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!2 First published 1968 Editor: RAY PALLETT Printed version: ISSN 0266 8033 Online version: ISSN 2516-3833

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© All original material

!3 From the IN THIS ISSUE E d i t o r ’ s RayPallett Desk

Firstly, as this is the first issue for 2019, I do hope everyone reading this had an enjoyable Christmas and New Year.

One of the most interesting parts of Memory Lane is the readers’ letters section “In your own write”. For the last few issues, we have expanded this section of the magazine to include a “query corner”. For queries, we endeavour to answer them if we have the necessary information on file, or otherwise offer them to the readership and to our contributors to reply in the following issue. I am always pleased to Page receive letters and queries for inclusion. CD and DVD Reviews….….……… 5 This is the part of Memory Lane where you can also express your views and Henry Hall Part Two…….…..……. 11 give us your news. Please use e-mail as this is the preferred method of Caught In The Web….…….….….. 18 communication. Dawn Davis………………..………. 22 Finally, we have had a few people asking the relevance of the number Fred Douglas………………………. 24 printed above your name on the envelope in which your copy of Memory Memory Lane Mail Order Shop….. 30 Lane is sent. This is, in fact, the last i s s u e c o v e r e d b y y o u r c u r r e n t Alfie Noakes Part Seven………… 32 subscription. So if you see “204” printed, it means you have paid for issues up to Part Three.…….…. 37 and including Issue 204. So it is easy for you to keep tack of your subscription. Noel Coward Part One.…………. 42

I do hope you enjoy this edition of Leslie Jeffries Part Two………..… 46 Memory Lane and look forward to seeing a goodly number of you on our Guided Alex Mendham…………………..… 51 Walk in May. Woolworths Records………………. 54

In Your Own Write………………… 57

Mini Displays………………………. 59 !4 Key: All tracks are Phyllis Robins Solos, Editor's Choice apart from: CCO, Casani Club Orchestra; CDB, Cunard Dance Band; HH, Henry Hall; JH, ; MT, PHYLLIS ROBINS - MY BLUEBIRD’S Madame Tussauds Dance Orchestra; O, SINGING THE BLUES MLMCD077 Orlando; PM, Percival Mackey. What Are You Thinking About Baby?; Phyllis Robins was Sweet and Lovely (PM); I Don’t one of those artistes Know Why (CDB); Mad of the 1930s who had About The Boy (JH); b o t h l o o k s a n d Black Eyed Susan Brown personality. On (MT); My Bluebird’s record labels she Singing The Blues (MT); I w a s s o m e t i m e s Raised My Hat (MT); b i l l e d a s Makin’ Conversation (HH); “comedienne”. On I’m Hitchin My Wagon To this CD there is You; Nasty Man (CCO); just one comedy Nobody Loves a Fairy or novelty song, When She’s Forty; The Girl which is the one With the Dreamy Eyes; about a forty- March Winds and April year-old fairy. All Showers; Dancing With My tracks on this Shadow; I Like the Way You CD are sides Say Goodnight (with Leslie w h i c h P h y l l i s Holmes); Honey Coloured recorded as vocalist with a dance Moon ; My First Thrill; Love Is band or titles she recorded as a soloist. Good For Anything That Ails You (O); It's Her voice has been described as sultry A Hap, Hap, Happy Day; Over the which is an apt description as is Rainbow; Chatterbox; Oh! Johnny; Sing demonstrated by a number of tracks, For Your Supper; No Souvenirs; The perhaps most notably the wonderful title Parting of the Ways, unknown orchestra track with Stanley Barnett directing the (aircheck). !5 Madame Tussauds Dance Orchestra, a bands in , a variety of which had a reputation for some bands, an accordion band, a Hawaiian- hot playing. This CD is certainly great sounding group and a pianist. In listening with the original 78s cleaned up addition, the last three solo tracks are in by Dave Cooper to produce a sound the way of a bonus as they have not which aims to deliver all the sound previously been on CD before. So buy recorded on the original discs. The last this CD and hear Al in the widest-variety track is most interesting as it is an of settings and with the widest variety of aircheck unmistakably with Phyllis material. PW singing with an unknown dance band, a song recorded by no other British band. “WHEN DAY IS DONE” I know you will enjoy this CD! PW RETROSPECTIVE RTS 4338 CD ONE: Happy Days Are Here AL BOWLLY’S TRAVELS AND OTHER Again (Lou MLMCD076 Abelardo); Sunshine (Whispering Jack My Song Goes Round The Smith); Singapore Sorrows; If I Had World; Ferrachini's Hawaiian Band: You (EG); C r y i n ’ f o r t h e Cuban Love Song; : ’Neath The Spell Of Monte Carlo; NMDO: Belle Of Barcelona; Radio Melody Boys: A Japanese Dream (duet w. Les Allen); Linn Milford: An Old Italian Love Song; Arthur Lally: My Sunny Monterey; NMDO: When It's Sunset On The Nile; Felix Mendelssohn: The Blackpool Walk; Scott-Wood Accordion Quartet Pale Volga Moon; NMDO: Pied Piper Of Hamelin; Deauville Dance Band: Rio De Janeiro; Monia Liter: Little Dutch Mill; Ray Noble: That Lovely Night In Budapest; Rhythm Maniacs: In London On A Night Like This; NMDO: That's Somerset; Violin In Vienna*; Ray Noble: Lady Of Madrid; Maurice Winnick; My Capri Serenade, Ray Noble: Paris In Carolines (SB); ‘Leven Thirty Saturday The Spring; I’m Alone In Athlone*; N i g h t (SB); The “Free and Because I Love You*; , George Carhart: Easy” (SB); The Peanut Vendor (SB); I’m Sunny Disposish; Ray Noble: The Old Thru with Love ( E l l a L o g a n & Covered Bridge *Solo. SB); Me! (SB); Home (SB); She Didn’t Al Bowlly must have been one of the Say “Yes” (SB); The Sun Has Got His most travelled singers in Britain at the Hat On (SB); The Clouds Will Soon Roll time. He undertook the mammoth tour By (EC); Sweet Muchacha (SB); Let’s from his home in , through Put Out the Lights and Go to Africa, the Far East then to France Sleep (Anona Winn & SB); How Deep is and Germany before arriving in Britain in the Ocean? (SB): Lazybones (SB); It’s 1928 after which he toured the country the Talk of the Town (EC); Who’s Been and visited Ireland and America. So a Polishing the Sun? (RS); The CD recognising this, through the titles of Continental; Embassy Stomp; I’m on a the songs he recorded is, I think, a great See-Saw (SB); Hors d’Oeuvres; Big Ben idea. Here, we hear Al with a variety of is Saying “Goodnight” (SB) accompaniments ranging from jazz

!6 CD TWO: Streamline Strut; Maracas; Gown; S h a r k e y B o n a n o : H i g h B’Wanga; Anything Goes (SB); I’ll Never Society; S e g e r E l l i s : S h i v e r y S a y “ N e v e r A g a i n ” Stomp; Musical Maniacs: Down by the Again (CB); Copenhagen; She’s a Latin Old Mill Stream; Pagan Love f r o m M a n h a t t a n ( J a c k Song; Glenn Miller: Humoresque; The Cooper); Limehouse Blues; The Skaters’ Waltz in Springtime*; Piccolino; Night Ride; Wood and Ivory; Hindustan+; Mournin’ Blues+; Jess Hick Stomp; Escapada; Champagne Stacy: Breeze, Blow My Baby Back to Cocktail; Cotton Pickers’ Congregation; Me: Clarinet Blues; Spain+; Sympathy*; Caravan; Deep Henderson; Moonlight on Speakeasy*; Muggsy Spanier: Can’t the Waterfall (VL); Message from Mars; We Be Friends?; Hesitating Blues; Irving Two Sleepy People (VL & DD); Blue Fazola: Someday, Sweetheart; Sweet Skies Are Round the Corner (DD); My Lorraine; Mostly Faz; Jazz Me Blues; Prayer (DD); I’m in Love for the Last Ostrich Walk; Bluin’ the Blues; Farewell Time (VL); I Don’t Want to Walk Without Blues. You, Baby (AS); Lili Marlene (AS); When * Bob Crosby; + Bob-Cats Day is Done (SB & RS) born clarinettist Irving Vocals: AS – Anne Shelton; C B – Fazola worked locally until 1935, and his Connee Boswell; DD – Denny Dennis; playing was steeped in that city’s EC – Elsie Carlisle; RS - The Rhythm tradition, and influenced particularly by Sisters SB – Sam Browne; VL- Vera Jimmie Noone. He began recording Lynn during the swing era, with the sort of This generous 51-track compilation elegant delivery associated with traces the peaks of Ambrose’ recording Goodman and Shaw. His longest stint, career from 1928 to 1944, and many will with Bob Crosby, is well represented be familiar to Memory Lane readers. It here, as are the two mid-forties sessions brings to three the number of double he led back in the crescent city. There’s CDs devoted to Ambrose, the other two a nice balance between big band and being Living Era (2004) and Avid (2009). small group recordings, the latter All three overlap one another, and this showing off his Dixieland flavoured latest one clearly derives from the first, playing to great advantage. BMC the 49 tracks of which have been augmented by “Sunshine” and “She TO M C L I N E S A N D H I S M U S I C Didn’t Say ‘Yes’”. That said, it only “WASN’T IT NICE?” (RIVERMONT duplicates eleven of the tracks in the BSW-1169) Avid set. Ambrose has stood the test of Ev’ry Day Away From You; Sweetheart’s time as the foremost bandleader H o l i d a y ; I ’ m in Britain, and his original Disappointed recordings have long been in You; collectors items. Sound quality is Perhaps; quite outstanding, and this latest Time Will Tell; twofer can be recommended M i s s whole-heartedly. BMC Wonderful; S o m e b o d y Mighty Like I R V I N G F A Z O L A “ M Y You; So I N S P I R A T I O N ” Sympathetic; RETROSPECTIVE RTR 4337 Until Love M y I n s p i r a t i o n * ; Ben Comes Along; Pollack: Song of the Islands; Alone with My Jimtown Blues; Alice Blue Dreams; It

!7 Must Be You; The “Free and Easy”(2 You Remember?*; Carry Me Back to Old takes); For You; Any Time’s the Time to Virginny*FS; Farewell to Dreams*; The Fall in Love; Wasn’t It Nice?; Be Careful Song of Love*; The Girl of the Golden with Those Eyes; You Darlin’; You for West: Senorita*FS; Who Are We to Say? Me; Just a Little Closer; Bye Bye Blues; * F S ; S w e e t h e a r t s : Sweetheart I’m Needin’ You; What’s the Use of Waltz*FS; Little Grey Home in the Living Without Love?; Why Have You West*FS; New Moon: Softly, As in a Forgotten Waikiki; (You Were Only) Morning Sunrise+; One Kiss$; Wanting Passing Time with Me You*FS; Lover, Come Back to Tom Clines became one of the bands in Me*FS; ; I’ll See You Bert Lown’s stable after Rudy Vallee had Again*FS; Dear Little Café*FS; I Married bolted. Given that his instrumentation an Angel: I Married an Angel+; Spring is lacked a brass section, being based on Here*FS. reeds and strings, it seems Key: * duet; + Nelson Eddy; $ Jeanette safe to assume that he M a c D o n a l d ; F S - f i l m c a t e r e d f o r s o c i e t y soundtrack functions, rather than This CD is based collegiate occasions. on the films that That’s borne out by these MacDonald and recordings, which span a E d d y m a d e period of just over a year, together, plus three from August 1929 to earlier Macdonald September 1930, and films made before feature the laid-back the partnership was vocals of Jack Carney. established. As Ray But the raison d’etre for Crick points out in his this reissue is Adrian extensive liner note, Rollini, that giant of the only four of their five bass saxophone, who recorded duets were augmented the recording issued on 78s, but all sessions from early 1930. His presence are included here. A makes itself felt from track 9 onwards, further ten have been added, using and elevates the standard of film soundtracks as the source, and the performance considerably. This is remaining nine tracks are solos. Most of another de luxe production from their films were set in the past, and the Rivermont, which offers clarity of sense of nostalgia was reflected in the restoration, and a copiously illustrated choice of songs, which drew heavily on 30-page booklet, in which Randy the Viennese tradition. Sound quality is Skretvedt outlines the background to the excellent, and this can be recommended band and the recordings. BMC wholeheartedly. BMC

JEANETTE MacDONALD & NELSON CHARLIE SHAVERS: “DECIDEDLY” - EDDY (RETROSPECTIVE RTR 4336) RETROSPECTIVE RTS 4340 Rose Marie: Indian Love Call*; Rose CD 1: Undecided (CS/RB); Nice Work if Marie+; Naughty Marietta: Ah, Sweet You Can Get It (CT, v MS); Apex Mystery of Life*; I’m Falling in Love with Blues (JN); Melancholy (JD); Pastel Someone+; Beyond the Blue Blue; Undecided; Anitra’s Dance; Sweet Horizon$; Love Me Tonight: Isn’t it Georgia Brown (JK); Swing Brother, Romantic? +; The Merry Widow: Vilia- Swing (BH); Rose Room; Blues Lied$; The Night is Young: When I Petite (JK); Mood Indigo; What is This Grow Too Old to Dream+; Maytime: Will Thing Called

!8 Love? (SB); Rosetta (CS); You’re Driving dedicated to John Kirby (reviewed in ML Me Crazy (TK); My Man (CS); Swinging 197). BMC on Central (HH); At the Fat Man’s (TD); That’s Rich (BR, v NEW ORLEANS RHYTHM KINGS: EF); Stardust; Perdido (LH); The COMPLETE RECORDINGS 1922-1925 H u c k l e b u c k (TD); East of the (RIVERMONT BSW-1170) Sun (BH); Cotton Tail (FP) CD 2: Coronation Hop (GK); Cool Blues; Embraceable You (JATP); Dark Eyes; Dawn on the Desert; Story of the Jazz Trumpet (CS); Ill Wind; Memories of You; The Man I Love; I Got Rhythm; Summertime (SO); Blue Stompin’ (HCS); Girl of My Dreams; September in the Rain; All of Me; Makin’ Whoopee; Russian Lullaby; You’ve Changed; It’s Al Right with Me; I’m a Fool to Want You; The Best Things in Life Are Free; You’re My Everything (CS/ RB) KEY: BH – ; BR – Buddy Rich; CS – Charlie Shavers; CT – Claude Thornhill; EF – Ella Fitzgerald; CD 1: Eccentric; Farewell Blues; FP – Flip Phillips; GK – Gene Krupa; Discontented Blues; Bugle Call Blues; HCS – Hal “Cornbread” Singer; HH - Panama; Tiger Rag; Livery Stable Blues; Herbie Haymer; JATP – Jazz at the Oriental; Sweet Loving Man*; That’s a Philharmonic; JD – Johnny Dodds; JK – Plenty*; Shimmeshawabble*; Weary John Kirby; JN – Jimmie Noone; LH – Blues; Da Da Strain; Wolverine Blues*; Lionel Hampton; MS – Maxine Sullivan; Maple Leaf Rag; Tin Roof Blues+ RB – Ray Bryant; SB – Sidney Bechet; CD 2: Sobbin’ Blues$; Marguerite; SO – Sy Oliver; TD – ; TK Angry*; Clarinet Marmalade$*; Mr. Jelly – The Keynoters Lord$*; London Blues$; Milenberg Charlie Shavers showed great technical Joys$*; Mad; Baby; I Never Knew What fluency on the trumpet, which enabled a Girl Could Do; She’s Crying for Me him to improvise across a wide dynamic Blues; Golden Leaf Strut; She’s Crying range, and included complete control in for Me*; Everybody Loves Somebody high register passages. He was also a Blues* skilled arranger and composer, as Key: $Jelly Roll Morton (piano); * 2 demonstrated when, after a very short takes; +3 takes apprenticeship with Tiny Bradshaw and Lucky Millinder, he joined John Kirby’s The NORK was a seminal early twenties group at the Onyx Club in 1937, and white band, hearing which influenced the fashioned its approach into a distinctive young Bix Beiderbecke, and whose style of chamber jazz. From 1944 he recordings inspired the Austin High played intermittently with Tommy Dorsey, School Gang. It was pivotal in the but was much in demand for studio transition from a New Orleans to a sessions also, going on to lead his own style of jazz, the band’s relaxed small groups. This compilation is up to approach contrasting favourably with the the label’s usual high standard, but the staccato playing associated with their six Onyx Club sides were also included predecessors the Original Dixieland Jazz in Retrospective’s earlier reissue Band. Their complete output is !9 presented here, including all extant Paul Specht, Noble Sissle, Fred Rich, alternate takes, two of the sessions Boyd Senter, Rudy Vallee, Ben Selvin being noteworthy for the involvement of and Ted Weems combine to provide a Jelly Roll Morton. It is difficult to do juicy taste of quality American dance justice to the quality of the remastering, music. On top of this we have Andy Kirk which has achieved a clarity of sound and his Twelve Clouds of Joy with that I can only describe as luminescent. Cloudy, and with Hiawatha’s The front line has always stood out, but Lullaby, both providing a little extra never more so than now, whilst each sophistication. There are a few bands constituent element of the rhythm section operating under pseudonyms of which is clearly delineated. The NORK was a The Rounders may be Harry Reser, Sam dynamic band, which drew the young Lanin as La Palina Broadcasters and Chicagoans to it like a magnet, and this Ben Selvin as The Broadway Nitelites. reissue should appeal to established The latter features one of the few female collectors, and attract a new generation vocalists included, Vaughn de Leath, of enthusiasts. Buy it now, while you can. singing I Wanna Be Loved By You. The BMC transfers have left some surface noise but this all adds to the atmosphere. AP In Short Pleasure Mad – Live recordings from Lost West End Revues (Stage Door Mike Durham’s Classic Jazz Party Records Stage 9058) is a two-CD set 2017 A delightful 2 CD set of recordings, with the sub-title ‘A Unique Collection of spanning the depth of hot jazz. All the Recordings from London’s Forgotten recordings were taken live from the Revues 1940-1962’. A glance at party, and all the performers on the 51 tracks have a tracks suggested I was in for a wonderful treat -. Hermione Gingold, spontaneity to Joyce Grenfell, Anthony them. The Newley, Beatrice Lillie, s o n g s c o m e Florence Desmond, Noel from a diverse Coward and Evelyn Laye are set list: Luis just a few of the names that Russell, King caught my eye. Most of the Oliver, young tracks seem to be from original B e n n y cast recordings but there are Goodman, some notable cover versions F l e t c h e r by stars such as Anne Shelton Henderson and Matt Munro. The sound 1923-24, Jabbo quality can’t be faulted and the glossy Smith, 100 years insert brochure is a welcome bonus. of the ODJB and Bennie Moten. Each AP song has been lovingly recreated by musicians from around the world who American Dance Bands (Greenhorn live and breathe this music. For those GH 0235) provides 20 tracks of mainly who aren’t fortunate enough to well known US bands of late ‘twenties, experience the magic of this jazz party, early ‘thirties vintage and is an ideal these live recordings put you right on the ‘starter’ for anyone who wants to dip their front row to experience it first hand. Cost: toes into the water of pre-swing £16, shipping included. Obtainable from American music. Numbers from Don https://whitleybayjazzfest.com/, click on Vorhees, Vincent Lopez, George Olsen, “highlights CD”. JH !10 The Story of THE BBC DANCE ORCHESTRA

directed by HENRY HALL

A major new series for Memory Lane by PeterWallace Peter Wallace

PART 2 – HALL MARKS 1933-1934

Henry himself had some successes Hiawatha’s Lullaby, I Cover The as a composer. In 1933, he had a big hit Waterfront, Five-Fifteen, and other with Oh! Johanna, with words supplied familiar items in the live shows in the by Margery Lawrence, the wife of his BBC theatre, which had a capacity of former boss at LMS Hotels, Sir Arthur 2,700. During their final performance, Towle. Margery was a successful Columbia made a recording which was novelist and short-story author who had issued as Henry Hall Calling (Col. CB supplied the lyrics to Henry’s Come Ye 660). The audience reaction on the Back To Bonnie Scotland and Here’s recording was typical of each To The Next Time. Henry, of appearance at Olympia. The course, recorded Oh! Johanna, Belfast News-Letter on 22nd with vocal by Les Allen, but August commented on the Jack Payne, Roy Fox, Sid “ a l m o s t b r e a t h - t a k i n g Roy, Ray Noble and others popularity of Henry Hall and committed their versions of his BBC Dance Orchestra” the lively number to wax. It continued, “every listener remembers the There were many storm of abuse which was highlights for Henry in hurled at the new dance 1933 including the combination when it first Radiolympia appearance came on the air. Now, and his trip to America, apparently, it has been both in the summer. The taken to listeners’ hearts Radio Exhibition at and anyone who listened Olympia in London (15th - to the variety relays from 24th of August) was the first the broadcasting theatre last real opportunity for the w e e k m u s t h a v e b e e n general public to see the BBC impressed by the reception band in action. Henry featured which the audiences accorded it.”

!11 After the success of Olympia, the there – and it stuck with him for the rest orchestra broadcast for a week under the of his career. direction of Burton Gillis before they all went off on their annual holiday of a George Hodges, who was Henry’s fortnight’s duration. Henry was absent manager, began announcing during from the studio because he had sailed Henry’s trip to America, if not before, and on the Aquitania on 26th August for a was regularly used in this capacity from much-heralded working trip to America, that point on during broadcasts. George where he hoped to learn from latest would remain as manager after both left developments in dance the BBC in 1937, and music on that side of the in fact stayed with the Atlantic. Outside bands Guv’nor until 1953. were brought in to cover Henry returned home the 5.15 broadcasts for a on the Berengaria on s i x - w e e k p e r i o d i n 14th September and H e n r y ’ s a b s e n c e , on the last day of the including that of Jack month presented a Payne who filled in for a programme called My week at a time slot he American Tour in knew very well indeed. which he described h i s e x p e r i e n c e s Henry did not return listening to American greatly enthused from his bands and playing the George Hodges trip as he felt he hadn’t latest dance tunes learnt much apart from from the other side of the “value of tempo in the Atlantic. A recording programme building. There are now no with the same title was cut by Columbia awkward waits between items in the in October, but never issued. programmes. In order to secure unbroken sequence, I have given up A female vocalist was added to the announcing all the items myself,” Henry BBC Dance Orchestra in September. explained, “so that George Hodges is Phyllis Robins was provisionally able to speak into the microphone the engaged by the BBC for one month and second my stick comes down”. As a rule, made her radio debut with the orchestra at that time, Henry only announced the on Monday 25th September 1933 as well first and last titles, and of course became as recording It’s The Talk Of The Town famous for the phrase “This IS Henry on the very same day. That initial four- Hall speaking”. This came about after a week contract was extended until the 3rd trip to America when the BBC Dance of February 1934, during which time Orchestra in London was announced as Phyllis recorded just a few titles such as being “directed by Henry Hall” when in Snowball, When You Were The Girl On fact the bandleader was travelling across The Scooter, and I Took My Harp To A the Atlantic home. It caused a stir in the Party. That last-named title had originally press and when Henry returned to the been selected for Len Bermon to sing, studio, he emphasised the fact he was but on the day of its recording Len was

!12 full of cold and Phyllis deaf ear could have was asked to step in passed it for sale. Even and sing it. This Les Allen is beginning to turned out to be the s i n g w i t h o u t a n y perfect choice as she inspiration whatsoever. enjoyed great T h i s s o u n d s l i k e a success with it. After homemade completing the arrangement”. It was contract, Phyllis went actually the work of Phil on a six-week variety Cardew. Henry’s first- tour, but returned and trumpet, Frank Wilson, stayed until June was writing regularly for 1934. Rhythm at the time and must have been unhappy Henry, like his w i t h s u c h v i r u l e n t predecessor at the criticism. Vedey had BBC, Jack Payne, somewhat of a change of tried to encourage tone in the next edition of British songwriters the magazine, writing and it was reported that The Day You Came that more than 40% of Along, arranged by Arthur the tunes he played were home-grown. Lally, was a “nice record” with an During 1933 he had an average of 248 arrangement “more interesting than new compositions sent to him each those (Hall) he has been using of late. week. That amounted to more than Particularly nice is the introduction and 12,500 in the year; but fewer than 1% lead-in to the vocal chorus on strings”. were of any use. Perhaps it is fitting at this point to note that when Vedey wrote about Henry in Julien Vedey reviewed Henry’s his book on bandleaders almost two composition Five-Fifteen in the decades later, he conceded, “If Hall’s November 1933 edition of Rhythm, policy of a predominant melody has been writing “You will like the precision of the successful from his own point of view, saxes and the original chord building in and indeed it has, then it must be agreed trills starting with violin and finishing up that he has done more towards tutti. This is more like Ellington than popularizing the current hits of the day anything else and is excellently and turning them into world hits than any presented. Egypt - Henry Hall plays it other maestro.” exceedingly well”. However, in the following month in the same publication, Radio Magazine in February 1934 Vedey, had nothing good to say about considered Henry’s popularity and the band. In the ten titles in front of him commented, “...the majority of listeners he couldn’t find one decent arrangement. are of the suburban type, they are not The lengthy review was full of criticism, night-lifting West-Enders and in catering “Hear the strings make a mistake in for the suburbs Henry Hall shows the Experiment. Only a slipshod attitude or a wisdom of knowing that the West End is

!13 not England – it isn’t even London.” In Bankhead, , Jack the same month Henry recorded Buchanan, the Mills Brothers, Binnie arguably his most delightful composition Hale, Alberta Hunter, and the casts of as well as his biggest hit song, It’s Time many West End shows. Although the To Say Goodnight. The title was inspired Guest Nights were replaced by Henry by the words of a mother at a children’s Hall’s Hour in 1935, Henry revived them party attended by Henry and his son at the beginning of the war and they Mike. Kate Gibson supplied the lyrics became a fixture of radio and TV and Henry recorded s c h e d u l e s o v e r t h e t w o the number, with an decades which followed. arrangement by Ben F r a n k e l , f o r To mark the second Columbia on 15th anniversary of his BBC band, February 1934. Ray Henry brought back to the Noble also recorded studio Val Rosing, Richard a fine version on Matthews and Jack Phillips, HMV, with, what who had been original Henry described in members of the Orchestra. his autobiography as Hall Marks was broadcast on “a first-class vocal by 15th March 1934 on the A l B o w l l y. ” R a y National Programme, and featured the song in included the Orchestra’s broadcasts when he popular successes including was in America, including an occasion Teddy Bear’s Picnic, Round The Marble when Henry was on a visit to New York Arch, Six Bells Stampede, and I Lost My and present in the studio. Heart In Heidelberg. Prior to the broadcast, Henry hosted a dinner at the 1934 also saw the introduction of the Langham Hotel to which all participants legendary Guest Nights which Henry in the programme were invited. regarded as the greatest idea of his career. It was a new programme format On Sunday 8th May, Henry and the where famous stars of stage, concert hall BBC Dance Orchestra appeared at the and screen were invited to broadcast Royal Variety Performance minus Frank with the Orchestra and exchange a few Wilson, who, for religious reasons, words with the bandleader. On 17th refused to play dance music on the March, Lupino Lane and June recorded Sabbath. In fact, towards the end of with the BBC Dance Orchestra and it 1935, Frank left the orchestra - and the occurred to Henry that inviting them and profession - much to Henry’s regret, to others to the BBC studios that night join a religious order. Max Goldberg, would make an interesting programme. It from the Ambrose Orchestra, was was around the second anniversary of Frank’s substitute for the Command Henry’s first broadcast with the radio Performance, and saw a familiar figure at band. The list of guests over the years the piano as former Ambrose stalwart, included Tommy Handley, Stanley Bert Read, had joined the BBC Holloway, Larry Adler, Tallulah Orchestra a month earlier. Henry chose

!14 Savage Serenade, Lullaby In Blue, and is thinking of the three new numbers. He his Sweethearts of Yesterday Selection knows that they know what is he expects for that special evening at the Palladium. of them, and then for the next minute they wait for the transmission Kitty Masters, who signal. Hodges announces – H e n r y h a d h e a r d Kitty his voice so like that of singing with Harry Masters Henry himself – and so on Leader, joined the to the air the band goes band on 7th June and once again.” sang on average twice per broadcast until the Sir John Reith, the b a n d ’ s s u m m e r BBC’s formidable Director holiday. General, banned the broadcasting of the popular A reporter from song Love Thy Neighbour, Radio Magazine was from the film present at a recording We’re Not Dressing, session at Hampstead because of the Biblical f r o m 1 1 a m u n t i l phrase which he considered 12.30pm and reported irreverent. The BBC band in the June edition had already committed the “Henry conducts in a grey sleeveless song to wax on 7th June and it was duly pullover, and it is only when he stops released by Columbia. This wasn’t the actually wielding the baton that he stops end of the matter as a front-page article smoking cigarettes...over and over again in the Daily Express of 27th March 1936, they play, then Henry says he thinks they headed Henry Hall Broadcasts Banned might make the record. Officials rush Song, drew attention to the fact that the here and there; heavy curtains are song had been included in a 45-minute d r a w n . G e o r g e H o d g e s l o o k s dance programme, featuring the songs apprehensively at the band and of Gordon and Revel. An Express inquiringly at his chief. Then the band journalist had contacted Henry after the plays. And how it plays!” Later in the day broadcast on the previous evening and the reporter viewed preparations for the the bandleader said he had forgotten 5.15 broadcast: about the ban on the song. In retrospect it appears odd that the band parts had “Two or three times the programme is not been stamped “do not broadcast”. run through, then Henry gives the boys a The original singer of the song, Les break...Everything is ready: Henry’s Allen, was no longer with the band, ever-reliable and Falstaff-looking porter, though other members had been around “Fatty”, has seen to the arranging of the at the time and could have brought it to instruments and the laying out of the the Guv’nor’s attention. We can only music. There are five minutes to spare speculate as to Henry’s “amnesia”, but when Henry walks into the studio and he must have liked the song as he glances keenly to the left and right. The recorded it again after leaving the BBC band look at him, too, and know that he as part of his medley Hall Marks in 1938.

!15 Charles “Gerry” Fitzgerald was Henry “opened to a colossal ovation, and engaged to deputise for Les Allen who was compelled to make a speech...There went to Canada for a holiday, and Gerry was no clowning or show-technique... made his debut on the Guest Night of (Henry) dressed flawlessly in a very 14th July. He seems to have been Saville Row tail suit, looking extremely engaged for several weeks but never dignified and, most important of all, very recorded with the orchestra or appeared English. I think I can safely say that he is on the stage with them. Les was about the only dance band leader who is certainly back for the Palladium n o t a f f e c t e d b y e x t r e m e s o f engagement. Americanism, cockneyism, or other manifestations of propinquity! He was The BBC Dance Orchestra topped very much himself; very natural, and very the bill at the London Palladium from 30th sincere.” A recording of the band’s July until 4th August 1934; the first broadcast on Friday 3nd August from the regular stage engagement by the band, Palladium is preserved in the BBC sound excluding the Radiolympia appearances. archive. This was relayed at 7.30pm, but The fee was £500 for the week and the the BBC Dance Orchestra had already band were contracted to perform for 25 fulfilled their lunchtime broadcast at minutes at each of 14 performances. The 12.30pm and delivered their 5.15pm Stage noted that “crazy would almost programme before heading to the theatre describe the warmth of their reception”. that day. The critic wrote that one of the most popular pieces was a medley which The BBC band had continued with opened with My Song Goes ‘Round The their 5.15 broadcasts during the World and allowed the soloists to shine. Palladium engagement and on Tuesday The Orchestra also featured The Very 31st July had a guest in the studio – Thought Of You, Memphis By Mornin’, Carrie Jacobs-Bond, composer of I Love It’s Time To Say Goodnight and the You Truly, which Henry duly played. Miss medley Sweethearts Carrie-Bond, one of of Yesterday. the most successful Perhaps the best female songwriters of received item was t h e e a r l y 2 0 th Little Man, You’ve Century, played Had A Busy Day a n o t h e r o f h e r s u n g b y K i t t y compositions, The Masters. During the End of a Perfect Day, i n t e r v a l , H e n r y at the piano. conducted the Palladium’s resident T h e b a n d s o f orchestra through his Percival Mackey, own arrangement of Reginald Foresythe, Love Tales. The Barnstormers, Harry Leader, Joe R h y t h m Carrie Jacobs-Bond L o s s , T o m m y magazine reported, K i n s m a n , B i l l y

!16 Mason, Terry Mack, Dare Lea, Rudolph October; which I assume was the end Dunbar and Don Sesta all filled in for the point of Les’s contract with the BBC. In BBC Orchestra at 5.15 while Henry and his last broadcast as a member of the his musicians were otherwise engaged BBC Dance Orchestra, Henry asked Les at Radiolympia. Les Allen and Kitty to sing the first song he heard him do, Masters were featured with Henry and The Old Kitchen Kettle, and Les then his boys at the Radio Exhibition at chose Love Will Find A Way from Maid of Olympia, which opened on 16th August. the Mountains. Henry then played the The final day of that year’s Radiolympia piano as Les sang It’s Time To Say was Saturday 25th August and the Goodnight. Orchestra broadcast in the evening as part of the final programme from Les Allen was succeeded as principal Olympia. In fact, they gave three vocalist with Henry’s Orchestra by Dan performances at the Radio Exhibition Donovan, who had been with Debroy that day. They then rushed to their BBC Somers since 1930. Dan also joined the studio for Henry Hall’s Guest Night in saxophone section which Ray Noble and Al Bowlly were on baritone. At the introduced prior to their departure to same time Charlie work in the USA. Al sang the Noble P r i c e , f r o m song It’s All Forgotten Now with the BBC Sydney Lipton’s Dance Orchestra; after which Henry Band, replaced said “On behalf of listeners, my boys Arthur Williams on and myself, let me offer best wishes for second trumpet, a tremendous success and best of luck.” and also joined On the following day Henry and the vocal line-up. members of the Orchestra were guests Dan and Charlie at the wedding of Bert Read and Minnie started Spotswood at Edmonton Parish Church. Dan Donovan broadcasting with A reported three thousand people came H e n r y o n to see members of the band, and iron September 18 th railings at the church were broken down after the band returned from their annual as the crowds surged forward. There break, but their contracts had come into was no doubting the continuing effect on 25th August. In November, popularity of Henry’s band. Radio Pictorial reported, “Listeners have given Dan Donovan a warm reception. The Orchestra went on holiday from Nearly everyone applauds Henry Hall’s the 3rd to the 18th of September. Les choice of vocalist...” Dan was sometimes Allen had already decided to leave the part of the vocal trio featured on both BBC and go on the halls. Violinist Cyril broadcasts and records; the other two Hellier would also leave the band to join members being Charlie Price and Jack Allen’s new variety act. Although Les Halsall. Burton Gillis was usually the made his last recordings with the third member of the trio rather than Dan. Orchestra on 28th August, newspaper reports show that Les was still featured TO BE CONTINUED in broadcasts with the Orchestra into

!17 Caught in the Web

Brian Willey reviews this quarter’s BrianWilley Online News

New Year greetings to Novello had personally all as we look back to last introduced Patrick to HMV, S e p t e m b e r a n d t h e where he signed a five- Mystery Photo of that year exclusive recording m o n t h , e v e n t u a l l y c o n t r a c t a n d n e w l y r e v e a l e d a s P a t r i c k recorded Ivor’s 1921 song Waddington, (pictured And Her Mother Came right) a distinguished actor Too, He then joined the who could also sing, p i a n o d u o o f P e g g y pictured right. Cochran and Anne de Nys as the vocal element in a Born in 1901 within the cabaret act ‘That Certain environs of York, his father Trio’, which became much had a theatrical in demand, and also connection as lessee of recorded for HMV. the York Theatre Royal, and his grandfather owned B r o a d c a s t i n g w a s a a f a c t o r y t h a t m a d e familiar medium for Patrick pianos, so it was a relatively affluent – in 1927 he worked as an announcer for family. Patrick was educated at the BBC at Savoy Hill. In 1931, having Gresham’s School, Holt, and with his added singing to his accomplishments, school amateur dramatic activities, plus he frequently sang in broadcast musical his family’s theatre affiliation, he was comedies and, in 1933, Carroll Gibbons drawn to the stage at an early age. invited him to join his Radio Normandy During his time at Oxford University he Sunday series. It all helped to popularize was elected Secretary of its Dramatic him as a radio personality. Society and, upon leaving Oxford in 1924, joined the Birmingham Repertory Mid-1934 saw him cast in Terence Company. Rattigan’s play, ‘French Without Tears’, to be staged on New York’s Broadway Having had some spasmodic singing and he duly departed from Southampton tuition he developed into a pleasant light aboard ‘SS Manhattan’, returning to the baritone and, as noted by Rust and UK in February 1935. Forbes, during 1930 he cut almost two dozen sides singing current popular Patrick Waddington continued to dance songs with Harry Bidgood’s build on his thespian reputation through ‘Broadcasters’ for the Broadcast label. to WW2 when he enrolled in the RAF, Surprisingly however, there is no becoming an administrator with the mention in his autobiography of making ultimate rank of Squadron Leader. Post- these recordings! At the same time, Ivor war he successfully returned to life on !18 stage, film, radio, and now TV, which in the picture, a cabaret act is on the dance 1968, included floor but, when dancing appearances in two was in progress, the e a r l y e p i s o d e s o f band were seated ‘ D a d ’ s A r m y ’ . within the proscenium Throughout his life he arch, leaving the floor had remained a c l e a r f o r d a n c i n g b a c h e l o r a n d , couples. The eventually retiring to Monseigneur was one York, he died on 4th of the first London February 1987, aged restaurants to possess 86. air conditioning, but despite its grandeur, its The Mary Evans existence was brief. P i c t u r e L i b r a r y Merely a few years frequently displays later the premises collections on the web, b e c a m e a N e w s and I was attracted by Cinema. a feature showing a 1931 picture of The 95th anniversary London’s Monseigneur of the publication of Restaurant (shown ‘The Radio Times’ below), the name being occurred on September familiar as the Piccadilly venue featuring 28th. It first appeared in 1923 priced at the dance bands of Roy Fox (1931/32) just two old pence – equivalent now to and (1932/34).(Permission to about 50p. Throughout the years there reproduce by kind permission © have been 18 editors, the most notable Illustrated London News/Mary Evans within the musical genre being Eric Picture Library. A large colour print is Maschwitz, from 1927 to 1933 – several available via www.prints-online.com). In years ahead of Goodnight Vienna. The

!19 m a g a z i n e i s t h e remained for the rest of his world’s oldest TV and life. Working in TV and r a d i o l i s t i n g s variety shows he additionally periodical. During the worked in Melbourne and 1950s, its sales were was highly regarded in both in the region of 8.8 cities. million. Rival magazines and the Jeff Bolton’s web site rise of the internet ‘Music and Radio’ regularly and on-screen shows attractive collages of channel guides have singing stars of various since considerably genres and periods, and Dan reduced RT’s sales, Donovan, (pictured below) a which currently stand true star of the 1930s dance at 577,000. Dawn Davis band world, was featured during October. Dan, born in The clues for the Grangetown, Cardiff, in O c t o b e r M y s t e r y 1901, began his early musical picture revealed a lovely but unfamiliar life learning to play the saxophone and face, that of a 1930s vocalist Dawn singing with the local church choir. Davis. Her life was more complex than the Despite commencing his working life mere task of just identifying her apprenticed to the motor engineering photograph! She is the subject of a trade, music remained a great temptation separate feature to be found on page 22. which, in 1928, led him to forming his own 5-piece band. Eager to know more News came from Australia in early about the professional music industry he November, reporting the death of Alan later took a trip to London and, by a Dean at the age of 94. He will no doubt series of coincidences, auditioned for be remembered here as a founder Debroy Somers, who gave him a job member of the vocal group, The singing with his band, and so began the Keynotes. Born in London’s East Ham in career of a lifetime. He made his first 1924, his career as a singer took him record in April 1930 and, through Debroy through a multitude of dance bands. He Somers’ generosity, was allowed to was 16 when Harry Roy took him on, record with many other then Ambrose, Oscar b a n d s i n c l u d i n g Rabin, Harry Leader, Mantovani, Charlie Kunz, Frank Weir and many Oscar Rabin, Jay Wilbur, more. He also created etc., which greatly added his own band which to his popularity. starred Ronnie Scott on tenor sax, and then later In September 1934 he co-founded the Keynotes joined Henry Hall’s BBC with Johnnie Johnston. Dance Orchestra, to play Alan was invited to the baritone saxophone and USA by George Shearing become a vocalist. He and later emigrated made about 120 there. An occasion to visit recordings with Henry, Australia revealed he finally leaving in 1937 to liked it there and, in form his own 8-piece 1958, he emigrated yet band in the Lansdowne again and settled in House restaurant. 1939 Sydney, where he found him broadcasting !20 in Holland and narrowly escaping from Then came the really big change – the impending Nazi invasion. Upon his Geraldo, whom she joined in March return to Britain he went into the show 1942. Scores of broadcasts and ‘The Little Dog Laughed’ at the London r e c o r d i n g s b e c a m e a r e g u l a r Palladium and when it closed he joined commitment, with late night dance band the RAF and established a small band shows, ENSA concerts, Break For Music with newly conscripted musicians. Post- entertainments – it was a constant war he resumed his successful career in routine. the radio shows ‘Welsh Rarebit’ and ‘When Day is Done’ then, finally retiring The Geraldo band and vocalists also from show business, he ran a few pubs toured the Middle East and European in Cardiff while happily looking back on a war zones. It was a nine-week trip, and brilliant career as a visited and entertained h u g e l y p r o l i f i c in Cairo, Alexandria, broadcaster and, Palestine and Persia. h a v i n g m a d e The return trip entailed around 500 further troop concerts records, also a in Italy and Gibraltar, recording star. and a scare occurred Dan Donovan died during the flight to Italy. in Cardiff, aged 85, T h e i r t w i n - e n g i n e on 6th December, aircraft, probably a 1986. Douglas Dakota DC-3, suffered an engine The November failure during the Mystery photo duly journey. It could arrived courtesy of maintain flight with a John Wright, who single engine if the is certainly finding payload was reduced an interesting so, very regretfully, the selection of stars passengers’ luggage from the Golden Doreen Villiers had to be jettisoned. A Age.The heart-breaking provocative young requirement surely, lady was revealed as Doreen Villiers – with no change of clothes for the rest of who shares her name with a vintage the tour! motorcycle – well that was a clue! Her career was relatively brief, but Doreen Villiers’ personal life was nevertheless eventful. She was a complex. In February 1944, at the age of Londoner, born in Hackney on the 23rd 21, she married Kenneth Wakley, an January 1923 and, in April 1940, became American Airforce pilot who was sadly a Carroll Levis Discovery. She first killed in action just seven months later. broadcast with pianist Reginald Williams’ She left Geraldo in December 1944, Futurists Dance Quartet in July 1941 and married another American serviceman, then joined Billy Ternent, who had been Theodor Martin, and, when he was due evacuated to Bristol with the BBC Variety to return home, left with him and settled Department. Later in that year the Harry in Ohio. Doreen never went back to a Parry Sextet and Radio Rhythm Club show business career, eventually benefitted by her presence as she toured remarried twice more, and died in with the show, often in duet with Benny Guernsey County, Ohio, on 26th Lee. November 1995, aged 72.

!21 Dawn recorded for Ray Noble in Dawn Davis 1933, singing Mack Gordon and Harry Revel’s song, When You Were The Girl On The Scooter (And I Was The Boy On Brian Willey looks at the life and The Bike) as a duet with Al Bowlly. times of the 1930s vocalist Joining Charlie Kunz at the Casani Club in the spring of 1934, she cut around 20 tracks with him before touring with Oscar Rabin’s Romany Band, and then making two records for Harry Leader at the end of that year. For a short while in the late Dawn Davis was the subject of last 1930s she teamed up with Len Bermon – September’s Mystery Photo in the British previously a drummer and vocalist with Dance Bands group website. Their Henry Hall’s BBC Dance Orchestra – regular monthly picture quiz often and they became a duo under the odd brought forth an unfamiliar face, and this title of ‘The Racketeers of Romance’. In was certainly one of them! 1941 a stage band titled, ‘Dawn Davis and her Master Swingers’ appeared, the Born early on Christmas Day in 1913, personnel comprising key men from the s h e w a s v e r y late Teddy Joyce’s factually christened band, but apparently it Christine Noel was not a success Dawn Davis. By the and all parted by early 1930s she mutual consent two had developed into months later. In the a fine vocalist and early war years Dawn became much in continued as a solo demand on the broadcasting artist s t a g e v a r i e t y and regularly topping circuit, often billed the bill in the variety as ‘Vaudeville’s circuits around the Queen of the country until the end Microphone.’ of 1942 - and then s h e s u d d e n l y During 1933 disappeared , and she sang in four throughout 1943, ‘Baird Process’ n e w s a b o u t h e r television ceased to exist. programmes, billed a s s i n g i n g She reappeared in Syncopated Songs 1944 as if nothing had and, in later years, happened, and took her presence in part in ‘Workers’ many other radio Playtime’ shows and a s h o w s b e c a m e n u m b e r o f n e w sufficiently prolific programmes titled, ‘I’ll f o r h e r t o b e Play to You’, singing labelled ‘The Star of with organist Reginald 100 broadcasts.’ However, very little is Porter-Brown and Felton Rapley at the known of her private life – other than her piano, all introduced by Sandy hobby as an ace at the dart board! Macpherson. 1946 was busy, taking part

!22 professional bookings had been made. However, if it was just a holiday it was a long one, because Dawn did not return to the UK until 1955, and then hoping to resume work, in 1956, she sought an audition for BBC Television – no longer the ‘Baird Process’ of course – and sadly failed it. What work she did from then on, we may never know, but sadly, after such a magnificent early life, it cannot have been anything to do with show business. She lived in various areas – Beckenham in Kent, Ruislip in Middlesex, and then a return to Kent, this time to Bromley, where she eventually died in September 1996, aged 83. Her son, Philip, if alive and well, would now be in his mid-70s and may possibly read these words. I would be delighted to hear from him! in a lavish radio show titled ‘Harmony Hall’ with a cast of 14 and singing with Percival Mackey’s Orchestra. For all other broadcasts her own act had changed to a different presentation, for she had then teamed up with guitarist Eddie Gurey and pianist Julien Oakley, and the trio broadcast on a number of occasions in ‘Music Hall’ and ‘Variety Bandbox’. Well, she certainly can’t be faulted for not trying out ideas! The trio made its final appearance on 16th January 1947 in a ‘Workers’ Playtime’ at the Industrial Co-op Society in Kettering, and then Dawn was back to her solo stage variety artist routine which satisfactorily carried her through 1947 and ’48 – and then suddenly, no news once more. In August 1949 it was revealed that she had taken a voyage to Australia, with her arrival in Sydney registered as Miss Dawn Davis and young son, Philip Davis. From this fact we could conjecture that perhaps young Philip’s birth was the Len Bermon who, with Dawn Davis reason for her year off work in 1943. Her formed the Racketeers of Nottingham agent, Jimmy Haynes, was Romance unware of the Australian visit, so no

!23 FRED DOUGLAS

(1885 – 1955)

The jobbing singer-entertainer HectorHillJ

By Hector Hill

If asked to name a vocalist who Clifton, was a house painter from Leeds; recorded with (amongst others) Wag mother, Jane Elizabeth née Jobling, from Abbey, Billy Cotton, Stan Greening, Newcastle. With their first child, Emily, Henry Hall, Albert Ketelby, Arthur Lally, they had moved to London in the late Joe Loss, Percival Mackey, Oscar Rabin, 1870s. the Savoy Hotel Orpheans, George Scott Wood, Nat Star, Hal Swain, Jay Whidden ‘Arthur Edwin Clifton’ is the name on and Jay Wilbur, would Fred Douglas Fred’s birth and baptism documents; but, have come to mind? His distinctive when twenty-five, he wrote ‘Arthur recorded voice conveys a man Edward Clifton, Music Hall experienced in stage-craft. Artiste’ in neat backward- The internet has little sloping script below his about him; mother’s details on photographs are few; their 1911 census and his biography form. On leaving in This England’s school he Second Book of worked briefly British Dance as a printer or Bands (2001) is p a i n t e r ’ s just forty-six- assistant (the w o r d s , a n d document is twenty-seven of u n c l e a r – those are probably it was bandleaders’ 'painter' names. assisting f a t h e r ) . B y The fourth of six August 1902, surviving children, he aged seventeen, he was born on 18th April was ‘Fred Douglas 1885 at 89 Pratt Street humorist’ with the Clifford Camden Town; and baptised Essex Pierrots, touring south on 28th June. Father, Arthur Bruce coast resorts. In the summer of

!24 1905 he toured with Miss Ines Howard’s American troupe came to London to Company as a humorous actor, ‘working perform the musical In Dahomey at the hard and successfully to keep the Shaftesbury theatre in 1903 and on tour audience in good humour’. By early in 1904. One of the troupe was a Fred 1906 he was a variety ‘turn’; and when at Douglas, who went into partnership with the New Parthenon in Liverpool The Era a Will Garland and toured Trip to reported him to be ‘a comedian and Coontown in 1908. mimic with many good points’. His bill- matter, the descriptive remark below Fred married Winifred Thomson in artistes' names on posters and Fulham around May 1913. They had two programmes, was (with my apologies) sons: Leslie D Clifton, 1st May 1914; and ‘The Versatile Coon’ (1910), ‘The Philip N Clifton, 1st August 1919. Leslie Famous Chocolate Coon’ (1912), ‘The became the bandleader Leslie Douglas. Popular Coon Impersonator’ (1914), and Fred was not in the armed forces in ‘The Versatile Coon World War One. He can be traced Impressionist’ (1917). Of his June 1926 working in theatres, halls and recording performance at the Pavilion in Liverpool studios during the conflict. The Stage wrote ‘The Coon character studies of Fred Douglas possess merit’. From 11th November 1913 to 10th Such routines were in his repertoire into November 1914 he cut thirty-three sides the 1930s. for the Gramophone Co Ltd. They were issued on seventeen 10 inch records, Around the time he entered show priced 1/1. By early 1915 he had begun business, there already was an Arthur his long association with Regal, the Clifton actor and an Arthur Clifton ‘the Columbia Graphophone Company's unique swell comedian’. Also confusing cheaper label. According to Rust, from the research, when he launched himself October 1920 to November 1936 Fred as Fred Douglas, a sixty-strong African- recorded with thirty-one dance bands for

Stan Greening’s Band at Columbia

!25 twenty-seven labels. This is but part of (1928-31). Except for the odd private his discography, since Rust catalogued function, The Two Gilberts seem not to only dance music, omitting Fred’s many have performed publicly: indeed Leslie other solo and duo recordings. Years Rome toured with a Connie Leonard. In after Fred's recording prime, in May November 1931 Fred and Rome 1941's The Gramophone, Herbert Ridout recorded with Harry Bidgood on (Columbia's former publicist) reported Broadcast; and there is a Broadcast- Fred had confirmed 'no fewer than thirty- Super-Twelve by ‘Fred and Leslie Gilbert three aliases' and pointed out that Ridout comedians’ recorded in January 1932. had coined many of them. Ridout Fred was a significant performer for claimed Fred used a different delivery Regal. He contributed eight of the thirty- style for each alias, and wrote: 'Such a four sides in their November 1925 unique record of singing names surely advertised releases. Regal’s 1926 calls for recognition, so here is the list catalogue lists two hundred and five under which he sang. On Regal he was sides by him: one hundred and five as Fred Douglas in popular ballads, F W The Two Gilberts; seventy-eight as Fred Ramsey in chorus songs and tongue- Douglas; ten as Tom Gilbert; seven as F twisters, Fred Murray in semi-ballads, W Ramsey; three as Frank Terry; one as Frank Terry in coon songs, Harry Vernon Fred Murray; and one as Harry Vernon. in musical comedy hits, Frank Greene in If solo on only one side, the reverse was Jack Buchanan's songs, Charles Vernon usually The Two Gilberts, or Regal in recitations, Fred Barmy in "potty" paired him with sides by a few named songs with Billy Cotton's band, Tom tenors. Reviewing a Regal in The Gilbert in popular songs, and in Gramophone of September duets as one of the Barmy 1928, 'TM' declared Fred to Brothers, the Two be 'one of the best of Gilberts, Barmy and the music-hall Buck, Fred and comedians who sing Harry, and the Two f o r t h e Duggies - the gramophone'. other being his T h e B a r m y son Leslie Brothers with Douglas . . . On George Buck Columbia he was an early sang as Stewart 1 9 3 0 s d u o ; Morton and famous for Ain’t Harry Glen . . . It Grand To Be This does not Bloomin’ Well e x h a u s t h i s Dead (MR-559). a d v e n t u r e s i n T h e y b e c a m e nomenclature, for Barmy and Buck on under other names he Regal Zonophone. sang later on Parlophone, Their first release, the Sterno, Imperial, Decca, rhyming-slang Up the Apples Broadcast, Filmophone, Goodson, and Pears a n d F i d d l e r J o e Durium, World-Echo, and Dominion (MR-856), was hailed as a ‘first rate low records.' comedy record’ by the Yorkshire Post in April 1933. Ted Lewis and Bertha The other half of The Two Gilberts Willmott each recorded duets with Fred was Lionel Rothery (1922-24), Harry on Regal Zonophone in 1935. Bertha Cove (1924-28) and Leslie Rome joined him and son Leslie on British

!26 Homophone Co Ltd's Sterno and Solex Throughout 1932 and 1933, he labels in 1933 and 1934. performed frequently in studio BB doing: Song and Dance; Songs; Fred was on the radio from its early Clown Songs; and Duets. One duo was days. He partnered Harry Elliott in with nineteen year-old son Leslie singing Turned Up, a two-man show on the eight Hill-billy Songs and Spirituals. The half- month old 6BM-Bournemouth in June hour broadcasts were at 11 pm after 1924. They were back there in July with radio had closed, when the experiment Plantation Songs, then Ten Minutes in could use the transmitters. On 17th Coon Land, and an unspecified January 1933 Fred was the Cat and the programme in September. He migrated Cook in Dick Whittington, with music by to the National Programme and did many ‘Mr Harry Bidgood’s Instrumental light entertainment and variety shows Quartet’; and he was in Cinderella on (one as Fred Barmy 'Descriptive Vocalist' 27th December 1933. In February 1934 on 1st December 1932); and presented some programmes of themed records. In 1934 he appeared in seven Henry Hall broadcasts, partnering song-writer Harry Tilsley. Fred’s radio career lasted until September 1950: of which more later.

He features in television history. Just after 11 pm on 22nd August 1932, with face and hands blacked-up and wearing a light hat, check shirt and light- toned trousers, he performed in the very first BBC experimental television Studio BB at Broadcasting House broadcast, which used Baird’s thirty vertical lines mechanical scanning system. His co-artistes were vocalists Studio BB was returned to its intended Betty Bolton and Betty Astell, and radio use; and Baird’s equipment was comedienne Louie Freear. The TV moved to 16 Portland Place; where Fred studio was improvised in the art-deco apparently did not perform. This low- dance-band definition Radio Studio experiment BB in the sub- Fred Douglas in a Baird TV ended in basement of the experiment S e p t e m b e r recently-opened 1935. The Broadcasting Alexandra House. One Palace 'high n e w s p a p e r definition' ones mentioned Fred began in juggling; N o v e m b e r a n o t h e r 1936. commented that the ‘blacking’ In a stage obscured his career lasting facial details on until 1953, Fred the receiving was a ‘turn’ in sets. variety shows,

!27 ‘Joyce’ for the March appearances at Fred (right) and Bill Campbell (left) the Gaiety in Belfast; ‘a cinema for the lower end of the market’ according to Culture Northern Ireland. In 1929 he did a week at each of the fourteen cinemas of the United Picture Theatres circuit around London. For the 1930 summer season, he was with the Jacks and Jills pierrot troupe at the Beach Pavilion Great Yarmouth. In March 1935, he advertised for work in the ‘Wanted Engagements - Variety Artists’ column in The Stage as ‘Fred Douglas, the original television croon (sic) and hill-billy singer’ who could also produce and stage-direct. 18 Manor Road, Wallington, Surrey was revues, summer shows and cine-variety. his address. He later moved house In the latter he was the live act before along that road. the silent films; and was doing it as early as 1912. He was not a West End Like many entertainers, Fred performer or a bill-topper; and his performed at private functions for well- appearances before the late-1930s were heeled associations, Masonic lodges and in lower-rank theatres. From early 1919 the like. The troupes assembled for he performed in variety as 'Stewart some of those evenings could involve Morton' with a 'clever lady' assistant several significant names. doing 'coon studies'. As Fred Douglas, in 1920 he toured in Busybodies, the Fred never recorded with Marius B Show with the Vim. In 1925 he toured Winter’s band, but was their vocalist in a with The Q's, a concert-party; and The 1931 Pathétone short film. Lean, with Stage declared ‘(he) is a splendid sharp facial features, he sang A baritone and his Coon studies are Farmyard Symphony whilst dressed as a artistic’. In December 1925 he was with bewhiskered old country-character The Q's in revue in Worthing, doing comedy, 'coon-work', and singing. The Worthing Herald Fred, left, with Marius B.Winter referred to him as 'Stewart Morton, a fine basso, of gramophone record fame'. In 1926 and 1927 he toured in the revue Stuff and Nonsense. 1928 saw a series of cine- variety appearances such as in September at the Stoll Picture Theatre in Bedminster which billed Fred Douglas and assistant in Coon Studies at 5:20 and 7:55 pm, each just fifteen minutes before the films. The assistant was billed as !28 beyond his forty-six years. Available at breaks between Campbell’s troupe's BritishPathe.com, it is a glimpse of Fred tours, Fred made solo variety the stage performer. Otherwise, he appearances as Buck Douglas. After seems not to have had a film career. Campbell’s death on 25th April 1952, his widow Peggy Bailey led the troupe; and His career changed in late 1938 sixty-seven year-old Fred continued when, aged fifty-three, he joined a troupe touring as Buck Douglas for about supporting ‘Big’ Bill Campbell, a another year in a new ‘second-half’ show Canadian who had already achieved called The Golden Prairie. radio and (Columbia) record success with his Rocky Mountaineers. They From the late 1930s Fred and toured the major variety Winifred’s home theatres with a 'second-half' w a s 3 2 M a n o r show. Initially called Way Road, Wallington, Out West, then Rocky S u r r e y Mountain Rhythm, it was (octogenarian revived annually. They also Leslie Douglas’s had a popular radio show, address in The first called Hill-Billy Round International Who's Up, then The Cabin In The Who in Popular Hills, then Big Bill’s Prairie M u s i c 2 0 0 2 ). Round Up. It aired from Winifred died in S e p t e m b e r 1 9 3 8 t o 1942 aged forty- September 1950, and its eight and Fred catch-phrases (principally married widow ' M i g h t y F i n e ' ) w e r e Beatrice Phyllis lampooned in ITMA. The T i l s l e y n é e radio show’s format was Longville. He died exploited in the stage show. ‘peacefully at home’ Fred played ‘Buck Douglas on 1st March 1955, an Old Cow Puncher’ who aged sixty-nine, sang ‘prairie songs’, and and is buried in was billed (and even signed M i t c h a m R o a d a u t o g r a p h s ) a s B u c k Cemetery Croydon. Douglas. The Stage T h e f a m i l y reviewer commented on his a n n o u n c e d h i s noticeable stage experience death in The Stage and repose; and one local newspaper on 3rd March as ‘Fred (Buck) Douglas’. described him as 'tough and wiry'. He His death was registered as Arthur E stage-managed and led when Campbell Clifton. Widow 'Phyl' posted an In was indisposed. The troupe did five Memoriam to 'Fred (Buck) Douglas' shows of the Western Cabaret at annually in The Stage until 1978. Alexandra Palace on the 405-lines, London-only, BBC television service in (The image of Fred in pierrot 1939; and another two each of Rocky costume is reproduced by kind Mountain Rhythm and Way Out West in permission of This England magazine. 1946. They recorded for Decca's Rex in Mike Thomas supplied details of The the early , including Der Fuehrer’s Two Gilberts, and the Columbia studio Face w i t h v o c a l b y ‘ B u c k photograph of Fred with Stan Greening, Douglas’ (R-7087). Fred is on Bill Nat Star, Ted Heath, Wag Abbey etc .) Campbell CD compilations. In the

!29

NEW RELEASES FROM MEMORY LANE MAGAZINE RECORDS Al Bowlly’s Travels and other , MLMCD078 Sailin' On the Robert E. Lee - Ray Noble and his NMDO; Lazy Lou'siana Moon - Edgar Adeler's Hawaiian Players; Louisiana Hayride - Lew Stone And his Band; Colorado Sunset - Geraldo and his Orchestra; The Longer That You Linger in Virginia - Roy Fox and his Band; Headin' For Hollywood - Hawaiian Serenaders ; My Sweet Virginia - Roy Fox and his Band; Basin Street Blues - Al Bowlly solo (Orchestra directed by Ray Noble); Moonlight on The Colorado - Ferrachini's Hawaiian Band; Hang Out the Stars in Indiana - NMDO; Tell Me, Are You from Georgia? - Roy Fox and his Band (with Nat Gonella); Somewhere in Old Wyoming - Palm Beach Hawaiians; It’s Sunday Down in Carolina - Ray Noble and his Orchestra; Blue Hawaii - Al Bowlly solo; Old New England Moon - Waikiki Serenaders; Half Moon on The Hudson - Al Bowlly and his Orchestra (Leonard Joy); Missouri Waltz - Roy Fox and his Band; St. Louis Blues - Ray Noble and his Orchestra; Roll On, Mississippi, Roll On - NMDO (with The Three Ginx); Stars Fell on Alabama - Al Goodman and His Orchestra; A Letter to My Mother - Monia Liter; Swanee (Tunes of Not So Long Ago – 1921 Inc. Coal Black Mammy) - New Mayfair Orchestra Take 1; Swanee (Tunes of Not So Long Ago - 1921 Inc. Coal Black Mammy) - New Mayfair Orchestra Take 2; Nice Work if You Can Get It - Lew Stone and his Band (with The Jackdaws).

More songs featuring places, plus rare bonus tracks not previously available on CD. Sheer joy!

Those Dance Band Years, Volume 1 MLMCD079

I’ll See You in my Dreams - Mario Harp Lorenzi v Marjorie Stedeford; By a Lazy Country Lane - Billy Cotton v Sid Buckman; A Nightingale Sang in Berkley Square - Geraldo v Dorothy Carless; Why Shouldn't I - Ambrose v Sam Browne; The Grass is Getting Greener All the Time - Charlie Kunz v Harry Bentley; The Singing Hills - Joe Loss v Chick Henderson; That’s Me Without You - Joe Loss v The Rhythm Sisters; Alice Blue Gown - Carroll Gibbons and the SHO v Anne Lenner & Eric Whitley; Good Evening - Jack Payne v Jack Plant; The Belle of Fiji Island - Jay Wilbur v Cavan O’Connor; And So Do I - Geraldo v Dorothy Carless; Street of Dreams - Billy Cotton v Alan Breeze; Would You Like to Take a Walk - Ambrose v Ella Logan & Sam Browne; Sundown in a Little Green Hollow - Joe Loss v Jimmy Mesene; Ma Ma Maria - Joe Loss v Chick Henderson; That Sly Old Gentleman - Jack Hylton v Peggy Dell; Easy Come, Easy Go - Jay Wilbur v Cyril Grantham; The Breeze and I - Geraldo v Dorothy Carless; Say That You Were Only Teasing Me - Ambrose v Sam Browne; That’s All That Matters to Me - Anona Winn, p. Carroll Gibbons; Scatterbrain - Joe Loss v Chick Henderson; When All’s Said And Done - Jay Wilbur v Cavan O’Connor; I Can’t Believe it’s True - Ambrose v Sam Browne; Just a Catchy Little Tune - Bertini v Donald Peers.

A fabulous collection of British dance bands and vocalists which you are certain to enjoy.

PUBLICATIONS AVAILABLE FROM MEMORY LANE All prices include post and packing and airmail to abroad. THEY CALLED HIM AL – THE MUSICAL LIFE OF AL BOWLLY By Ray Pallett See separate advertisement. £20.00 (UK), £23.00 (Europe) or £27.00 (rest of world).

A MODEST MAESTRO BY TONY STAVEACRE See separate advertisement. £15.00 (UK), £18.00 (Europe) or £22.00 (rest of world).

BRITISH DANCE BANDS ON THE SILVER SCREEN By Richard J Johnson A Film listing 1920 – 1950. 36 pages. £7.00 UK or £11.00 to the rest of the world.

BRITISH DANCE BANDS ON CD By Ray Pallett Updated quarterly. A listing of British dance band CDs with track listings. 46 pages. £6.00 UK or £10.00 to the rest of the world.

AL BOWLLY ON CD By Ray Pallett (Updated quarterly) and AL BOWLLY ON LP AND EP RECORDS By Edward Towler. Both with full track listings. £5.00 UK or £11.00 each to the rest of the world.

THE MEMORY LANE NOSTALGIA DIRECTORY Lists CD & DVD companies and suppliers & 78 rpm dealers. 4 unused, unstuck first class stamps (UK) or 8 International Reply Coupons. DVDs AVAILABLE FROM MEMORY LANE From BBC Producer Tony Staveacre. AL BOWLLY - THE LOST INTERVIEWS. Interviews about Al Bowlly. £10 (UK); £15 (elsewhere) DANCE HALL - Featuring Geraldo and Ted Heath. £10 (UK); £15 (elsewhere) RAY NOBLE THE SONGWRITER featuring an interview with Ray Noble. £8 (UK) or £12 (elsewhere)

To obtain all the above please see shaded box on facing page

!30 CDS AVAILABLE FROM MEMORY LANE All prices include post and packing and airmail to abroad.

CDs are expertly remastered, professionally manufactured and come with comprehensive information. £8.00 UK, or £12.00 to the rest of the world. Full track listings are at www.memorylane.org.uk or will be sent on receipt of an A5 SAE. Catalogue numbers missing from the list of CDs below indicate deleted CDs - but see note at bottom of the page. Please note that CDs cannot be exchanged if you change your mind or order erroneously. THOSE DANCE BAND YEARS VOLUME 1 MLMCD079 AL BOWLLY’S TRAVELS AND OTHER RARITIES VOLUME 2 MLMCD078 PHYLLIS ROBINS - MY BLUEBIRD’S SINGING THE BLUES MLMCD077 AL BOWLLY’S TRAVELS AND OTHER RARITIES MLMCD076 THE EARLY SAVOY BANDS MLMCD075 AL BOWLLY AFRIKAANS SIDES AND OTHER RARITIES MLMCD074 THE EARLY BILLY COTTON MLMCD073 THE COMPLETE AL BOWLLY ON 12 INCH 78 RPM RECORDS MLMCD072 DANCE BAND RARITIES VOLUME 2 MLMCD071 THE DURIUM DANCE BAND MLMCD069 THE FOUR BRIGHT SPARKS MLMCD067 AL BOWLLY – THE COMPLETE LEW STONE SESSIONS VOLUME 6 MLMCD066 EVELYN DALL AND FRIENDS MLMCD065 THE JESSIE MATTHEWS COMPANION MLMCD063 AL BOWLLY – THE COMPLETE LEW STONE SESSIONS VOLUME 4 MLMCD062 THE STARS ENTERTAIN THE TROOPS, VARIOUS ARTISTES MLMCD061 DANCE BAND RARITIES MLMCD059 AL BOWLLY – THE COMPLETE LEW STONE SESSIONS VOLUME 2 MLMCD058 THE VOICE OF CHICK HENDERSON MLMCD057 LEW STONE – THE BAND THAT MATTERED MLMCD053 WHEN THE GREAT BRITISH DANCE BANDS PLAYED HOT VOLUME 4 MLMCD051 SINGERS ON PARADE VOLUME 1 MLMCD049 AL BOWLLY – THE COMPLETE ROY FOX SESSIONS VOLUME 3 MLMCD048 WHEN THE GREAT BRITISH DANCE BANDS PLAYED HOT, VOLUME 3 MLMCD047 AL BOWLLY – THE COMPLETE ROY FOX SESSIONS VOLUME 2 MLMCD046 HARRY BIDGOOD, THE VOCALION STUDIO BAND LEADER MLMCD045 THE EARLY JOE LOSS MLMCD041 THE VOICE OF ANNE LENNER VOLUME 2 MLMCD037 HARRY LEADER – THE EARLY YEARS MLMCD035 THE (NEW) MAYFAIR DANCE ORCHESTRA 1919-1940 MLMCD033 THE SAM BROWNE STORY VOLUME 2 MLMCD027 THE VOICE OF PAT O’MALLEY MLMCD025 THE VOICE OF BILLY SCOTT-COOMBER. MLMCD017 HARRY BENTLEY AND THE GREAT BRITISH DANCE BANDS MLMCD015

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MEMORY LANE, P O BOX 1939, LEIGH-ON-SEA, SS9 3UH, ENGLAND. Or order at our On-Line shop and pay by debit or credit card at: WWW.MEMORYLANE.ORG.UK. (If ordering from abroad and not using the On-Line shop, please see note on page 3.)

Special copies of deleted CDs can now be obtained direct from Dave Cooper at 5 Kingscote Drive, Blackpool, FY3 8HB. The CDs will be supplied in a jewel case complete with artwork at £11.75 (UK), £14.00 (Europe ) or £16.00 (Rest of the World) including postage and packing. Please make UK cheques payable to D Cooper and allow 10 days for delivery. If sending abroad, please send bankers draft drawn on a UK bank, or US dollars or Euros at the current exchange rate plus $5 or €5 to cover bank charges.

!31 Alfie Noakes – Star Trumpeter In His Own Words – As Told first-hand to Peter Tanner Peter Tanner Peter Compiled for Memory Lane by Terry Brown. PART SEVEN

Alfie continues his wartime shall never forget, either 1941 or 1942, reminiscences with Geraldo as told to during which we played four broadcasts - Peter Tanner one early in the morning and one early evening, a half hour of dance music on “Now I must tell you about another each. After the morning programme we wartime radio show on which Geraldo went to a London Hospital, played a was fortunate enough to be featured. concert, part of which was broadcast, This was a special Tommy Handley and after the early evening show we show, known as the Tommy Handley Half went to the Criterion Theatre – then a Hour, which was broadcast every BBC studio. Here we had our Christmas Tuesday, live, by short wave, for troops dinner which consisted of one fried egg overseas only, from the Criterion and chips each. More luxurious than it Theatre. We played three or four dance sounds today, for it should be numbers to a full house of troops on leave. The big feature of course was the cross talk between Tommy Handley and co-star Jack Train, both of whom were stars of ITMA. Besides our radio work, I must not omit our many visits to various RAF stations. I recall that during one particular week we were honoured to play at Stanmore, Hornchurch, Biggin Hill, West Drayton and North Weald. In fact if my memory serves me correctly, we played Biggin Hill twice during that week. Whilst we were playing at Hornchurch the alarm sounded and many of the pilots and other crew members rushed off to their Spitfires and Hurricanes to get at the German raiders. Alfie Noakes There is one particular Christmas Day I

!32 remembered that this was quite a rare screening Gerry was handed the dish in those severely rationed times. orchestral score of the film and we did a The final Christmas broadcast was a special broadcast featuring the many fine special Christmas Hour from the BBC’s tunes from the film. Later on we were Monseigneur studio, Marble Arch, and invited to a similar preview of the second featured those famous stars of Old Glenn Miller film, Orchestra Wives. Mother Riley films, Lucan & McShane. In direct contrast, on another Christmas Another broadcast I remember, one evening Gerry invited us to his lovely of the many, was a special Meet the apartment in Berkeley Square where we Boys show – Gerry’s own title for it. This all enjoyed the lovely hospitality of Gerry was first aired to the forces from 10.00 to 10.30pm on 11 November 1941. The announcer specially engaged for this show was Franklyn Engelman, then a Geraldo captain in the army. The idea was to introduce each member of the band, first giving an ‘amusing’ description of him and then asking what number he would like played. Here are a few examples – Sid Bright – sits at the piano looking like a Toby Jug; Jack Collier – has a delayed action smile. I mean you tell him a joke last week and he’ll laugh like blazes next Tuesday; Alfie Noakes – He’s a Canadian from Toronto which may, or may not, account for his wearing a fawn lumber jacket, bright blue trousers, spectacles and a cap with checks like a Times crossword puzzle. What was my request? ‘Tis Autumn, and his wife. Me, well I spent my time arranged and sung by George Evans. admiring the furnishings and decorations, but I must confess that I Away from Geraldo another wartime very much enjoyed the excellent wine radio show I recall with real pleasure was that Gerry served. Hi Gang! This featuring that famous American film star husband and wife Another rare time we had to relax team, Ben Lyon and , was on 29 October 1941, when each together with comedian Vic Oliver. The member of the orchestra was presented orchestra booked for this show was with a card – ‘Admit Geraldo’s Band’ – a directed by my old friend, Jay Wilbur. special invitation to attend a preview of You will recall I had been Jay’s lead the Twentieth Century Fox film Sun trumpet on so many records and Jay Valley Serenade, at the company’s engaged me to play from the first show private theatre in Soho Square. The on 26 May 1940 to the last, altogether 96 stars of the film were Sonja Henie, John editions! I remember many of the guest Payne, Milton Berle and Joan Davis but stars, Robert Newton, Gilbert Harding, naturally we had come to hear the Glenn Robertson Hare, Diana Wynyard, Valerie Miller Orchestra. At the end of the Hobson, C. B. Cochran, oh so many. The

!33 usual announcer for entirely Canadian. The this show was Bruce following musicians Belfrage and I can Gilbert Harding were engaged to play in always remember him the Maple Leaf saying ‘Hugh!’ to the Orchestra under my audience for silence direction and that of when the red light pianist, Jack Penn; Max was due to come on. G o l d b e r g , t r u m p e t , Somewhat naturally, Bruce Campbell and the line-up of the Tony Thorpe trombones, outfit used to change Harry Varden and Art d u e t o v a r i o u s Christmas, saxes, musicians having Jackie Hunter and Billy service duties, quite a Guest, drums, Hugo few of them with RAF Rignold, violin, and Orchestras. However George Panton, guitar. I do have the line-up T h e v o c a l s w e r e for one of the shows h a n d l e d b y H u g o w h i c h w a s i n Rignold’s sister Pat, Bert September 1941 or 1942 – it was myself Yarlett and Phyllis Stanley. Radio and and Chick Smith, trumpets; Ted Heath stage artiste Lyle Evans was on all the and Bill Mulraney, trombones; E.O. programmes, telling stories and ‘Poggie’ Pogson and Frank Johnson, humorous anecdotes. Our producer was altos; George Smith and Cliff Timms, David Miller and the usual compere was tenors; Sid Sax, violin; plus a rhythm Gerry Wilmot. I guess our show became section comprising, Pat Dodd, piano, very popular as Doug Lawrence gave me Jack Simmons, guitar, Billy Bell, bass further contracts for the show in 1941. and Jack Simpson on drums. Also at the time, Jay added a harpist named Walter You know there were so many Hayward, and Paul Fenoulhet used to be interesting incidents whilst I was with added on trombone when he was free Gerry that it’s difficult to know where to from his job as director of the Skyrockets start. Here is one for instance – and it Orchestra. concerns one of our Royal Command engagements. This one was held in the It was while doing a broadcast at the drawing room at Windsor Castle on 27 BBC Maida Vale studios that the March 1943. The relief band was that of shortage of ideas for radio programmes the Grenadier Guards, so one or two was mentioned to me by one of the BBC members were doubling in both bands! directors. Suddenly an idea came to me; The newspaper write-up of the time, w h y n o t p u t o n m y o w n r a d i o which I still have, states that Princess programme? Say an All-Canadian show? Elizabeth, who will almost certainly one So I contacted Doug Lawrence at the day be the Queen of the British Empire, BBC and asked if he would be interested could ‘jive’ and ‘cut a rug’, with any in such a programme and a while later jitterbug present! Well she certainly was presented with a contract for six proved this by dancing every number radio shows to be broadcast monthly, from the opening, Pick Yourself Up, to starting July 1940. We decided to name the closing, Goodnight Waltz, at four in the show ‘Canadian Capers’, which was the morning! Princess Margaret joined to run forty to forty-five minutes and be her for a while, but she was only twelve !34 at the time and had to go to bed early. All letters would go via the Forces post The newspaper concluded by saying office system. The next thing was that everyone had a good time – and that we all had to have injections to prevent certainly included the whole orchestra. us picking up any diseases whilst away. We each had nine in all and they were Now I must tell you something about carried out over a two week period at a our ENSA trips during the war. Gerry’s private surgery somewhere near Euston position with ENSA during those years Station. As these vaccinations were was very high and the authorities knew pumped alternately into our right or left they could rely upon him to provide the arm, you can imagine how sore we were Forces, both over here and abroad, with and how difficult it was to play the highest level of entertainment. It was sometimes. I felt especially sorry for the in the late summer of 1943 that we first rhythm section. However even the saxes heard something about our entertaining and us in the brass section found we troops abroad. Then, reporting for work quickly got tired - as did most at the Drury Lane Theatre one morning servicemen. As for Gerry, waving the we were all told that we would be sailing baton for any length of time made his sometime in October. For security arm so sore that he had to give it a rest reasons we were not to tell anyone. We once in a while. were also informed that we would be able to write home from the various Finally came the morning in October places at which we would play but not to 1943 when we were all told to be at mention the name of any town or camps. Drury Lane Theatre early the following morning when we would be departing from England. No one knew where we were going though everyone was busy trying to guess. A NAAFI bus took us to Ray Noble Euston where we took a train to Anfield. - The Another bus then transported us to Liverpool docks and we boarded a grey Songwriter two funnel liner. After a day or two aboard at least found out we were on This is a DVD containing an the Shaw-Saville liner, Dominion edited version Monarch. Before lunch and dinner every of the day a loudspeaker, in each cabin and all programme the lounges, relayed a good recording of a b o u t R a y Percy Grainger’s In An English Country Noble, which Garden. This was the call for meals but was shown on BBC-1 in 1978, as part of a series The it didn’t seem to us to be particularly Songwriters which Tony Staveacre appropriate – though I don’t know if produced. It features an interview with Dinner For One Please James or Tea for Ray Noble and songs sung by Marti Two would have been any better! We Webb, Sheila White, Paul Jones and soon found out that with us on board Peter Gale. The orchestrations were were a number of Army and Navy created by Ken Moule. The film lasts officers bound for the same destination about 18 minutes. See Pages 30 and 31 for availability. as ourselves. But where - the Middle East, Africa, the Far East? We just didn’t know. A problem that arose when we boarded the Dominion Monarch was: !35 officers or orchestra for the very limited number of cabins available? I think a Memory Lane Guided Walks coin was tossed in the end! At any rate, Al Bowlly’s we appeared to win and shared the London lovely cabins with portholes looking out to sea, whilst the officers shared bunks Our next walk will be our put up every night in the various saloons most popular, parts of it and lounges. having been televised several times. It will take We sailed in a convoy, of course, and place on Saturday, 11th the other boats around us numbered May, 2019 starting near about ten to fifteen. Some of these ships the Strand at 11:00am would sail off somewhere else during the and will identify many of the places in night and others joined us in their place. central London associated with Al Bowlly. This was the system used in many of the Sixteen locations are visited in this walk wartime convoys. Our speed of progress including the Savoy Hotel, the St. Martin was also regulated by that of the slowest Registry Office, 17 Orange Street, Charing boat – around 8 or 9 knots an hour. All Cross Mansions, where Al’s Blue Plaque outside lights had to be extinguished may be viewed, the Monseigneur after sunset and there was no smoking Restaurant and site of the now demolished allowed on deck. When we entered the Dukes Court. Refreshments will be available Mediterranean most of us guessed at this point for those who want them. where we were headed. After a couple of days the captain announced: ‘Sleep with For those who wish to, after the main part of your clothes on, in case of an the Walk, there will be the opportunity to visit Abbey Road Studios in St John’s Wood* emergency’. Luckily for us all during the where Al recorded hundreds of records as a entire trip there was no emergency. It soloist and with Ray Noble and Geraldo wasn’t long before we saw the coast of among others. North Africa on the starboard side; then Alexandria in the distance, and a final An enjoyable day is promised in the landing at Port Said. At this point my convivial company of fellow enthusiasts. 8mm camera was handed back to me as we were not allowed to take any Tickets are available either by post or photographs during the voyage. NAAFI through our web site. Prices are £5.00 per coaches were waiting for us, small but person for any number of tickets purchased by Memory Lane subscribers, or £7.00 comfortable, and soon we were on our otherwise. On receipt of payment, your way to Cairo, passing through Suez and Itinerary and coloured location map will be stopping at Ismailia for some Eastern sent to you. hospitality. On arrival in Cairo we found we had been booked into the National, a Please send cheques to Memory Lane, P O really lovely hotel. Gerry, however, Box 1939, Leigh-on-Sea, SS9 3UH or order stayed at the famous Sheppard’s Hotel – on-line at www.memorylane.org.uk (click on totally destroyed during the events at the top of the home page). demonstrations a few years back. * The visit to the studios requires a short underground train journey, the fare for which is not included in the price TO BE CONTINUED for the walk. (If you buy a Travel card, the underground fare will be included.)

!36 The Eddie Condon Story

By arryMcCanna

Barry McCanna B

PART THREE - BRANCHING OUT

PART THREE – BRANCHING OUT bandstand and those who had followed him were equally late in returning. This In autumn 1937 Red McKenzie annoyed Nick Rongetti, proprietor of introduced Eddie to Nick Rongetti, who Nick's, so much that he dismissed Mr. had a small club in Greenwich Village, Condon with great frequency. He always on Seventh Avenue at h i r e d h i m b a c k 10th Street, and was immediately but he having a bigger one never could bring constructed on a himself to point out to vacant lot opposite. Mr. Condon that his The new venue, conversational habits k n o w n s i m p l y a s were depriving Nick's Nick’s, opened in the of considerable middle of December, revenue. “Eddie is and Eddie alternated s e n s i t i v e , ” M r . with Sharkey Bonano’s Rongetti said. “I band. wouldn't want to hurt was on cornet and h i s f e e l i n g s b y Pee Wee Russell on bringing up such a clarinet. Eddie said commercial matter.” there were only two rules for the band. Meanwhile, back at “Shoes must be worn on the stand, and the Commodore Music Shop reissues anybody who falls off must get back were selling out, and the record under his own power.” According to the companies still owned the masters. Milt New York Times obituary: conferred with Eddie, and decided that since sooner or later the original When Mr. Condon and his men musicians would be passing through completed a set, he would retire across they should assemble them to make new 10th Street to Julius's, a bar without recordings. The first opportunity that music, trailed by many of Nick's presented itself was ’s customers who wanted to feast on the Carnegie Hall Concert on 16th January guitarist's conversation. Mr. Condon was 1938, when everybody who was frequently late getting back to the anybody was in town. The following day !37 Eddie Condon and his musicians have so much Windy City Seven Bud to give to a hot orchestra ( B o b b y H a c k e t t , Freeman a s E d d i e , w i t h h i s George Brunies, Pee metronomically regular Wee Russell, Bud rhythm which induces Freeman, Jess Stacy, superb swing.” A r t i e S h a p i r o & Nevertheless, when he G e o r g e We t t l i n g ) came to New York in 1938, recorded “Carnegie and presumed to tell D r a g ” w h i c h w a s American musicians how issued as a 12” 78 jazz should be played, it coupled with drew the riposte from “Carnegie Jump”, Eddie “He's a game guy, “Love is Just Around coming over here and the Corner” which was coupled with “Ja telling us how to play jazz. We don't go Da”, and “Beat to the Socks” which was over to France and tell them how to jump coupled with “I Got Rhythm” by the Bud on a grape, do we?” Freeman Trio. Inspired by the BBC’s organised jam The success of the venture led to session on 5th November 1938, in the another session being booked at the end Viennese Room of the St. Regis Hotel, of April, with replacing which was compèred by Alastair Cooke Brunies. They recorded “Embraceable and broadcast direct to England, Eddie You” coupled with “Serenade to a began organising weekly jam sessions in Shylock” (issued on a 12” 78) and “Meet the main ballroom of the Park Lane Me Tonight in Dreamland” coupled with Hotel, which were a sell-out. All went well “Diane” (the latter side issued as by until the fifth week, when two vice- Jackson Teagarden and his Trombone). presidents of the holding company Eddie had talked up the project in overheard the proceedings and advance and been promised a feature in terminated the arrangement. It was a Life Magazine. It appeared in the edition case of when one door shuts another for 8th August, and in terms of publicity it one opens. Milt Gabler had expanded was everything he could have wished for, his business with the introduction of mail and more. Custom increased at Nick’s, order, and opened a branch store on with customers crowding the stand to 52nd Street. That winter he began a compare the photos in Life with the real series of Sunday afternoon concerts at thing. “Pee Wee’s quite a sight, isn’t he?” Jimmy Ryan’s, the club opposite, and the Nick said to Eddie. “You can’t hear a musicians were organised by Eddie. face”, he replied. In the meantime, f u r t h e r r e c o r d i n g s e s s i o n s f o r Meanwhile, he had decided to Commodore followed, at irregular organise a co-operative band, which at intervals, dictated by the availability of Phyllis’ suggestion was called the suitable musicians. A notable release Summa Cum Laude Orchestra. The was a four-part jam session on “A Good records they cut for Decca between July Man Is Hard To Find” with double brass 1939 and April 1940 under Bud and triple reeds. Freeman’s leadership included numbers that were associated with Bix and the Hugues Panassie, a French jazz Wolverines. Eddie himself fronted a lover who published a magazine called record date in August 1939 which Le Jazz Hot, was rather complimentary produced “There’ll be Some Changes of Eddie’s playing, writing “Few Made”, “Nobody’s Sweetheart”, “Friars

!38 P o i n t S h u f f l e ” and “Someday, well-wishers, and the intermission lasted Sweetheart”. twenty-three minutes, one minute to get him off, and twenty-two to get him back At the end of 1939 the band on. Afterwards Oscar Levant said “I participated in a jazz version of never realised how much Tchaikovsky Shakespeare’s “A Midsummer Night’s owes to Gershwin.” It had been intended Dream” called “Swingin’ the Dream” at as the first of a series, but it became the Centre Theatre in Radio City. It ran apparent that the venue was too formal for thirteen performances, in the course and cavernous. of which Nick fired them, not happy at taking second place to the Bard. They Eddie followed up by renting the went into the Brick Club on West 47th more intimate Town Hall on West 43rd Street, which job lasted until the summer, Street for a jazz concert on 21st when they were booked for four weeks in February, 1942. It was entitled “A the Panther Room of the Sherman Hotel Chiaroscuro Jazz Concert” to reflect the in Chicago. There they alternated with shades of colour that would be Stuff Smith and his band, and Lee Wiley represented, and despite a low sang occasionally. On return to New York attendance (Eddie’s opening the band broke up, but Nick wanted them announcement began “Lady and back, so Eddie rounded up those still gentleman”) it was decided to continue. available. Eddie had great respect for Sidney Bechet’s playing, and ensured that he 1941 began with ASCAP imposing a was featured prominently. The ban on the radio networks broadcasting admiration was mutual; Bechet enjoyed any of its music unless they agreed to working with him and enjoyed his double the fee involved, a stand-off that wisecracks. Later he credited Eddie as lasted until the end of October. That one of those principally responsible for summer Eddie took a job at the Brass his come-back. R a i l i n C h i c a g o , u n d e r J i m m y McPartland’s leadership, and generated The third concert prompted a phone another article in Time, which was good call from Worthington Minor of the CBS for business. Back in New York, Eddie television studio, who had witnessed the had set up a network to event, and thought the help deal with what he format would be ideal for called “parish business”, a transmission. And so it version of London’s Archer proved, but after four Street, where messages w e e k s t h e F e d e r a l could be left and passed C o m m u n i c a t i o n s on. All of which helped, as Commission issued a war he put it, to put jazz in a ruling limiting stations to a rented pew. 1941 ended maximum transmission of with the attack on Pearl four hours per week, which Harbour. effectively brought the project to a halt. Eddie had arranged for a Fats Waller concert at Eddie was then called Carnegie Hall on 24th before the draft board, January 1942, which was w h i c h a f t e r m u c h a limited success. Fats deliberation found that he imbibed backstage was unfit for military beforehand with his many s e r v i c e ( a p a r t f r o m

!39 anything else, he had been born deaf in reasoning “the closer my bed to the the right ear). He spent the summer bandstand the better”. He and Phyllis playing at military camps, which concerts had married on his thirty-seventh were greeted with great enthusiasm, birthday, and lived in an apartment on participating in service broadcasts, and Washington Square North, which they making V-discs. moved into when it was vacated by Amy Vanderbilt. That autumn he resumed the Town Hall concerts, beginning on 7th The first “Eddie Condon’s” opened at November 1942. They proved to be a 47 West 3rd Street on 20th December tremendous success, and continued for 1945 (the day the paint dried), and Eddie the next three years, switching later to called it “Town Hall with booze”. A the Ritz Theatre, and from 1944 were reporter who asked him the capacity of broadcast over NBC on what was known the club was told “About 200 cases”. He as the Blue Network. The announcer’s defined the club’s policy as “We don’t introduction promised “the only throw anyone in, and we don’t throw unrehearsed, free-wheeling, completely anyone out”. Eddie had nicknames for barefoot music on the air”. Those many of the regulars, and the men’s broadcasts from 20th May 1944 onwards room attendant was known as “Flush have been reissued on LP and CD. Gordon”. Pesci controlled the purse Forty-eight of the concerts were strings, and was dubbed “Ivan the transcribed by the Armed Forces Radio Terrible”. Eddie was not a fan of bebop; a Service, and broadcast to servicemen waiter who dropped a loaded tray around the world, as a result of which received the admonition “None of that Eddie Condon topped the GI popularity progressive stuff in here, please!” When poll. the block was torn down in 1957 he moved to a new venue in the Sutton In 1947 he graduated to television Hotel on East 56th Street, which opened with “The Eddie Condon Floor Show”, a in February 1958, and lasted until 1967. weekly half-hour series which continued until 24th September 1949, first with In 1954 Eddie participated in the first WPIX, then with NBC. Eddie said they Newport Jazz Festival. He said he was ill scared potential sponsors to death, but at ease in the fresh air, but he managed. managed to hold out unsponsored. A log The following year the Festival took of the 1949 transmissions exists on the place in a rainstorm, and was recorded web, and those by George Avakian for appearing included Columbia. Also in Sidney Bechet, Louis 1954 Eddie made A r m s t r o n g , B i l l y history by giving a Eckstine, Count dual concert in Basie, Roy Eldridge, Kleinhan’s Hall in Cootie Williams and B u f f a l o w i t h t h e Sarah Vaughan. Buffalo Philharmonic, and repeated the In 1945 Eddie and experience in January t h e m a n a g e r o f 1956 by giving two Julius’s, Pete Pesci, Eddie Condon in 1946 c o n c e r t s i n decided he needed a Washington, D.C. with place of his own. They the National both wanted to have the club in order to Symphony Orchestra. One of them was remain in Greenwich Village, Eddie held in Constitution Hall, a venue from

!40 which he’d been banned a decade earlier by the Daughters of the American American Dance Bands Republic, who owned the venue.

Also in 1956 Eddie took a group to England, kicking off in Glasgow, with support from Humphrey Lyttelton and his band, and in 1964 he toured Japan, Australia and New Zealand. On 20th January 1969 he played at the Inaugural Ball for President Nixon. In the fall of 1971 Columbia Artists put together a Through an exchange matrix agreement with seven-week tour through twenty-six such companies as Crystalate, HMV, Decca states, which included a concert entitled etc., many of the lesser known American dance bands found their way onto British Stars of Jazz at the Lincoln Centre for record labels. Greenhorn Records are Performing Arts. His last public pleased to present 20 tracks of successful appearance was at the Newport in New bands from across the Atlantic, now York Jazz Festival in Carnegie Hall on 5th transferred onto CD and available at their July 1973. He was admitted to hospital special low price of £5.00 each which includes postage from: two days later, and died on 4th August. He was succeeded by his wife Phyllis Greenhorn Records, and their two daughters, Maggie and The Old Manse, Church Road, Liza. Lyminge, Folkestone, CT18 8JA His autobiography “We Called It Music” (subtitled “A Generation of Jazz”) which was published in 1947, rapidly became a best-seller, and deservedly so. It’s generally regarded as one of the best CDs featuring recordings from the 1920s to the books on jazz, and is still in print. It was 1940s, many that are not available elsewhere. followed by “Eddie Condon’s Scrapbook Mainly USA and British Dance Bands. There are of Jazz” which is a fascinating also many CDs of vocalists, classic comedy, photographic record of his career, instrumentals and compilations. complete with press cuttings and concert Many of the tracks on these CDs have not been programmes, with a linking commentary. available for years. To ensure maximum listening I have drawn heavily on both books in pleasure the recordings have been lovingly restored the writing of this article. from high quality original discs held in private collections. Each CD contains more than 70 minutes of It would be hard to over-estimate playing time! Eddie Condon’s importance to jazz. He A complete listing of the available CDs can be found was a trailblazer, who campaigned long on the Web at www.crystream.com.au where you can and hard for jazz musicians to be order on-line using your PayPal account or your Visa accorded their due, and a pioneer, who or MasterCard. organised integrated record sessions Crystal Stream Audio before 1930, and similar groups onstage P O Box 700, Bunninyong, in an era when that practice was still 3357 Victoria, Australia. frowned on. He spearheaded and E-mail: [email protected] encouraged a group of like-minded players, and the recordings they made, Full details of ordering and payment are available on for Commodore in particular, were the web site. instrumental in the revival of jazz.

!41 The Songs of Noel Coward

A special feature by arryMcCanna Barry McCanna B

PART ONE

I can think of only two figures in the family; his father was a piano popular music who were both composer salesman, and both parents sang in a and lyricist, namely and choir, but the family finances fluctuated, Cole Porter. I used to think that Noel and they lived in what was then called Coward was the British equivalent, but “”genteel poverty”. Their first-born, although he often wrote both words and Russell, had died suddenly of spinal music that wasn’t meningitis before always the case. On Noel was born, and the other hand he u n d e r s t a n d a b l y w a s a l s o a Violet doted on her playwright and second son. author, actor and p a i n t e r , s o h e He attended deserves a special C l a u d e S e l f e ’ s category of his own. Chapel Royal He wrote over 300 School in Clapham s o n g s , m a n y o f as a day boy from which he sang in his the age of eight, o w n i n i m i t a b l e and later enrolled fashion (rather more for a course of melodiously, it has twelve lessons at to be said, than Janet Thomas’ e i t h e r B e r l i n o r Dancing Academy Porter). Some he in Hanover Square. also recorded, many That apart, he had of them having been very little formal w r i t t e n f o r h i s education, and revues or musicals. seems to have been largely self-taught Noel Peirce as a musician. Coward was born in Teddington at the tail end of the nineteenth century, on the In January 1911 he obtained his first 16th December 1899 (his first name professional engagement as Prince derived from the proximity of his birth to Mussel in the children’s play The the Christmas festival), to Arthur and Goldfish. At the end of the year he Violet (née Veitch). There was music in appeared in the first performance of the

!42 children’s play Where the Rainbow Ends payments few of his songs were at the Garrick Theatre under the actor- published. He was introduced by manager Charles Hawtrey. This became Beatrice Lillie to André Charlot, who was an annual Christmas production, in unimpressed, and told her not to waste which Noel appeared again in 1912 and his time with “young composers who 1915. played the piano badly and sang worse”! Nevertheless, Coward supplied lyrics to Italia Conti, an actress who trained Doris Joel’s music for the song Peter the cast of Where the Rainbow Ends, put Pan, which was sung by Phyllis Titmus in him forward for a part in Gerhardt André Charlot’s revue Tails Up, which Hauptmann's dream poem Hannele at opened at the Comedy Theatre on 1st the Liverpool Repertory Theatre (now June 1918. the Liverpool Playhouse) in March 1913, directed by Basil Dean. There he The end of the First World War was met Gertrude Lawrence, who would celebrated by a Victory Ball at the Royal feature large in his career. He wrote in Albert Hall on 27th November 1918, but his memoirs that she “gave me an the festive mood was marred by the orange and told me a few mildly dirty death the following day of one of the stories, and I loved her from then attendees, Miss Billie Carleton, from an onwards”. In the same year he was cast overdose of cocaine. Coward had met as the lost boy “Slightly” in Peter Pan, the young actress, and the theme of drug repeating the performance the following addiction would surface in his 1924 play year. The Vortex and could be discerned in some of his songs. During 1914 he became the protégé of the society painter Philip Streatfeild, In the meantime he had set his sights who introduced him to the eccentric on New York and undeterred by a bohemian hostess Mrs. Astley-Cooper, shortage of funds, he set sail on the owner of Hambleton Hall, where he RMS Aquitania in May 1921. He spent became a frequent guest. This was five months there, and made many Coward’s entrée to the world of country friends during his stay, including Fred house living, and he kept a notebook of and Adele Astaire, and Alfred Lunt and the conversations to which he was privy. Lynn Fontanne. He took in many shows, His hostess later commented "It amused including Shuffle Along, and was me to hear my remarks put into the impressed by the pace of those mouths of actors." It’s apparent, even at productions, an approach he adopted for this early stage, that Coward’s his own use. background was ideally suited to the role of detached observer, viewing the foibles He began appearing in musical plays and excesses of society with a jaundiced in his early twenties, and his first was eye, while making a careful note of London Calling (a reference to the new anything he might put to use in the radio station call-sign 2LO London) future. which was produced by André Charlot, opened at the Duke of York’s Theatre in Coward spent much of his teenage September 1923, and ran for 316 years touring in rep, where he learnt his performances. The songs included stagecraft, and attempting to write plays There’s Life in the Old Girl Yet and What of his own. During his late teens he Love Means to Girls Like Me, both sung signed a three-year contract with by Maisie Gay, Russian Blues, and his Herman Darewski to supply lyrics, but first great hit, Parisian Pierrot, sung by although he received the agreed Gertrude Lawrence. According to Cecil

!43 Beaton, the last-named song became same time, namely He Never Did That to “the signature tune of the late 1920s”. Me (about the failure of a silent movie villain to live up to his on-screen The play also featured a waspish persona) and We Must All Be Very Kind parody of Edith Sitwell’s Façade, entitled to Auntie Jessie, but sadly all six were The Swiss Family Whittlebot, narrated by rejected. Maisie Gay as Hernia Whittlebott, which failed to amuse the Sitwell family. He provided the entire score for C. B. Although the show was a success, Cochran’s revue This Year of Grace, Coward was unhappy with Charlot’s which opened at the Pavilion on 22nd managerial March 1928, with involvement, and Douglas Byng, Sonnie eventually bowed out. Hale and Jessie Matthews in the cast. The impresario C. At the time Sonnie B. Cochran had had Hale was married to his eye on Coward for Evelyn Laye, and some time, and during Jessie Matthews to the run of The Vortex Henry Lytton, but the invited him to write the two stars began an book for a new revue, affair which became a leaving Philip Braham cause célèbre, and to provide the music. ended in a double Noel disregarded the divorce. Dance Little distinction, and Lady was one of the deliberately produced hits of the show, yet s k e t c h e s w h i c h despite the incorporated songs. exhortation of the title, On with the Dance the song and its stage opened at the Pavilion setting carried a Theatre on 30th April warning of the empty 1925 and ran for 229 life being pursued by performances. the Bright Young Things.

The big hit of the show was the song Coward recorded five of the numbers Poor Little Rich Girl, which Cochran had from that show, four with orchestral wanted to drop as being “too dreary”, accompaniment directed by Carroll and which Noel fought successfully to Gibbons, namely Mary Make-Believe/A retain. Alice Delysia played a lady’s Room With a View (the latter title copied maid, singing it to her mistress Hermione from E.M. Forster’s 1908 novel) (HMV Baddeley while she danced in the B-2719), and Try to Learn to Love/ spotlight. The lyrics carried an overt Dance, Little Lady (HMV B-2720). Carroll warning about the perils facing young provided a piano accompaniment for society ladies with time on their hands, Lorelei, which was coupled on HMV and more money than sense. B-2737 with an occasional Coward song The Dream is Over (in due course used Noel recorded it in August 1925, in the 1933 film The Little Damozel in together with Lady Bird from the same which it was sung by Anna Neagle). show, and Other Girls and Prenez- Garde, Lisette from London Calling. He Attempts were made to adapt some also recorded two other songs at the of Coward’s plays for the screen, but

!44 without much success, because this was November, 1929, where it was a smash the silent film era. There was a world of hit, and ran for 159 performances. difference between a witty one-liner spoken on stage and the same words Next came Private Lives, a comedy projected for the cinema audience to with music by Coward, which was the read. Undeterred, in 1928 Michael first play to be produced at the Phoenix Balcon of Gainsborough Films Theatre when it opened on 24th commissioned Coward to write a September 1930. It starred Noel himself, costume drama for Ivor Novello, with the Gertrude Lawrence, Lawrence Olivier title Concerto. It rapidly became and Adrianne Allen in a tale of apparent that this entanglement between was a non-starter, love and marriage. and the project was Accompanied by Ray called off, Coward Noble, Noel and Gertie returning his fee. recorded the Love Scene His efforts were not f r o m A c t 1 , w h i c h wasted, however, introduced the song because he used Someday I’ll Find You, the plot as the basis and a scene from Act 2, for his next musical, which were issued on the operetta Bitter HMV C-2043. The play Sweet. included the memorable line “Extraordinary how It opened at His potent cheap music is”. It Majesty’s Theatre transferred to New York, on July 18th 1929, and opened on Times with George Square on 27th January Metaxa and Peggy 1931. Wood in the cast, and ran for 697 Coward wrote just four performances. numbers for Cochran’s There were several 1931 Revue, which memorable songs, opened at the Pavilion on namely If Love Were All, I’ll See You 19th March 1931, with a cast that Again, Zigeuner and The Call of Life. included John Mills and Queenie Coward recorded the last-named, Leonard, but it ran for only 27 together with World Weary (which he performances. He recorded Half-Caste wrote for the Broadway production of Woman/Any Little Fish with Ray Noble This Year of Grace in which it was and they were issued on HMV B-3794. introduced by Beatrice Lillie). He was Both songs echoed themes already again accompanied on piano by Carroll explored by Cole Porter, albeit more Gibbons, and the result was issued on explicitly, in Love for Sale and Let’s Do It HMV B-3158. The song “If Love Were respectively. Porter was happy for All” contained the self-deprecatory lines Coward to create several alternative sets “I believe that since my life began/The of lyrics for the latter song, which he most I’ve had is just a talent to amuse”. A performed in cabaret. He also borrowed secondary cast was assembled for a from Porter’s “Mrs. Lowsborough- Broadway production to run in tandem; it Goodby” and “Fresh as a Daisy”. toured in Boston starring Evelyn Laye, and opened on Broadway on the 5th TO BE CONTINUED

!45 Leslie Jeffries

A Memory Lane exclusive by

Terry Brown Brown Terry

PART TWO

We continue the story from where seductive and his technique, very Leslie Jefferies was appointed to the finished. No less successful was the Grand Hotel, Eastbourne. performance of the orchestra. The management of the Grand Hotel are to Eventually Jeffries made his be congratulated for having secured so Eastbourne debut on Sunday 22 April admirable a violinist in succession to Mr 1934. A reviewer, listening to Jeffries Jones and Mr Sandler’. Following his rehearsing for the broadcast wrote, ‘I first broadcast Jeffries was usually heard never realised how shivering sweet a on Sundays at 9.00 or 9.30 once a waltz song could be until I heard Mr month. He always featured himself in L e s l i e J e f f r i e s several violin pieces rehearsing one with his with his pianist Sydney o r c h e s t r a F r i d a y Ffolkes, both as soloist morning. His violin and as accompanist, playing has the singing a n d f r e q u e n t l y s w e e t n e s s w h i c h presented a featured m a k e s h i s s o n g s i n g e r s u c h a s melodies so haunting’. b a r i t o n e F o s t e r Following his debut, the Richardson, tenor Eastbourne Gazette Leonard Gowings, complimented him on sopranos Vivienne h i s p e r f o r m a n c e , Lambelet, Gaby Valle noting. ‘He chose for and Thelma Tuson, h i s v i o l i n s o l o s , amongst others. This Dvorak’s Songs my pattern of Mother Taught Me, and b r o a d c a s t i n g Kreisler ’s Tamborin continued for the next Chinois. Mr Jeffries four years to March playing was of the best 1938. Bearing in mind quality, both in full purity t h a t t h e J e f f r i e s of tone and charm of Orchestra was only six expression. His tone is strong, including remarkably steady and !46 himself, this is a pretty high to the roof through remarkable which the delicate sounds achievement. of the strings vibrate gently, and one gets the O t h e r t h a n h i s impression of being in a Sunday broadcasts at palace of melody’. the hotel itself, he played more A p a r t f r o m h i s frequently, usually six broadcasts and enduring days a week, with presence at the hotel, additional special elsewhere over these four concerts. A reviewer in years, Leslie Jeffries and The Stage theatrical his Orchestra appeared in newspaper provides a musical short entitled an explanation as to BBC Musicals No.2 made why Jeffries remained in 1936. Produced by so popular for so long. s o n g w r i t e r H o r a c e In 1937 he wrote, ‘At Shepherd for his film the Grand Hotel p r o d u c t i o n c o m p a n y they’ve had Albert Inspirational Films, S a n d l e r a n d To m Jeffries, with his usual Jones. Each had his line-up augmented to own standards, but eight, performs Hungarian Leslie Jeffries is a Rhapsody No.1. The combination of them short was re-issued as both, and has his own knowledge of Melodies of the Moment in 1938 and what a changing public requires. I doubt under this title it can be viewed on whether the Grand Orchestra has ever YouTube. Another first for Jeffries in been of a higher quality than it is today. 1936 was when he and his trio, All the players are masters of their consisting of himself, pianist Sydney instruments and although there are only Ffoulkes and viola player Horatio Fagotti, six of them, they have with the deft were invited to play at the Radiolympia combination of a Mustel Organ a facility Exhibition in London at the beginning of of sounding like a symphony orchestra September 1936. They played three when occasion demands. High spots of times a day over the first week of the the programme are the piano solos of exhibition’s run. Another interesting Sydney Ffoulkes. I have heard a lot of excursion for Jeffries was his first brilliant pianists, some more famous, appearance on a BBC television some less famous than Mr Ffoulkes, but broadcast on 8 March 1937, where he I have never had more satisfaction than performed with his pianist, Sydney from his playing, which covers a wide Ffolkes. The show, much to the range. Leslie Jeffries’ own work is annoyance of a letter writer to the marked by perfect execution, faultless Eastbourne Gazette, could only be seen quality of tone and a brilliant but entirely within a 30 mile radius of Alexandra unobtrusive technique. And what an Palace, from where it was broadcast. admirable setting for Mr Jeffries is the Ever popular for the whole of his stay at Grand Hotel itself; its spacious floors; its the Grand Hotel, especially on radio, balconies and lofty columns soaring up Jeffries was also a regular recording !47 artiste. He had been signed by the Plaza, Rugby, ‘with the permission of the Parlophone Company and had made his RAC’. first record, Springtime Serenade/The Balkan Princess, in September 1934 Jeffries continued dividing his time (R1887). He followed this with around between the RAC and cinema work, as thirty more sides, mostly of operatic well as radio, for the rest of the year. At medleys and light orchestral works, the start of 1939, yet another opportunity rather than solos, through to 1937. arrived when he became Musical Director for the Carlton Hotel in London. As mentioned earlier, Jeffries sojourn As Leslie Jeffries and his Carlton Hotel in Eastbourne came to an end in March Orchestra (‘From the Carlton Hotel’) he 1938, with one final broadcast from the began regular BBC broadcasts from 11 Grand made on 6 March. It was Jeffries January. Aside from these, towards the himself who made this decision, telling end of February, he also began Sunday the Eastbourne Gazette that he had concerts broadcast from the Royal been offered the opportunity to return to Automobile Club. Unfortunately with the live touring, something he had missed outbreak of war in September 1939, all being able to do whilst at the Grand. public entertainment performances were True to his word, the Leslie Jeffries Trio, stopped by government decree and the consisting of Jeffries with James Carlton Hotel management had to let Robertson (piano) and Orazio Fagotti Jeffries go. Jeffries later said he would (cello), began a series of mainly cinema have returned to the Carlton immediately appearances from 4 April 1938, starting the performance ban was lifted but he with the Gaumont Cinema, Streatham. decided to step back from performing to Just prior to this, Jeffries had recorded assess the likely impact of the war on his four sides for the HMV Company on 9 entertainment activities, as well as to March with an augmented studio group take a breather as he had not had a as Leslie Jeffries & his Orchestra. Hey proper break from working for more than Gipsy, Play Gipsy and Dearest Love ten years. were issued on HMV BD534, and Tres Jolie and Le Petit Capitaine, on HMV After several months out of action, BD548. In May and June their cinema the BBC announced that Jeffries had appearances included the Rialto, now reformed his orchestra and had Walthamstow and the Paramount in returned to the Carlton Hotel, and would Newcastle upon Tyne. In July, Jeffries be making his first wartime broadcast on also returned to regular radio work, again the 12 April 1940. Jeffries very quickly with a larger studio group based around got back into the thick of things and, as his trio. In August, in between his cinema well as regular broadcasting during the and radio appearances, Jeffries also war years, he joined ENSA, taking both took up the post of Musical Director for his orchestra and trio, and on occasions the Royal Automobile Club in Pall Mall, as a solo act, all over the UK and on the London, where he installed another six continent entertaining troops and factory piece orchestra. He left his then current workers, to popular acclaim. I should trio partners, James Robertson and also add that between 1939 and 1945, Orazio Fagotti at the club, and used Jack Jeffries made a number of film Byfield (piano) and Reginald Kilbey appearances. In 1939, he performed The (cello) for his cinema trio appearances Skaters Waltz in Inspiration Films' Radio which, during September, included the Nights, following which he made two !48 shorts with his trio in 1942, and one each orchestra had lost anything of the in 1943 and 1944 for Pathe Pictorial, all delightful style and touch that made them of which can be seen on the Pathe site so popular in pre-war years’. The article at YouTube. During 1943, Jeffries mentioned that Jeffries had brought back revived his old Rialto incarnation for two of his original orchestra, Frederick touring purposes as 'Leslie Jeffries and Cramer and Sydney Ffoulkes, and his his Rialto Orchestra' and he made a musical programme included the William number of broadcasts under this name. Tell Overture, a selection from The At the BBC, he also became a regular on Chocolate Soldier and Handel’s Largo. the Break for Music and Variety Bandbox series. Across 1944/5 into 1946, Jeffries From January, 1947, Jeffries became broadcast at least once a month and a regular on the BBC’s Thursday Music was heard in further BBC at Teatime shows, then in July series such as Morning he formed a small off-shoot Melodies and from his Grand Hotel Elevenses. Orchestra, the Chelsea Players, N o w f u l l y who began regular established as one broadcasts on the of the most popular Friday Bright and light orchestras on Early shows. For a the BBC, when the large part of 1949 Grand Hotel in the Chelsea Eastbourne, which P l a y e r s a l s o had been performed on requisitioned for army Sundays until Jeffries use for some six years, re-introduced his full announced that following orchestra, ‘Leslie Jeffries a full refurbishment it would and The Grand Hotel, be taking paying guests once Eastbourne, Orchestra’, for regular again, it seemed almost inevitable that, Sunday broadcasts from 4 December as reported by the Eastbourne Gazette, 1949. The full orchestra, the Chelsea ‘Leslie Jeffries’ Orchestra has been Players and on occasions Jeffries as a engaged’. Jeffries made his first return soloist or with his trio, continued performance at the Hotel on 28 broadcasting regularly, usually at least September and would re-commence once a month right through to 1954. The regular broadcasts from the Hotel on 10 Eastbourne Herald kept track of his October 1946. Jeffries played live at the broadcasts and here is an extract from Hotel from 4.00pm to 6.00pm (‘During one such article giving a flavour of a Tea’) and 8.30pm to 10.15pm (‘After typical Jeffries radio programme. The Dinner’) ‘except Wednesdays’, the broadcast discussed was made on band’s day off. The Eastbourne Gazette Monday 10 July 1950. gave a detailed report of Jeffries return noting, ‘Leslie was given a most cordial ‘Leslie Jeffries and his Orchestra welcome when he appeared in the gave a varied programme of light music crowded lounge of the Grand Hotel, and on Monday for which enthusiastic it was obvious from the first notes of his applause was given by an appreciative opening number that neither he nor his audience. The programme started on a !49 popular note, with a selection from Ivor February 1953, Jeffries celebrated his Novello’s Dancing Years, which included 450th BBC broadcast from the Hotel, a original arrangements of I Can Give You world record at the time. With changing Starlight, Waltz of t a s t e s a n d My Heart and n e w Leap Year Waltz. Leslie Jeffries at Eastbourne management In contrast to a at the BBC, spirited little broadcasting piece, The f r o m t h e Village Children, Hotel b y K a l m a n , e v e n t u a l l y Sydney Ffoulkes came to an gave a delightful end and rendition on the J e f f r i e s piano of his own m a d e h i s composition, last Juliet. A wide broadcast on range of ballet 24 April was covered in a 1954. delightful selection which included e x c e r p t s f r o m G o u n o d ’s Faust, Although no longer broadcasting, Tchaikovsky’s Nut Cracker Suite and Jeffries became an enduring presence at Drago’s Serenade. Leslie Jeffries the Grand Hotel, ever popular and one of showed a fine interpretation and the longest serving resident conductor/ technique of the intricate gipsy air violinist Music Director for any Hotel, Zigeunerweisen by Sarasate. This ever. He even returned to making difficult piece, designed in many ways to recordings during his long tenure, tax the abilities of violinists, presented including a long playing record Music few difficulties to Leslie Jeffries who from the Grand Hotel, Eastbourne for gave a polished, well timed and clear cut Oriole Records (MG20010 released performance. Blue Dream by O’Hagen, January 1957). But eventually all good and Liszt's Liebestraum were beautifully things come to an end and Leslie played by the trio, the solo cello part Jeffries’ reign concluded on Friday 12 being taken by Edward Collinson, who August 1960 when, after being taken ill left nothing to be desired in his whilst performing in the Grand Hotel’s interpretation. The programme Palm Court on Thursday, the day before, concluded with a selection from Faust’. he sadly died aged just 62.

In 1952, Jeffries made a 20 minute Jeffries had a busy and very varied short, filmed in the Hotel, for Inspiration career really split into two halves, initially Films called Melodies from the Grand embracing the world of Jazz and dance Hotel in which he and his orchestra bands, before moving to probably his performed Trees, La Donne e Mobile, first love, the violin and light music. The Canary and an extract from Especially famed for his Palm Court Hungarian Rhapsody. Guests Dinah broadcasts from the Grand Hotel, Kaye and Cavan O’Connor sang These Eastbourne, it should be remembered Foolish Things and I’ll Take You Home that his abilities as a violinist were Again Kathleen, respectively. On 8 second to none !50 Alex Mendham And his Orchestra

by Tony Bradley Bradley Tony

PART ONE

The highly successful Alex Mendham Orchestra is one of the leading Orchestras today, performing the music of the Golden Age of the 1920s and 1930s. Alex has taken time out of his busy schedule to talk to Memory Lane readers about his life in music.

Welcome Alex. What is your who played that kind of music and who I background and what drew you to the could play it with. I was fifteen when I music of the dance bands? contacted Vince Giordano and he was very encouraging and enthusiastic. I’m from Essex. My parents were not When I was seventeen, Vince invited me particularly musical, to America, and but encouraged my that was a huge early interest in eye opener in music. As a child I learning about had piano lessons, how to organise but I also persuaded and run a band. I my parents to buy sat in with the me a saxophone. I Nighthawks quite took lessons during a l o t . T h i s primary school and encouraged me to leant the basics of start my own band keys, scales, pitch, in the UK. intonation, and tone, but I was also self- Do you have a taught up to the age favourite 78 of sixteen. I listened recording, band, to recordings and arrangement or developed musical song? Are there phrasing by playing any gems in the along and playing by collection? ear. I also played regularly with a local Trad Jazz Band where I learned about Some of my favourite 78s are my improvisation. In my local music store, I collection of Anson Weeks radio discovered many jazz artists, but it was transcriptions. They give me an idea of At The Jazz Band Ball with Bix how a band might have put together a Beiderbecke that really captivated me. I set list, or varied the programme and wondered if anyone was around today things like tempo and key changes. I !51 also like the announcements and Hazlett. It was a surreal experience, to introductions, it’s like a window into that meet someone who played with a band time. I really like the Coon - Sanders in the 1930s and who still played so Nighthawks Orchestra, their music beautifully. It made me realise that it was reflects the freewheeling spirit of the playing technique, and not just recording time. I like the and techniques, that were important t h e D o r s e y B r o t h e r s in recreating the sound of the Orchestras, plus Ambrose period. and the arrangements of Lew Stone, on numbers such as Do Something, You were twenty and his arrangement for when you Roy Fox on Oh! Mo’nah. established your own Orchestra. Were there any You studied with Bob difficulties the early Wilber and met ex Paul days? Whiteman saxophonist, Al Gallodoro. How Yes, quite a few. It’s always important was this in your a work in progress. I placed development as a musician? an advert in a music newspaper, saying that I was a young guy looking to Dan Levinson, a saxophonist with put together a band of young musicians, Vince Giordano recommended me to and that I was going to hold auditions. Bob, who lived in the UK, and Bob Within days I had over seventy e-mails, accepted me as a student of alto sax and so there was definitely an interest clarinet for about five years. Bob had amongst younger musicians for the been taught by Sidney Bechet, and he music. Some of those original musicians had also played with Benny Goodman. are still with me. I was a little naïve when He was a fantastic teacher and I I first started and I lost money on the first improved dramatically when listening to few gigs, but we persevered and his tone and trying to match that in eventually gained a following. I was person. Bob would also tell me about the aware of other bands, but I also had a fantastic musicians he knew, people like clear idea of what I wanted to achieve. I , Miff Mole, and Red wanted to approach it with a fresh set of Nichols. It was all so far removed from ears, and to try and bring something of this young guy from Essex. It was an the enthusiasm and excitement to the invaluable experience. I still rely a lot on music that I heard on records. It was what I was taught by Bob when I’m originally a young person’s music, so I playing today. I didn’t think anyone from tried to assemble a band that reflected the original Paul Whiteman Orchestra that, not necessarily younger musicians, would still be around, but Dan organised but musicians with an excitement for the for me to hear Al Gallodoro play. When music. we arrived I heard music coming across the car park and it sounded like a record from the 1930s, but as I got close, I What are the pressures of leading an realised it was live. I had never heard a Orchestra today? saxophone sound that way today. Over lunch, Al told me about Paul Whiteman, I think changes in public taste. and musicians such as Frank Trumbauer People still dance, but dancing as social of Bix Beiderbecke fame, and Chester entertainment as it used to be has gone. !52 Many people prefer to go out for a meal rounded sound. It’s also important to or go to the theatre. The restaurant gain experience in ensemble playing dance floors have made way for more which many bands did so well. Ambrose tables and to the undiscerning ear, it is a good example, where three doesn’t matter if it’s a three piece jazz trombones could sound as if one group or an orchestra playing, it’s still musician was playing. Musicians need to background music. Disc Jockeys can blend with one another. provide for the increased variety of musical tastes today, which is much The Orchestra uses original period harder to do with a group of musicians. instruments. Does it make a There is far more competition today, but I difference? find that if anything is done well, there is a market for it. We perform concerts and F o r m e i t m a k e s a m a s s i v e keep busy performing for private parties difference. It’s like trying to make a meal and events. It’s strange, we play music with the wrong ingredients. Modern that was intended for dancing to a instruments are often geared towards concert going audience, but much of it different or modern styles of music and was of such high quality that it still works other modern instruments, such as for a concert audience. electric guitars. Plastic drum skins are different to calf skins and they can sound brighter for example. It’s similar with How do you ensure that your many other instruments. musicians are playing in an authentic style? For further information, Alex has an We listen to original recordings and informative website, full of information also watch original footage. For example, about himself and the Alex Mendham the use of shake vibrato is not much Orchestra, plus CDs and tour dates, used today, but by shaking the trumpet which readers can find at: http:// for example, a faster vibrato is achieved www.alexmendham.com and it can also vary the pitch of the tone and lead to a warm, mellow, and TO BE CONTINUED

!53 diameter with an orange and black label depicting Embassy the tiny mimosa flower, it was acoustically recorded The Last on one side only. The Woolworths Record blank side had moulded JohnPhillips serrations in the shellac to prevent the small disc By John Phillips from slipping on the turntable. Many featured out-of-copyright The story of Woolworths begins in brass band selections highly truncated, 1878 when Frank Winfield Woolworth bell solos, ballad songs by singers and later his brother Charles opened uncredited, and similar ephemera. One their first five and ten cent store on 22nd might hardly guess this to be a February in Utica, New successful formula, but sales remained York City. By 1908 strong enough for it to be joined by they had opened another record company in 1923. The 562 stores across Vocalion Record Co. introduced the A m e r i c a a n d "Little Marvel" disc in this year, the Canada, and label had a light blue floral design true to American on a white background. A enterprise they prominent "W" was on display to were looking allay any doubts as to its origin. a c r o s s t h e Similar in size to the "Mimosa" they Atlantic in order to were recorded on both sides, a gain a foothold on practice quickly adopted by Crystalate the European for their miniature disc. In 1925 when Continent. Britain the electrical process of recording became an obvious choice, a prosperous improved sound quality, both labels were country, high density population, and no beginning to attract professional artistes. language problems. The first Woolworths These mainly came from the Music Halls store selling nothing over sixpence but were never identified or credited on opened at Church Street, Liverpool in the label. Woolworths even at this early 1912. It rapidly became the focus of date had created an image for itself great interest and popularity, and not just which it was never to lose as a the price factor, goods for the first time downmarket inexpensive store. were placed on open display on counters Established and respected performers for customers to examine before were naturally anxious regarding their purchase. By the early 1920s there was reputation by appearing on the counters not a city or large town in Britain that of Woolworths with other could not boast having their own cheap goods. However Woolworths. on first playing it was In 1921 Woolworths agreed a not too difficult to contract with the Crystalate Record recognize many of Co. of Tonbridge in Kent for the the singers. supply of miniature records which Charles Penrose could be played on any (The laughing gramophone. It was in this year policeman) and that the small "Mimosa" record L e s l i e S a r o n y appeared on the Woolworth’s were counters. Just over 5 inches in unmistakable, fine !54 singers like John Thorne and Stanley The prestigious name of HMV slowly Kirkby had their 90 seconds of glory on eroded, eventually being overtaken by "Mimosa" and "Little Marvel”. more enterprising members of the industry who records aside, produced These miniature records which better designed, and it has to be said gradually increased in size to 6 inches more reliable products. were produced until 1928 when production came to an end. In April 1931 after a successful run Considering that many of three years,”Victory" records thousands of these records were replaced by the were sold over an eight celebrated 8 inch "Eclipse" year period, it is rather record. Still selling at surprising how few of sixpence each and them seem to turn up offering even better today. Vocalion switching value, displaying the to their new “Broadcast" sun’s eclipse, the bright label pulled out of the red and gold label for bottom end of the market, dance band and light leaving Crystalate to entertainment, blue label introduce their new 7 inch for more serious content. Jay "Victory" record to the Wilbur was overall musical Woolworths counters. This disc director for both labels, and top- featured an attractive yellow label with a rate bands recorded for “Eclipse". Bertini picture of Nelson’s flagship displayed and the Blackpool Tower Dance Band, across the top half. Selling at sixpence Harry Leader, and Jay Wilbur himself each new artistes, who were now directed a first class house band under credited, made their first appearance on many different pseudonyms. The “Victory". Albert Whelan, Tommy Handley Ambassadors 12, The Philadephians, (both popular on the wireless) even Al The Hottentots, The Radio Syncopators, Bowlly before reaching the height of his the list goes on, all with a sound quality popularity appeared with the "Victory" as previously mentioned able to match, Dance band directed by the redoubtable and often surpass recordings made by Jay Whidden. "Victory" records endured rivals including EMI. "Eclipse" records throughout the most turbulent crisis to provided inexpensive home face the record industry. Producing a entertainment for the many who faced luxury item the great depression hardship through a period of had driven many record p r e v i o u s l y u n k n o w n companies to the wall. Even recession. By September the industry giants HMV 1 9 3 5 t h e c r i s i s w a s and Columbia were to beginning to ease a little merge in an attempt to as the economy started mitigate the worst effects to pick up over concerns of the crisis. It has to be at what was happening in noted this was a sad day Germany. It was during for the record buying t h i s m o n t h t h a t p u b l i c . T h e h e a l t h y Woolworths introduced a competition between the two new record to their counters. companies was lost, and the new merger which in 1931 Crystalate’s 9 inch "Crown" became EMI (Electrical & Musical record featured a black label (Later Industries) turned into a conglomerate. turning bright blue) picturing a gold

!55 crown and lettering. Some very good featured professional artistes and performers appeared on this label, musicians who with a few notable Rossini’s Accordion Band (Harry exceptions were unknown to the general Bidgood) Mrs Jack Hylton and her Band, public. In order to keep costs low they Billy Merrin and his Commanders, and were paid no royalties on record sales, not forgetting an 18 year old London girl agreeing to a fixed fee for a given Vera Lynn. Still maintaining the same number of recorded sides. To exploit the quality standards as Eclipse, this growing spending power particularly of sixpenny label was cutting profit margins the younger generation, the records to the bone. After just 354 issues it all were kept completely up to date with the came to an end. In March 1937 Decca latest "Hits" of the day taking priority. was able to purchase Crystalate for This required a rapid turnaround at all £200,000 and production of "Crown" stages of production, very often taking as r e c o r d s w a s s t o p p e d little as four days from studio immediately. They adopted recording to counter shelves. The Crystalate’s medium priced records sold well with weekly label (Rex) as their own UK sales in excess of 100,000 budget label selling at one copies. Occasionally the shilling and sixpence Woolworths version would each. Some of the Crown outsell the original “Hit". A artistes were transferred classic case in point being to this label, but for the the Connie Francis Stupid first time in nearly twenty Cupid which climbed high into years the record counters of the charts, but was ‘eclipsed' by Woolworths remained empty. It the Maureen Evans version on is hardly surprising that no other Embassy. If a popular song happened record company stepped in to fill the to take your fancy and you were not too gap. This situation lasted throughout the fussy as to who sang it, then the war years and it was not until 1954 long counters of Woolworths were ready to after Woolworths had abandoned its welcome you. Towards the end of the "nothing over sixpence" policy, that a 1950s Embassy records were available new record was to appear on their in vinyl 45 rpm format; also EPs were counters. issued of popular shows and light operetta all at a competitive price. After Oriole Records Ltd had been issuing 1,200 titles all this sadly came to established by the brothers Jacques and an end. David Levy with their state-of-the-art modern studio situated at New Bond In 1965 an American company CBS Street in Mayfair. They had been purchased Oriole, and showed no producing Oriole records since 1950. In interest in continuing the supply of February 1954 production was to records to Woolworths. They seemed proceed for the issue of a new more concerned in getting their hands on "Embassy" record to be sold exclusively Orioles well equipped studio and modern by Woolworths. These were 10 inch pressing plant at Aylesbury to produce shellac discs with a bright silver and red their own products. The records sold by label selling at four shillings each. Not Woolworths over the previous 40 odd particularly inexpensive when Decca years were never going to achieve any records were available at the British long term historical or artistic merit, Home Stores for four shillings and neither were they ever intended to be so. sixpence, but nevertheless still the They are however part of the British cheapest on the market. They all recorded heritage.

!56 PRESENTATION COLUMBIA please? The recordings she made with RECORDS dance bands are listed in the Brian Rust/ I have acquired a 10” record album, Sandy Forbes Dance Band Discography, sadly sans contents, inscribed “These but there are other records she made three Presentation Columbia Records that were not as part of a dance band. I will enable you to enjoy at am hoping there is something substantial once the gramophone side somewhere! Query of your instrument and Richard Prout suggest the immense Barlby v a r i e t y o f r e c o r d e d North Yorkshire ? entertainment available”. Corner Does anyone have any DAVID McCULLUM details of the records which In the 1960s, there was an actor David might have been in it and McCullum and a violinist of the same when it was issued? Although it says name in Mantovani’s Orchestra. Were “three” on the cover, the album does they related? Martin Pascoe contain six envelopes. The wording suggests it was issued as a gift with the Query By E-mail purchase of a radiogram. ? Editor: They were father Thank you in anticipation Corner and son. David Keith Richard Prout McCallum Sr. (26 March Barlby 1897 – 21 March 1972) North Yorkshire was the Scottish leader (principal first violinist) of the Royal Philharmonic PHYLLIS ROBINS DISCOGRAPHICAL Orchestra, the London Philharmonic DETAILS Orchestra, and the Scottish National Are there any discographical details of Orchestra. Phyllis Robins available anywhere,

!57 Early in his career, he arranged music for Discography so it must be American or several local silent cinemas. He also by an artiste other than a British dance played in the cinema trio and it was here band. Any help would be much that he met his wife, cellist and appreciated. orchestral violinist Dorothy Dorman. In Peter Bangs 1922, he broadcast as a solo violinist for Clacton-on-Sea the first time. Between 1932 and 1936, he led the Scottish Orchestra in Glasgow KEN SYKORA AND FRANK WAPPAT under John Barbirolli, then was asked BROADCASTS by Sir Thomas Beecham to lead I recently acquired some old cassette the London Philharmonic Orchestra in tapes of radio programmes succession to Paul Beard, who had about dance bands. The joined the BBC Symphony Orchestra. Query earliest one was introduced by Ken Sykora and he During World War II, McCallum led the played among other things, ? National Symphony Orchestra and Corner I’m In The Market For You played with the London Studio Players by Ambrose, Life Is Just A and the BBC's Overseas Music Unit. Bowl Of Cherries by Roy After the war, McCallum rejoined Fox and singing Beecham, this time as leader of When I Take My Sugar To Tea. Ken’s the Royal Philharmonic Orchestra. He presentation manner was excellent had several small roles in movies. describing the Ambrose band as so well paid that singer Sam Browne could From 1961 to 1971 he was leader propose a merger before playing I’m In of Mantovani's orchestra. At this time, his The Market For You! Another cassette son David McCallum Jr. was at the was of a broadcast by Frank Wappat height of his fame, prompting Mantovani called They Called Me Al, a very to introduce his leader to audiences with informative programme with Harry Hayes the quip, "We can afford the father but and others recalling the Al Bowlly they not the son!". knew.

David Keith McCallum, Jr. (born 19 I wonder if anyone reading this knows September 1933) is an actor and when these programmes were made and musician. He first gained recognition in from which station. the 1960s for playing secret agent Illya Ken Moy Kuryakin in the television series The Man By E-mail from U.N.C.L.E.. In recent years, M c C a l l u m h a s g a i n e d r e n e w e d Editor: The Ken Sykora broadcast was international recognition and popularity was almost certainly broadcast on the for his role as NCIS medical examiner in BBC Light programme during the late the American television series NCIS. 1950s or early 1960s. I would certainly be pleased to publish any further details BLUE GRASS BLUES if anyone reading this can supply them. Does anyone know of a CD, or posses a Frank Wappat told me he made the 78 rpm of Blue Grass Blues on the Regal programme They Called Me Al for G series? I remember John Gunn, broadcast from pirate off-shore station publisher of the famous record trading Radio 390, the sweet music station, in magazine Gunn Report, had a copy the mid 1960s. This was some time many years ago, but have not heard it before Frank started broadcasting from since. No such record is listed in the BBC Radio Newcastle which was not Brian Rust/Sandy Forbes Dance Band until the following decade.

!58 MINI DISPLAYS

Would you like help with tax The British Vintage problems? Radio Society Qualified Chartered Tax Adviser offers Glossy magazine help with income tax, inheritance tax "The Bulletin" incorporates "405 Alive", matters etc. Reasonable rates. covering vintage TV. Mention Memory Lane for a 10% discount Contact Please contact Andrew at Martyn Bennett, Lido Tax Consulting, Ealing Studios Wood Cottage, 58 Church Road, Fleet Ealing Green, London W5 5EP Hampshire GU15 4LY. on 020 8584 5319 or 079415 80062 email: [email protected] VICTOR SILVESTER Wanted APPRECIATION Recordings of: On The Atchison, Topeka And The Santa

SOCIETY (FOUNDED 1977) Fe by Tommy Dorsey and the Sentimentalists SPECIAL OFFER FOR Satin Doll by Helen Shapiro MEMORY LANE READERS £2 instead of £3.95. Two 12-page (A4) I will pay costs involved. newsletters a year. Tom Wallace Cheque payable to "T.G, Williams” 50 Mount Ephraim Lane, Send to VSAS, 1 Portland Crescent London SW16 1JD Weymouth, Dorset, DT4 0NW Tel: 020 8769 1615

VICTOR SILVESTER 78s Wanted 1000-Many mint or very good. 30 45s – Loss, Kinsman, Ros, etc. Photographs of Alan Dell. 5 Dance CDs Also ballad version of Stella By Starlight by Vic Damone. Swing versions not 20 used cassettes (recordable). required. Buyer to collect (Weymouth). Tom Wallace Offers welcome 50 Mount Ephraim Lane, Geoff Williams London SW16 1JD e-mail: [email protected] Tel: 020 8769 1615

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Kate Gamer plays piano and sings Or maybe you have a authentic songs from the 1920s, something to sell? 30s and 40s. lf so, then a MlNl DISPLAY is your ideal medium. Accommodating 40 words, a Mini Perfect for an 80th Birthday Party, Display costs only £5.00 for a private Golden Wedding Anniversary, subscriber or £10.00 trade or or Family Singalong. non-subscriber. Send your Mini Display and cheque to: Telephone: 07771 870298 Memory Lane, PO Box 1939, Leigh-on-Sea, Essex, SS9 3UH http//www.kategarner.net

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