By Ate van Delden
(from the liner notes of Ray Miller and his Brunswick Orchestra 1924-1929 on Timeless Records)

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 Whiteman, Ted 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.

Click Here To OrderRay 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. 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 (www.bixbeiderbecke.com). 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. If you would like to order the Timeless Records' CD of Ray Miller and his Brunswick Orchestra 1924-1929 you can do so through Worlds Records or direct from 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 (www.vintagemusicco.com)

Title Recording Date Recording Location Company
Adoring You
From Ziegfeld's "Follies of 1924"

(Joseph McCarthy / Harry Tierney)
9-27-1924 New York, New York Brunswick
2724-B
A Little Bit Bad 11-12-1925 New York, New York Brunswick
Ain't You, Baby?
(Jack Yellen / Milton Ager)
12-21-1929 Chicago, Illinois Brunswick
Angry
(George Brunies / Jules Cassard / Abbie Brunies / Mecum)
1-3-1929 Chicago, Illinois Brunswick
2844
Anything You Say
Vocal refrain by Harry Maxfield

(Walter Donaldson)
9-21-1928 Chicago, Illinois Brunswick
4077
Arabianna 8-5-1924 New York, New York Brunswick
Argentine
( "Introducing:Way Down South From Caroline")

from "Caroline"

(Kunneke / Goodman)
(Goodman)
3-12-1923 New York, New York Columbia
Bagdad
(Jack Yellen / Milton Ager)
8-5-1924 New York, New York Brunswick
2681-A
Bambalina
( Introducing: Wild-Flower)

from "Wildflower"

(Youmans / Stothart)
3-12-1923 New York, New York Columbia
Because Of You
(Hirsch / Fiorito)
8-19-1925 New York, New York Brunswick
2947-A
Beneath Montana Skies 6-1930 Chicago, Illinois Brunswick
Blue Butterfly 11-11-1929 Chicago, Illinois Brunswick
4669
Blue Hoosier Blues
(Cliff Friend / Jack Meskill / Abel Baer)
6-1-1923 New York, New York Columbia
Breezin' Along (To Georgia) 8-24-1925 New York, New York Brunswick
2947-B
By The Lake 11-7-1924 New York, New York Brunswick
Canary Isle
(Schwartz)
3-22-1922 New York, New York Gennett
4859-A
'Cause I Love You 9-13-1926 New York, New York Brunswick
Charleston Cabin
(Holden / Beber)
7-22-1924 New York, New York Brunswick
2666-B
Come Along
(I'm Through Worrying)
from Ziegfeld Follies of 1922
7-17-1922 New York, New York Columbia
A3671
Come On Red!
(You Red Hot Devil Man)

(Fisher / Holden)
3-28-1924 New York, New York Brunswick
2606-B
Cradle Of Love (1)
(Wayne / Gilbert)
1-24-1929 Chicago, Illinois Brunswick
Cradle Of Love (2)
(Wayne / Gilbert)
1-24-1929 Chicago, Illinois Brunswick
Cross My Heart, Mother, I Love You 11-12-1925 New York, New York Brunswick
Deedle Deedle Dum 5-29-1922 New York, New York Columbia
A3640
Don't Fall Down 7-23-1926 New York, New York Brunswick
Doodle-Doo-Doo
(Art Kassel / Mel Stitzel)
9-27-1924 New York, New York Brunswick
2724-A
Dixie Highway 6-15-1922 New York, New York Columbia
Dreaming Of A Castle In The Air 1-18-1926 New York, New York Brunswick
Dreaming The Waltz Away 9-13-1926 New York, New York Brunswick
3313-A
Drifting And Wondering 7-23-1926 New York, New York Brunswick
Early In The Morning 7-28-1922 New York, New York Columbia
Finesse
(Sutileza)
10-17-1929 Chicago, Illinois Brunswick
4675
From One Till Two
(I Always Dream Of You)

(Hand / Hoover)
4-23-1924 New York, New York Brunswick
2613
Funny, Dear What Love Can Do
(Joe Bennett / George A. Little / Charley Straight)
10-17-1929 Chicago, Illinois Brunswick
4675
Georgia
(Johnson / Donaldson)
3-22-1922 New York, New York Gennett
4859-B
Georgia
(Walter Donaldson)
  New York, New York Columbia
A3603
Harlem Madness
(Jack Yellen / Milton Ager)
12-21-1929 Chicago, Illinois Brunswick
He, She And Me 2-14-1929 Chicago, Illinois Brunswick
Hold Me In Your Arms 4-11-1925 New York, New York Brunswick
2898-A
Hoosier Hop 12-17-1929 Chicago, Illinois Brunswick
How About Me? 1-28-1929 Chicago, Illinois Brunswick
I Came, I Saw, I Fell
(Introducing Underneath A Pretty Hat)
9-18-1922 New York, New York Columbia
I Can't Get The One I Want
(Those I Get I Don't Want)

(Rose / Ruby / Handman)
7-10-1924 New York, New York Brunswick
2643-B
I Didn't Care Till I Lost You
(Cowan)
7-22-1924 New York, New York Brunswick
2753-A
If I Had You
Vocal refrain by Harry Maxfield
9-21-1928 Chicago, Illinois Brunswick
4077
If You'll Come Back
(Layton / Ehrlich)
1-29-1924 New York, New York Brunswick
I'll See You In My Dreams 12-4-1924 New York, New York Brunswick
I'll Take Her Back If She Wants To Come Back 2-27-1925 New York, New York Brunswick
I Love Her - She Loves Me
(I'm Her He - She's My She)

(from "Make It Snappy")

(Caesar)
5-9-1922 New York, New York Columbia
A3629
I'm Going South
(Silver / Woods)
1-5-1924 New York, New York Brunswick
2546-B
I'm Just Wild About Harry
(from "Shuffle Along")

(Noble Sissle / Eubie Blake)
5-31-1922 New York, New York Columbia
A3640
I'm Sorry, Sally
(Gus Kahn / Ted Fiorito)
11-17-1928 Chicago, Illinois Brunswick
In A Great Big Way 1-15-1929 Chicago, Illinois Brunswick
In A Kitchenette
(Dubin / Burke)
12-9-1929 Chicago, Illinois Brunswick
4682
Indian Love Call
From "Rose Marie"

(Harbach / Hammerstein / Friml)
12-5-1924 New York, New York Brunswick
2789
In My Garden Of Memory
Vocal refrain by Bob Nolan

(Buckley / Miller)
9-13-1926 New York, New York Brunswick
4352
In My Garden Of Memory
(Buckley / Miller)
2-8-1929 Chicago, Illinois Brunswick
3313-B
I Never Knew How Wonderful You Were 1-19-1926 New York, New York Brunswick
2028-A
Is She My Girlfriend?
(Jack Yellen / Milton Ager)
Brunswick
3829-A
I've Lost My Dog 7-23-1926 New York, New York Brunswick
I Want You To Want Me To Want You
(Shafer / Bryan / Fisher)
3-9-1926 New York, New York Brunswick
3133-A
I Wish I Could Shimmy Like My Sister Kate
(A.J. Piron)
Brunswick
3829-B
J'en ai marre (I'm Fed Up) 6-15-1922 New York, New York Columbia
Just A Little Drink
Vocal Duet by Wright and Bessinger

(Gay)
3-13-1925 New York, New York Brunswick
2866-B
Keep A Goin'
(Gay)
12-13-1923 New York, New York Brunswick
2547-A
Kiss Me With Your Eyes
(Gillespie / Eldred)
3-1930 Chicago, Illinois Brunswick
Let It Rain - Let It Pour
(Friend / Donaldson)
3-16-1925 New York, New York Brunswick
2855-A
Let's Sit And Talk About You 1-15-1929 Chicago, Illinois Brunswick
Lonely Little Melody 7-10-1924 New York, New York Brunswick
2669-B
Lonesome
(Klages / Bergman)
11-13-1925 New York, New York Brunswick
2989-A
Lots O' Mama
(Elmer Schoebel)
4-23-1924 New York, New York Brunswick
Lovey Come Back
(Young / Lewis / Handman)
12-20-1923 New York, New York Brunswick
2547-B
Mama's Gone, Goodbye
(Peter Bocage / A.J. Piron)
6-3-1924 New York, New York Brunswick
2632-B
March Of The Mannikins 6-1-1923 New York, New York Columbia
Mary Ellen
(Simon / Berg)
8-12-1922 New York, New York Columbia
A3695
Me And The Boyfriend
(Clare / Monaco)
10-13-1924 New York, New York Brunswick
2753-B
Mercy Percy 9-13-1926 New York, New York Brunswick
Mia Bella Rosa 10-19-1928 Chicago, Illinois Brunswick
Mississippi, Here I Am
(Grossman / Sizemore)
1-24-1929 Chicago, Illinois Brunswick
4194
Mindin' My Bus'ness 1-29-1924 New York, New York Brunswick
Mom-Ma
(Fisher)
12-5-1923 New York, New York Brunswick
2546-A
Monavanna
(Fisher)
3-28-1924 New York, New York Brunswick
2606-A
Montana 6-1930 Chicago, Illinois Brunswick
Moonlight And Roses
Vocal Duet by Wright and Bessinger

(Black / Moret)
3-13-1925 New York, New York Brunswick
2866-A
Moonlight And Roses
(Bring Mem'ries Of You)
2-8-1929 Chicago, Illinois Brunswick
My Angeline
(Wayne / Gilbert)
1-24-1929 Chicago, Illinois Brunswick
My Victory (Was Conquering My Heart) 11-11-1929 Chicago, Illinois Brunswick
'Neath A South Sea Moon
(Introducing: My Rambler Rose)
6-14-1922 New York, New York Columbia
Nine O'Clock Sal (Blues)
(LeRoy / Hayes / O'Leary / Ingham)
2-19-1924 New York, New York Brunswick
2573-B
No! 1-28-1926 New York, New York Brunswick
2028-B
Nobody Knows What A Red Head Mama Can Do 12-16-1924 New York, New York Brunswick
Nobody's Using It Now 12-17-1929 Chicago, Illinois Brunswick
No One In The World But You
(Robinson / Ferris)
1-3-1929 Chicago, Illinois Brunswick
Oh! Oh! Oh! What A Night
(Davis / Greer)
3-9-1926 New York, New York Brunswick
3133-B
Oh! You Little Sun-uv-er-gun 9-14-1923 New York, New York Columbia
On The Way To Monterey
(Black / Moret)
2-5-1925 New York, New York Brunswick
2823-A
Parade Of The Wooden Soldiers
from "Chauve Souris"

(Jessel)
New York, New York Columbia
Phoebe Snow
(Fisher)
4-11-1925 New York, New York Brunswick
2898-B
Please
(Lewis / Young / Cooper)
7-22-1924 New York, New York Brunswick
2666-A
Red Hot Henry Brown
(Rose)
3-16-1925 New York, New York Brunswick
2855-B
Red Hot Mama
(Wells / Cooper / Rose)
8-5-1924 New York, New York Brunswick
2681-B
Rose Of Mandalay
(Wilber / Koehler)
11-17-1928 Chicago, Illinois Brunswick
4131
Sally Lou
(Frey / Field / Meskill)
7-10-1924 New York, New York Brunswick
2643-B
Save Your Sorrow 8-24-1925 New York, New York Brunswick
2935
Shanghi Lullaby
(Isham Jones / Gus Kahn)
1-22-1924 New York, New York Brunswick
2575-B
Somebody Loves Me
From George White's Scandals

(Buddy DeSylva / George Gershwin)
7-10-1924 New York, New York Brunswick
2669-A
Some Of These Days
(Shelton Brooks)
1-28-1929 Chicago, Illinois Brunswick
Some Sunny Day
(Irving Berlin)
  New York, New York Columbia
A3603
Someone Loves You After All 1-14-1924 New York, New York Brunswick
Someone's Falling In Love 7-19-1929 Chicago, Illinois Brunswick
Spanish Shawl
(Elmer Schoebel)
11-24-1925 New York, New York Brunswick
2989-B
Stomp Your Stuff
(Krenz)
3-9-1926 New York, New York Brunswick
3132-A
Stumbling
(Zev Confrey)
4-10-1922 New York, New York Columbia
Sweet Nothings
(Christy / Henderson)
1-19-1926 New York, New York Brunswick
3046
Vocalion
A-15230
Tessie
(Brooke Johns / Ray Perkins)
3-16-1925 New York, New York Brunswick
2830-A
That's A Plenty
(Lew Pollack / Ray Gilbert)
1-3-1929 Chicago, Illinois Brunswick
That's My Girl
(Kerr / McKiernan)
2-5-1925 New York, New York Brunswick
2823-B
That's Where You Come In
(Kahal / Robinson)
12-9-1929 Chicago, Illinois Brunswick
4682
The One I Love Belongs To Someone Else 12-21-1923 New York, New York Brunswick
The Waltz I Can't Forget 2-14-1929 Chicago, Illinois Brunswick
There Are Some Things You Never Forget 1-10-1924 New York, New York Brunswick
The Sign Of The Rose
(Brown / Edwards )
3-9-1926 New York, New York Brunswick
3132-B
Tiger Rag
(Nick LaRocca)
1-28-1929 Chicago, Illinois Brunswick
'Twas In The Month Of May
from "Chauve Souris"

(Kolio)
New York, New York Columbia
Two Blue Eyes
(Brodsky / Handy)
2-19-1924 New York, New York Brunswick
2573-A
Two Little Ruby Rings (Intro. I'll Build A Bungalow) 9-16-1922 New York, New York Columbia
Two Little Wooden Shoes
(Introducing Swanee Sway)
7-17-1922 New York, New York Columbia
A3671
Were Back Together Again 2-27-1925 New York, New York Brunswick
When It's Springtime In The Rockies
(Woolsey / Sauer / Taggart)
3-1930 Chicago, Illinois Brunswick
Where Is That Old Girl Of Mine?
(Gus Kahn / Isham Jones)
6-6-1924 New York, New York Brunswick
2632-A
Who Do You Blame? 7-23-1926 New York, New York Brunswick
Who'll Take My Place
(When I'm Gone?)

(Fazioll)
6-28-1922 New York, New York Columbia
A3695
Why Couldn't It Be Poor Little Old Me? 12-4-1924 New York, New York Brunswick
Who Wouldn't Be Jealous Of You?
Vocal Chorus by Bob Nolan

(Shay / Gillespie / Frommel)
12-31-1928 Chicago, Illinois Brunswick
4131
Will You Remember Me? 2-10-1925 New York, New York Brunswick
2830-B
Wonderful You 7-21-1922 New York, New York Columbia
Ya! Ya! Alma
(Miller / Fisher)
8-19-1925 New York, New York Brunswick
2935
You And I 12-16-1924 New York, New York Brunswick
You Can Take Me Away From Dixie
(But You Can't Take Dixie Away From Me)
3-8-1924 New York, New York Brunswick
You're Like A Ray Of Sunshine
(Introducing: "Every Little Miss" and "Sittin' Pretty")

(from "Lefty Pepper")

(Janssen)
5-12-1922 New York, New York Columbia
A3629
You Want Lovin'
(But I Want Love)
7-20-1929 Chicago, Illinois Brunswick

Songs Radio Program Date
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 Blues Sunny Meadows Radio Show 1929
I'll Never Ask For More, He, She and Me Sunny Meadows Radio Show 1929
Tell Me Who Sunny Meadows Radio Show 1929

Artist Instrument
Larry Abbott Clarinet, Alto Saxophone
Ward Archer Drums
Frank Bessinger Vocals
Rube Bloom Piano
Tom Brown Trombone
Al Cameron Vocals
Jim Cannon Clarinet, Alto Saxophone
Jules Cassard Tuba, Bass
Al Carsella Pac
Louis Chassagne Tuba
Eddie Chester Vocals
Max Connett Trumpet
Bernard Daly Clarinet, Alto Saxophone
Volly de Faut Clarinet, Alto Saxophone
Frank DiPrima Banjo
The Downe Sisters Vocals
Lewis Epstein Bass Saxophone, Drums
Jules Fasthoff Trombone
Art Gronwall Piano, Arranger
Roy Johnston Trumpet
Billy Jones Vocals
Isham Jones Guest Conductor
Leon Kaplan Banjo, Guitar
Irving Kaufman Vocals
Gus Lazaro Banjo
Paul Lyman Violin
Harry Maxfield Vocals
Ray Miller Director, Drums, Vocals
Miff Mole Trombone
Maurice Morse Alto Saxophone
Bob Nolan Vocals
Carl Orech Tenor Saxophone
Earl Oliver Trumpet
Bill Paley Drums
Billy Richards Tenor Saxophone
Harry Reser Banjo
Charles Rocco Trumpet
Andy Sannella Reeds
Phil Saxe Clarinet, Tenor Saxophone, Violin
Andy Sindelar Trombone
Lyle Smith Tenor Saxophone
Muggsy Spanier Cornet
Dick Teela Vocals
Frank Trumbauer C-Melody Saxophone, Reeds
Lloyd Wallen Trumpet
Jim Welton Clarinet, Alto Saxophone
Frank Wright Vocals
Dan Yates Violin