (Right) Carl Dengler, undated (ca. 1960s). Photographs from the Carl Dengler Collection, Box 34/30, 34/39, 34/11. Musician Carl Dengler—dance band leader*, teacher, composer.
    [Show full text]
  • “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M
    “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M. Spragg (guest post)* “The Anthem of the Swing Era” On August 1, 1939, Glenn Miller and his Orchestra recorded the Joe Garland composition “In the Mood” for RCA Bluebird records. It became a top-selling record that would be permanently associated with Miller and which has become the easily recognized “anthem of the swing era.” “In the Mood” appears to have been inspired by several earlier works from which the tune was developed. Once composed, it remained a “work in progress” until recorded by Miller. The first indication of a composition with elements resembling what would become “In the Mood” was “Clarinet Getaway,” recorded by the Jimmy O’Bryant Washboard Wonders in 1925 for Paramount records. It is matrix number P-2148 and was issued as Paramount 12287. It was paired with a tune titled “Back Alley Rub.” The recording was made by a four-piece band with Arkansas native O’Bryant playing clarinet and accompanied by a piano, cornet and washboard player. Following O’Bryant, similar themes were evident in the Wingy Manone recording of “Tar Paper Stomp.” Manone’s recording is considered the genesis of “In the Mood” by most jazz historians. The recording is by Barbeque Joe and his Hot Dogs, the name under which Manone recorded at the time. Manone recorded “Tar Paper Stomp” on August 28, 1930, for the Champion label (which was acquired by Decca in 1935). Reissues credit the record to Wingy Manone and his Orchestra.
    [Show full text]