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Ray Miller's Orchestra
During the l920’s, Ray Miller was a well-known, highly respected bandleader whose orchestra made many recordings for various companies; it was featured on-the-air for most of that decade. Like Paul WhitemanTed Lewis and a few others he usually had top jazz musicians amongst his personnel. Most of his records sold extremely well and are not particularly rare today, although a handful remain sought-after collector’s items. Despite all this very little is known about Ray Miller himself.

Ray Miller’s musical career started with him being at the right time in the right place. That was in 1916 when he was a singing waiter at the Casino Gardens in Chicago. This restaurant happened to be the place where the Original Dixieland Jazz Band appeared before they went to New York and where they wrote musical history. Upon the Original Dixieland Jazz Band’s success, Ray decided to try his luck along the same lines, and he followed them to the Big Apple. There he started his first band called the Black and White Melody Boys that was six pieces including himself on drums. As long as the jazz craze stayed on, they played in the style of the Original Dixieland Jazz Band. Ray was even able to hire a musician who had been a member of the first white band to go north from New Orleans, trombonist Tom Brown of Brown’s Band from Dixieland. Brown was essential to produce the Original Dixieland Jazz Band sound in Ray Miller’s band, as some records that were made in these early years for several companies demonstrate.

By 1922 Brown had returned to New Orleans and Miller moved away from the old sound to a style that was in-line with the newer, larger bands. By the end of 1923, his band was playing the newest hits in the latest style and was offered an exclusive recording contract by Brunswick, then one of the three largest recording companies in the USA. That first band included well-known names like Earl Oliver, Ray Lodwig and Andy Sanella and from its very beginning it produced many jazz-flavored recordings.

By this time, in St. Louis, Frank Trumbauer was recovering from stress caused by an over-successful adventure in the band booking business, and looking for a new break. In his biography, “Tram” related that Ray Miller showed up to ask him to join his band on sax and, in order to make it more attractive, he added that he had already hired the highly celebrated, ex-Memphis Five trombonist Miff Mole. As it happened, Miller had given Miff the same information about Trumbauer.

However, both joined. First Frank arrived on March 21, 1924, when Ray had an engagement in the Paradise Club in Newark, New Jersey and one week later he participated in the record date that produced “Come On Red!“. As a signature Frank contributes a 32 bar solo that cannot be mistaken for anybody else’s. His style had been set. Ray Miller was particularly happy to have this upcoming genius in his band, so on Frank’s 23rd birthday, on May 30th, Ray gave him a gold watch with inscription.

This period proved to be an important one for Ray Miller. Not only did he hire these important musicians for his band, but he also started his own booking office, called Cosmopolitan Orchestras, Inc. of which he was president. One I. Jay Faggin (also spelled Faggan and Fagan) was company secretary, and Mike Speciale (today mainly remembered as leader of his own dance band) was office manager. The new company’s introductory ad in Variety of April 30, 1924 mentioned the discovery of the Mound City Blue Blowers. Frank Trumbauer had known the group from St. Louis, but he could only get Ray’s interest when he offered to pay their cost to travel to the East coast. Apparently Miller’s booking agency had a relationship with Brunswick records, since other bands they contracted were those of Ben Bernie and King Oliver.

On May 31, the Ray Miller band opened at the Beaux Arts Cafe in Atlantic City, which is when Miff joined officially, having already participated in the April 23rd recording session.

On “Lots O’ Mama“, Tram solos first with some Rudy Wiedoeft-styled novelty playing. This is followed by a solo from the two piano players, Harry Perella and Tom Satterfield. The latter wrote most of the band arrangements and (like Perella) later joined the Paul Whiteman Orchestra. The last solo is for Miff Mole, who is as obvious as Trumbauer. The outstanding “Mama’s Gone, Goodbye” has Ray Miller’s two star players doing a solo duet for sax and trombone and an impressive final ensemble. The scene for “I Can’t Get The One I Want” is set with an intro containing breaks by Miff Mole and Frank Trumbauer, Andy Sanella is the bass clarinet player. The solos on “Red Hot Mama” are by trumpeter Roy Johnston, well known from Collegians and California Ramblers fame, and Harry Perella. Two takes exist of “Doodle-Doo-Doo“. We have chosen the previously un-reissued one with the best Trumbauer solo. This title also features clarinet player Larry Abbott both as a soloist and with fine contributions to the ensemble sound.

Ray Miller's Orchestra
Ray Miller’s Orchestra 1923, Left to Right: Ward Archer, Charlie Rocco, Miff Mole, Danny Yates, Roy Johnston, Tony Satterfield, Louie Cassaign, Ray Miller, Frankie Trumbauer, Andy Sandolar, Rube Bloom, Billy Richards, Frink DePrima, Andy Sannella.

Less audible, but also an important addition to Ray Miller’s band, was pianist Rube Bloom, who by this time had replaced Perella. The 1925 Brunswick catalog names Ray Miller’s band as one of their exclusive artists and adds that they are playing a permanent engagement at “Broadway’s new million dollar ballroom, The Arcadia”, This New York dance spot was formerly called the Blue Bird and owned by Miller’s aforementioned business partner, I. Jay Faggan. Faggan is one of those backgrounders in jazz history: not only did he have the Arcadia, but at various other moments during the decade, he owned such famous ballrooms as the New York Roseland and Harlem’s Savoy ballroom, as well as other ballrooms in Brooklyn, Philadelphia and Chicago. He opened the rebuilt Arcadia on October 2nd, 1924 with the help of the orchestras of Ray Miller, Harry Reser and Carl Fenton.

About a month before at the Cinderella Ballroom, another band had opened in New York, The Wolverine Orchestra with Bix Beiderbecke. The story has been told many times how these men wanted to hear their idol Miff Mole. Therefore they had to go to the Hippodrome Theatre, where Ray Miller’s band played, under the name of the Arcadia Orchestra. First Miff had some misgivings about the Wolverines’ loud-voiced enthusiasm, but it proved to be genuine and he and Tram were invited to the Cinderella, where they sat in with the Wolverines later that night. This is where Frank Trumbauer heard Bix Beiderbecke for the first time. Shortly after this event, they made their first record together, for Gennett in New York, to the chagrin of Carl Fenton, Brunswick’s recording director, with whom Ray Miller had an exclusive contract. Fenton happened to walk in during the Gennett session and wasn’t much pleased.

A few days after their Gennett sidestep with Bix, Miff and Tram were with Ray Miller in the Brunswick studio again to resume their regular series of recordings. “Me And The Boyfriend” has solos by Miff and Tram as well as Johnston. “Tessie” is quite straight but for Tram’s inspired solo. On the other hand, the arrangement of “That’s My Girl” is hotting it up from the start. Tram jumps in nicely, Mole takes his turn, with some of his trademarks, leading into a steaming final ensemble. This side is a fine demonstration of the easy swing this group of musicians had developed. Red Hot Henry Brown features a similar drive, It has solos by Roy Johnston, Larry Abbott, Frank Trumbauer and Miff Mole. The last recording session by this star studded band was in April 1925 when it produced “Phoebe Snow“. It features a striking duet for the two trumpets as well as Mole and Tram’s last solos with this band. By this time both had received offers from Roger Wolfe Kahn, but despite Kahn’s high salaries, they did not accept. They stayed with Miller until he wanted to go on the road. Then Miff went to join Ross Gorman’s band together with Red Nichols and Tram left New York to join, with Bix, the great Jean Goldkette Orchestra. Their departure meant a complete change of the band’s personnel. When the next selection “Spanish Shawl” was recorded, half a year later, nearly all the names were new. Some uncertainty exists as to which is the band on this title. Ray’s band recorded it, not for Brunswick but for its sister label Vocalion, on November 9th, 1925 using their infamous “Light Ray” recording system but the title was later transferred to Brunswick. The tune was re-recorded by a studio band under the direction of Louis Katzmann, but comparison with other Miller recordings from the same period strongly suggests that the Miller version was actually issued. In a 1958 interview, black trombone player Wilber de Paris mentioned that he had once recorded with Ray Miller, which may have been around this time.

I Want You To Want Me To Want You” has a known personnel and no longer suffers from the poor recording method. Here we find trumpeter Charlie Margulis, who would join Paul Whiteman later and, interestingly enough, clarinet player Volly de Faut, who had recorded with Jelly Roll Morton a year before. He is clearly audible on clarinet in the final ensemble and the feeling is that the fine alto sax solo earlier in the arrangement could also be his. In September 1926, Ray Miller made his final recording in New York. His whereabouts till October 1927 are unknown but by that time he had moved to Cincinnati for an engagement at the Hotel Gibson. Ray probably went to Cincinnati in order to be close to its radio station WLW founded in 1922. This station could be heard all over the US and for a while in 1934 it actually was the most powerful radio station in the world, when, transmitting with 500 kW, it could be received in places as far as Buenos Aires. Ray recorded several times while at the Gibson under the name of Ray Miller’s Hotel Gibson Orchestra, but for the first recording session he had to take his band to Chicago.

By this time Ray Miller had assembled a new band and his stay at the Gibson was mentioned in Billboard magazine, which added a full personnel. Again he had two piano players, one of them Andy Mansfield, This new band actually made records in Cincinnati too, and they turned out to be some of Miller’s best; made by a Brunswick mobile recording unit, around February 1st 1928. Interestingly, the same month, Andy Mansfield recorded with a band for Gennett in Richmond, Indiana. On some issues the band was called the Cotton Pickers and several of the men can be identified from the Miller recordings. Miller may actually have engaged Andy Mansfield’s local band for his activities around Chicago and this would explain why some other recordings, in particular “Weary Blues“, have a real territory sound. “I Ain’t Got Nobody” although a fine side, features a dreadful vocal, probably by Miller himself, which frankly would have been better if it was left out.

The four titles recorded in Cincinnati were “Is She My Girl Friend“, I Wish I Could Shimmy Like My Sister Kate, “Sorry” and “My Honey’s Lovin’ Arms“. Sister Kate has one of the reed players imitating his predecessor Frank Trumbauer. The same tune features an ensemble break that stems from a trombone solo by Kid Ory on a Jelly Roll Morton recording. Bass player Cookie Trantham switches from string bass to brass bass halfway the session. In June 1928, Ray Miller still had the band at the Hotel Gibson, but by the time the next selections were recorded, the Cincinnati engagement had ended. Ray retired to Chicago where he had started his musical career nearly ten years earlier and again he formed a completely new band. On October 1, he opened at the College Inn of the Hotel Sherman. One of the fixtures in any successful band was a “take-off trumpet player; and Ray was lucky to find Chicagoan Francis “Muggsy” Spanier to fulfill that important role for half a year till mid 1929 when Spanier joined Ted Lewis. Muggsy had been a jazz pioneer around Chicago since the earliest Twenties. He had made a few recordings, which now all stand out as landmarks in jazz history. The earliest were by the Bucktown Five, with reed player Volly de Faut. Then followed the first recordings by a group which is now known as the Chicagoans. With Ray Miller, in January 1929, it was decided that Muggsy would be featured on two sides of a hot record and the tunes chosen had already become jazz standards, since they had been launched by the New Orleans Rhythm Kings in 1923. Both “That’s A Plenty” and “Angry” not only feature Muggsy’s unforgettable solos, but Jimmy Cannon’s clarinet playing is equally impressive, including his low register work. Ray Miller’s bass player at this time was Jules Cassard, co-composer with Dudley Mecum of “Angry”. Back in 1924 both had recorded the tune in Merritt Brunies’ little band that succeeded the New Orleans Rhythm Kings in the Friars Inn in Chicago. By 1929 Mecum had become a fulltime songwriter and that year a tune that he wrote for WLW radio stations, was arranged by Andy Mansfield. Incidentally, Cassard plays string bass throughout both titles, mostly bowing. Andy Mansfield later became a DJ at Los Angeles’ radio station KFI Dudley Mecum too stayed in music for a long time. The personnel for his Ray Miller band was given at a 1950’s interview with its tenor sax player Lyle Smith. He mentioned the names of two singers, Bob Nolan and Dick Teela, but only one is heard.

From January 1929, the band started a recurring series of special Brunswick transcriptions for the National Advertising Company, promoting Meadows washing machines.

But also that same month they recorded a regular Brunswick side, which, since its recent rediscovery, has become the subject of intense discussion, The tune is “Cradle Of Love” and it does not feature one cornet soloist, but two. Without any doubt the first one is Muggsy but it’s the other one that presents a puzzle.

California collector and researcher Brad Kay was the first to come up with a theory about this intriguing session and this story, which was first published on Albert Haim’s excellent Bix Beiderbecke website ( The College Inn closed in 1928 and Muggsy Spainer left, but Ray Miller remained a regular visitor to Brunswick’s Chicago studios. His jazz output was limited, however. One more title from this period, “Harlem Madness” also features a heavily Bix-influenced trumpet solo. Ray Miller’s story has to end here. The next six months he had two more recording sessions which did not produce anything jazz-worthy At a relatively young age he disappeared from the scene. Presently, nothing is known of his further exploits. He may have lost a lot of money as a result of the economic depression or maybe he lost it at gambling, one of his passions. Hopefully this album will trigger off further research into the life of Ray Miller; he is definitely worth it.

By Ate van Delden (from the liner notes of Ray Miller and his Brunswick Orchestra 1924-1929 on Timeless Records) If you would like to order the Timeless Records’ CD of Ray Miller and his Brunswick Orchestra 1924-1929 first look for it at  Timeless Records.

Thanks to J.E. Knox, Marshall Philyaw and James Gallup for their help with this page. Additional thanks to Scott and Mark of Vintage Music Company If you are looking for great jazz on 78’s, visit the Vintage Music Company’s homepage (

ddd discography


TitleRecording DateRecording LocationCompany
Adoring You
From Ziegfeld’s “Follies of 1924”

(Joseph McCarthy / Harry Tierney)
9-27-1924New York, New YorkBrunswick
A Little Bit Bad11-12-1925New York, New YorkBrunswick
Ain’t You, Baby?
(Jack Yellen / Milton Ager)
12-21-1929Chicago, IllinoisBrunswick
(George Brunies / Jules Cassard / Abbie Brunies / Mecum)
1-3-1929Chicago, IllinoisBrunswick
Anything You Say
Vocal refrain by Harry Maxfield

(Walter Donaldson)
9-21-1928Chicago, IllinoisBrunswick
Arabianna8-5-1924New York, New YorkBrunswick
( “Introducing:Way Down South From Caroline”)

from “Caroline”

(Kunneke / Goodman)
3-12-1923New York, New YorkColumbia
(Jack Yellen / Milton Ager)
8-5-1924New York, New YorkBrunswick
( Introducing: Wild-Flower)

from “Wildflower”

(Youmans / Stothart)
3-12-1923New York, New YorkColumbia
Because Of You
(Hirsch / Fiorito)
8-19-1925New York, New YorkBrunswick
Beneath Montana Skies6-1930Chicago, IllinoisBrunswick
Blue Butterfly11-11-1929Chicago, IllinoisBrunswick
Blue Hoosier Blues
(Cliff Friend / Jack Meskill / Abel Baer)
6-1-1923New York, New YorkColumbia
Breezin’ Along (To Georgia)8-24-1925New York, New YorkBrunswick
By The Lake11-7-1924New York, New YorkBrunswick
Canary Isle
3-22-1922New York, New YorkGennett
‘Cause I Love You9-13-1926New York, New YorkBrunswick
Charleston Cabin
(Holden / Beber)
7-22-1924New York, New YorkBrunswick
Come Along
(I’m Through Worrying)
from Ziegfeld Follies of 1922
7-17-1922New York, New YorkColumbia
Come On Red!
(You Red Hot Devil Man)

(Fisher / Holden)
3-28-1924New York, New YorkBrunswick
Cradle Of Love (1)
(Wayne / Gilbert)
1-24-1929Chicago, IllinoisBrunswick
Cradle Of Love (2)
(Wayne / Gilbert)
1-24-1929Chicago, IllinoisBrunswick
Cross My Heart, Mother, I Love You11-12-1925New York, New YorkBrunswick
Deedle Deedle Dum5-29-1922New York, New YorkColumbia
Don’t Fall Down7-23-1926New York, New YorkBrunswick
(Art Kassel / Mel Stitzel)
9-27-1924New York, New YorkBrunswick
Dixie Highway6-15-1922New York, New YorkColumbia
Dreaming Of A Castle In The Air1-18-1926New York, New YorkBrunswick
Dreaming The Waltz Away9-13-1926New York, New YorkBrunswick
Drifting And Wondering7-23-1926New York, New YorkBrunswick
Early In The Morning7-28-1922New York, New YorkColumbia
10-17-1929Chicago, IllinoisBrunswick
From One Till Two
(I Always Dream Of You)

(Hand / Hoover)
4-23-1924New York, New YorkBrunswick
Funny, Dear What Love Can Do
(Joe Bennett / George A. Little / Charley Straight)
10-17-1929Chicago, IllinoisBrunswick
(Johnson / Donaldson)
3-22-1922New York, New YorkGennett
(Walter Donaldson)
 New York, New YorkColumbia
Harlem Madness
(Jack Yellen / Milton Ager)
12-21-1929Chicago, IllinoisBrunswick
He, She And Me2-14-1929Chicago, IllinoisBrunswick
Hold Me In Your Arms4-11-1925New York, New YorkBrunswick
Hoosier Hop12-17-1929Chicago, IllinoisBrunswick
How About Me?1-28-1929Chicago, IllinoisBrunswick
I Came, I Saw, I Fell
(Introducing Underneath A Pretty Hat)
9-18-1922New York, New YorkColumbia
I Can’t Get The One I Want
(Those I Get I Don’t Want)

(Rose / Ruby / Handman)
7-10-1924New York, New YorkBrunswick
I Didn’t Care Till I Lost You
7-22-1924New York, New YorkBrunswick
If I Had You
Vocal refrain by Harry Maxfield
9-21-1928Chicago, IllinoisBrunswick
If You’ll Come Back
(Layton / Ehrlich)
1-29-1924New York, New YorkBrunswick
I’ll See You In My Dreams12-4-1924New York, New YorkBrunswick
I’ll Take Her Back If She Wants To Come Back2-27-1925New York, New YorkBrunswick
I Love Her – She Loves Me
(I’m Her He – She’s My She)

(from “Make It Snappy”)

5-9-1922New York, New YorkColumbia
I’m Going South
(Silver / Woods)
1-5-1924New York, New YorkBrunswick
I’m Just Wild About Harry
(from “Shuffle Along”)

(Noble Sissle / Eubie Blake)
5-31-1922New York, New YorkColumbia
I’m Sorry, Sally
(Gus Kahn / Ted Fiorito)
11-17-1928Chicago, IllinoisBrunswick
In A Great Big Way1-15-1929Chicago, IllinoisBrunswick
In A Kitchenette
(Dubin / Burke)
12-9-1929Chicago, IllinoisBrunswick
Indian Love Call
From “Rose Marie”

(Harbach / Hammerstein / Friml)
12-5-1924New York, New YorkBrunswick
In My Garden Of Memory
Vocal refrain by Bob Nolan

(Buckley / Miller)
9-13-1926New York, New YorkBrunswick
In My Garden Of Memory
(Buckley / Miller)
2-8-1929Chicago, IllinoisBrunswick
I Never Knew How Wonderful You Were1-19-1926New York, New YorkBrunswick
Is She My Girlfriend?
(Jack Yellen / Milton Ager)
I’ve Lost My Dog7-23-1926New York, New YorkBrunswick
I Want You To Want Me To Want You
(Shafer / Bryan / Fisher)
3-9-1926New York, New YorkBrunswick
I Wish I Could Shimmy Like My Sister Kate
(A.J. Piron)
J’en ai marre (I’m Fed Up)6-15-1922New York, New YorkColumbia
Just A Little Drink
Vocal Duet by Wright and Bessinger

3-13-1925New York, New YorkBrunswick
Keep A Goin’
12-13-1923New York, New YorkBrunswick
Kiss Me With Your Eyes
(Gillespie / Eldred)
3-1930Chicago, IllinoisBrunswick
Let It Rain – Let It Pour
(Friend / Donaldson)
3-16-1925New York, New YorkBrunswick
Let’s Sit And Talk About You1-15-1929Chicago, IllinoisBrunswick
Lonely Little Melody7-10-1924New York, New YorkBrunswick
(Klages / Bergman)
11-13-1925New York, New YorkBrunswick
Lots O’ Mama
(Elmer Schoebel)
4-23-1924New York, New YorkBrunswick
Lovey Come Back
(Young / Lewis / Handman)
12-20-1923New York, New YorkBrunswick
Mama’s Gone, Goodbye
(Peter Bocage / A.J. Piron)
6-3-1924New York, New YorkBrunswick
March Of The Mannikins6-1-1923New York, New YorkColumbia
Mary Ellen
(Simon / Berg)
8-12-1922New York, New YorkColumbia
Me And The Boyfriend
(Clare / Monaco)
10-13-1924New York, New YorkBrunswick
Mercy Percy9-13-1926New York, New YorkBrunswick
Mia Bella Rosa10-19-1928Chicago, IllinoisBrunswick
Mississippi, Here I Am
(Grossman / Sizemore)
1-24-1929Chicago, IllinoisBrunswick
Mindin’ My Bus’ness1-29-1924New York, New YorkBrunswick
12-5-1923New York, New YorkBrunswick
3-28-1924New York, New YorkBrunswick
Montana6-1930Chicago, IllinoisBrunswick
Moonlight And Roses
Vocal Duet by Wright and Bessinger

(Black / Moret)
3-13-1925New York, New YorkBrunswick
Moonlight And Roses
(Bring Mem’ries Of You)
2-8-1929Chicago, IllinoisBrunswick
My Angeline
(Wayne / Gilbert)
1-24-1929Chicago, IllinoisBrunswick
My Victory (Was Conquering My Heart)11-11-1929Chicago, IllinoisBrunswick
‘Neath A South Sea Moon
(Introducing: My Rambler Rose)
6-14-1922New York, New YorkColumbia
Nine O’Clock Sal (Blues)
(LeRoy / Hayes / O’Leary / Ingham)
2-19-1924New York, New YorkBrunswick
No!1-28-1926New York, New YorkBrunswick
Nobody Knows What A Red Head Mama Can Do12-16-1924New York, New YorkBrunswick
Nobody’s Using It Now12-17-1929Chicago, IllinoisBrunswick
No One In The World But You
(Robinson / Ferris)
1-3-1929Chicago, IllinoisBrunswick
Oh! Oh! Oh! What A Night
(Davis / Greer)
3-9-1926New York, New YorkBrunswick
Oh! You Little Sun-uv-er-gun9-14-1923New York, New YorkColumbia
On The Way To Monterey
(Black / Moret)
2-5-1925New York, New YorkBrunswick
Parade Of The Wooden Soldiers
from “Chauve Souris”

New York, New YorkColumbia
Phoebe Snow
4-11-1925New York, New YorkBrunswick
(Lewis / Young / Cooper)
7-22-1924New York, New YorkBrunswick
Red Hot Henry Brown
3-16-1925New York, New YorkBrunswick
Red Hot Mama
(Wells / Cooper / Rose)
8-5-1924New York, New YorkBrunswick
Rose Of Mandalay
(Wilber / Koehler)
11-17-1928Chicago, IllinoisBrunswick
Sally Lou
(Frey / Field / Meskill)
7-10-1924New York, New YorkBrunswick
Save Your Sorrow8-24-1925New York, New YorkBrunswick
Shanghi Lullaby
(Isham Jones / Gus Kahn)
1-22-1924New York, New YorkBrunswick
Somebody Loves Me
From George White’s Scandals

(Buddy DeSylva / George Gershwin)
7-10-1924New York, New YorkBrunswick
Some Of These Days
(Shelton Brooks)
1-28-1929Chicago, IllinoisBrunswick
Some Sunny Day
(Irving Berlin)
 New York, New YorkColumbia
Someone Loves You After All1-14-1924New York, New YorkBrunswick
Someone’s Falling In Love7-19-1929Chicago, IllinoisBrunswick
Spanish Shawl
(Elmer Schoebel)
11-24-1925New York, New YorkBrunswick
Stomp Your Stuff
3-9-1926New York, New YorkBrunswick
(Zev Confrey)
4-10-1922New York, New YorkColumbia
Sweet Nothings
(Christy / Henderson)
1-19-1926New York, New YorkBrunswick
(Brooke Johns / Ray Perkins)
3-16-1925New York, New YorkBrunswick
That’s A Plenty
(Lew Pollack / Ray Gilbert)
1-3-1929Chicago, IllinoisBrunswick
That’s My Girl
(Kerr / McKiernan)
2-5-1925New York, New YorkBrunswick
That’s Where You Come In
(Kahal / Robinson)
12-9-1929Chicago, IllinoisBrunswick
The One I Love Belongs To Someone Else12-21-1923New York, New YorkBrunswick
The Waltz I Can’t Forget2-14-1929Chicago, IllinoisBrunswick
There Are Some Things You Never Forget1-10-1924New York, New YorkBrunswick
The Sign Of The Rose
(Brown / Edwards )
3-9-1926New York, New YorkBrunswick
Tiger Rag
(Nick LaRocca)
1-28-1929Chicago, IllinoisBrunswick
‘Twas In The Month Of May
from “Chauve Souris”

New York, New YorkColumbia
Two Blue Eyes
(Brodsky / Handy)
2-19-1924New York, New YorkBrunswick
Two Little Ruby Rings (Intro. I’ll Build A Bungalow)9-16-1922New York, New YorkColumbia
Two Little Wooden Shoes
(Introducing Swanee Sway)
7-17-1922New York, New YorkColumbia
We’re Back Together Again2-27-1925New York, New YorkBrunswick
When It’s Springtime In The Rockies
(Woolsey / Sauer / Taggart)
3-1930Chicago, IllinoisBrunswick
Where Is That Old Girl Of Mine?
(Gus Kahn / Isham Jones)
6-6-1924New York, New YorkBrunswick
Who Do You Blame?7-23-1926New York, New YorkBrunswick
Who’ll Take My Place
(When I’m Gone?)

6-28-1922New York, New YorkColumbia
Why Couldn’t It Be Poor Little Old Me?12-4-1924New York, New YorkBrunswick
Who Wouldn’t Be Jealous Of You?
Vocal Chorus by Bob Nolan

(Shay / Gillespie / Frommel)
12-31-1928Chicago, IllinoisBrunswick
Will You Remember Me?2-10-1925New York, New YorkBrunswick
Wonderful You7-21-1922New York, New YorkColumbia
Ya! Ya! Alma
(Miller / Fisher)
8-19-1925New York, New YorkBrunswick
You And I12-16-1924New York, New YorkBrunswick
You Can Take Me Away From Dixie
(But You Can’t Take Dixie Away From Me)
3-8-1924New York, New YorkBrunswick
You’re Like A Ray Of Sunshine
(Introducing: “Every Little Miss” and “Sittin’ Pretty”)

(from “Lefty Pepper”)

5-12-1922New York, New YorkColumbia
You Want Lovin’
(But I Want Love)
7-20-1929Chicago, IllinoisBrunswick


SongsRadio ProgramDate
Angry, You’re The Cream Of My Coffee, I Ain’t Got Nobody, Sweetheart Of All My Dreams, My Blackbirds Are Bluebirds Now, Caressing You, Royal Garden BluesSunny Meadows Radio Show1929
I’ll Never Ask For More, He, She and MeSunny Meadows Radio Show1929
Tell Me WhoSunny Meadows Radio Show1929



Larry AbbottClarinet, Alto Saxophone
Ward ArcherDrums
Frank BessingerVocals
Rube BloomPiano
Tom BrownTrombone
Al CameronVocals
Jim CannonClarinet, Alto Saxophone
Jules CassardTuba, Bass
Al CarsellaPac
Louis ChassagneTuba
Eddie ChesterVocals
Max ConnettTrumpet
Bernard DalyClarinet, Alto Saxophone
Volly de FautClarinet, Alto Saxophone
Frank DiPrimaBanjo
The Downe SistersVocals
Lewis EpsteinBass Saxophone, Drums
Jules FasthoffTrombone
Art GronwallPiano, Arranger
Roy JohnstonTrumpet
Billy JonesVocals
Isham JonesGuest Conductor
Leon KaplanBanjo, Guitar
Irving KaufmanVocals
Gus LazaroBanjo
Paul LymanViolin
Harry MaxfieldVocals
Ray MillerDirector, Drums, Vocals
Miff MoleTrombone
Maurice MorseAlto Saxophone
Bob NolanVocals
Carl OrechTenor Saxophone
Earl OliverTrumpet
Bill PaleyDrums
Billy RichardsTenor Saxophone
Harry ReserBanjo
Charles RoccoTrumpet
Andy SannellaReeds
Phil SaxeClarinet, Tenor Saxophone, Violin
Andy SindelarTrombone
Lyle SmithTenor Saxophone
Muggsy SpanierCornet
Dick TeelaVocals
Frank TrumbauerC-Melody Saxophone, Reeds
Lloyd WallenTrumpet
Jim WeltonClarinet, Alto Saxophone
Frank WrightVocals
Dan YatesViolin


The site supplying most of the MP3 files to the Red Hot Jazz Archive pages on is down and many links no longer work. You may find the original and download all of the original RealMedia .ra music files on the WayBackMachine at