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Monday, August 23, 2010

An Isham Jones Orchestra list.................

Isham Jones 1894 – 1956  bandleader, saxophonist, bassist and songwriter.
(From Wikipedia)
Jones was born in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, where he started his first band. In 1915 he moved to Chicago, Illinois, which remained his home base until 1932, when he reestablished himself in New York City. Jones also toured England with his orchestra in 1923.
The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, Wabash Blues written by Dave Ringle and Fred Meinken, was recorded in 1921 by Isham Jones and his Orchestra. This million-seller stayed twelve weeks in the U.S. charts, six at No. 1[1]. Noted musicians who played in Jones' band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman, Walt Yoder, and Roy Bargy.
Jones was reported for being a strict task master and for being rather cold and distant. His lushly romantic compositions seem at odds with his reported personality.
There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.
From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very unusual arrangements (by Gordon Jenkins and others; Jones was his own arranger early on, but cultivated others for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. It seems that Jones was indifferent to vocalists until he started using Frank Sylvano and Stone (beginning in 1929) and in 1932, Joe Martin, another of the band's violinists. In April that year, young Bing Crosby recorded two sessions with Jones' group which included "Sweet Georgia Brown". Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style.
In August, 1932, Jones began appearing on Victor, and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was especially suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded "experimental" songs for RCA Victor which Jones began to fuse jazz, and early swing music. They recorded Where, I Wonder Where? and What Would Happen To Me If Something Happened To You. His Victor releases had an almost symphonic sound. He stayed with Victor until July 1934, when he signed with Decca. (Jones' recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best and most popular dance music of the era.)
After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Another Jones edition, in 1937-38, recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.
In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands.
Isham Jones died in Hollywood, California in 1956. His grand-nephew is the noted jazz drummer Rusty Jones.
During the 1920s, Isham Jones had several number one records on the pop charts in the U.S.:
  • "Wabash Blues" was number one for six weeks in 1921;
  • "On the Alamo" was number one for four weeks in 1922;
  • "Swinging Down the Lane" was number one for six weeks in 1923;
  • "Spain" was number one for two weeks and "It Had To Be You" was number one for five weeks in 1924; and,
  • "I'll See You in My Dreams" was number one for seven weeks and "Remember" was number one for one week in 1925.
  • His 1930 version of "Star Dust" was one of the best selling versions. Jones commissioned Victor Young to write a ballad instrumental of the mid-tempo tune and it was this arrangement (with Victor Young's violin solo) which became such a hit. Mitchell Parish wrote lyrics for the song at this time.

In 1989, Isham Jones was inducted into the Big Band and Jazz Hall of Fame. He was also inducted into the Songwriters Hall of Fame.

In 2005, "California, Here I Come", recorded by Al Jolson With The Isham Jones Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.

In 2007, "It Had To Be You", recorded by Isham Jones and His Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.

And a bit more info from

By Tim Gracyk

from the book "Popular American Recording Pioneers 1895 -1925." 

Isham Jones led one of the finest dance bands of the 1920s and wrote many hits, notably "It Had To Be You," "I'll See You In My Dreams," " Swingin' Down the Lane," and "The One I Love Belongs to Somebody Else." He was born in Coalton, Ohio, but grew up in Saginaw, Michigan. The September 1923 issue of the sheet music publication Melody includes an article about his early years (the article itself is based on an interview Jones gave to the Boston Post). He had worked in coal mines leading blind mules. Jones's father, originally from Arkansas, played fiddle and was an important musical influence. The son took up fiddling and led a small band at a local Methodist church. He even played fiddle at work while driving his mule with its string of coal cars. His attention to his instrument evidently distracted him enough one day for a train to crash into a shaft door, frightening him so much that he never returned to the coal pit. He devoted himself to music. A Saginaw music publisher was first to print sheet music bearing the name Isham Jones, his earliest known published composition being "Midsummer Evenings," from 1906. He would not enjoy success as a composer for another dozen years.

Here To OrderIsham, pronounced "eye- sham," moved to Chicago in 1915 and continued composing, often working in the World War I period with lyricist Olaf ("Ole") Olsen, a member of Jones's early Chicago band (later, in 1926, Ole Olsen and His Orchestra recorded three titles for Path� Actuelle). One of their works from 1917 is among the first songs to refer to the new music called "jass." Actually, the spelling used is even more unorthodox: the song is "That's Jaz!" Possibly the songwriters had not seen the word "jazz" (or "jass") in print when they wrote the song. Its lyrics refer to saxophones and banjos, so the writers did not have the Original Dixieland Jass Band (ODJB) specifically in mind though they would have known the sensation the band made in Chicago in 1916. It is possible that Jones's own band at the time featured saxophones and banjos.

The first Isham Jones tune to be recorded was probably the comic "Oh! Min!" It is sung by Edward Meeker on Blue Amberol 3514, issued in August 1918. Another 1918 composition by Isham Jones is "Indigo Blues," recorded by Ford Dabney's Band in early 1919 and issued on Aeolian-Vocalion 12097 in April, backed by the ODJB's "Oriental Jazz."

After serving in the military in 1918, Jones returned to Chicago and joined a dance hall orchestra that would eventually take his name. He learned to play C melody saxophone at this time but switched to tenor saxophone by 1920. Eventually conducting pressures forced him to give up playing in the band itself though his band always featured a strong saxophone section.

According to the Melody profile, Jones and his musicians were given the option in the early 1920s of royalties or steady salaries. Jones himself opted for royalties and by September 1923 had received $800,000. If this account is accurate, it means that Jones was wealthy before penning his most successful compositions.

The name on early discs, "Isham Jones Rainbo Orchestra," reflects the band's engagement at Chicago's famous dance palace known as the Rainbo Gardens, operated by Fred and Al Mann at the intersection of North Clark Street and Lawrence Avenue (Frank Westphal succeeded Jones and recorded his Rainbo Orchestra in Chicago by early 1922--Ralph Williams followed with his Rainbo Orchestra in late 1924, his first record issued by Victor in January 1925). Talking Machine World establishes that in mid-1921 Jones regularly played at the Marigold Gardens (817 West Grace Street, west of Broadway), operated by brothers named Eitel. The band toured heavily by 1921--in early February 1921 it had been featured in Ziegfeld's "Midnight Frolic" on the Amsterdam Roof in New York City. Around 1922 the band took up residency at the Hotel Sherman's College Inn, remaining as its main attraction until February 1925, when Vincent Lopez's band replaced Jones's. It played elsewhere in Chicago after long engagements at the College Inn. For example, in mid-1923 it played for six weeks at the new Trianon Dance Palace.

The Isham Jones Orchestra was a Chicago institution from 1920 to 1925. It was also important to the Brunswick- Balke-Collender Company, from mid-1920 to 1932 recording exclusively and frequently for the company, from its entry into the American disc market until after Warner Brothers acquired Brunswick's record division. The Chicago-based Brunswick company and Jones matured together. He even shared ownership of a shop that carried Brunswick products exclusively. Page 155 of the June 1922 issue of Talking Machine World reports the opening of the Isham Jones Brunswick Shop in Saginaw, Michigan. Other co-owners were Gerald Marks (a composer and, like Isham Jones, once a Saginaw resident), Thomas Jones, and Frank Jones.

During Brunswick's first year as a maker of discs, artists--including Jones--had sessions in the company's New York City studio, but page 135 of the July 1921 issue of Talking Machine World indicates that the company was eager to accommodate the Chicago-based Jones: "The Brunswick-Balke- Collender Co., after months of preliminary preparation, has opened an experimental laboratory and recording room on the sixth floor of its Chicago headquarters. The object of this laboratory is to record the work of Isham Jones and other Western talent...This is the first time that a permanent laboratory of this kind has been established in Chicago. Heretofore any recording laboratory in Chicago was but a temporary affair."

Some early Jones discs were issued in Brunswick's prestige series, which began at 5000 (purple labels were used). A few Jones performances were issued in both the prestige series and the regular popular series. For example, "Look For The Silver Lining" was issued on Brunswick 5045 and 2224.

Jones used fewer instruments on Brunswick records than Paul Whiteman used on Victor discs of this period. According to the June-July 1924 issue of Jacobs' Orchestra Monthly, band members at that time were pianist Roy Bargy (he replaced Al Eldridge), trombonist Carroll Martin (he also served as arranger), second trombonist William McVey, violinist Leo Murphy, second violinist Arthur J. Vanasek, cornetist Louis Panico, saxophonist H. E. Maulding, banjoist Charles McNeill, tuba and Sousaphone player John Kuhn (formerly with Sousa's Band), and drummer Joe Frank.

In Chicago Jazz (Oxford University Press, 1993), William Howland Kenney states that Jones "refused to label his music 'jazz,'" preferring "that his music be called 'American Dance Music.'" Kenney's source is a 1924 issue of Etude. While it is true that Jones's was not a jazz ensemble, some hot performances notwithstanding, Jones speaks of his music as jazz in the previously mentioned Melody article. If Jones rejected the term "jazz" and embraced "American Dance Music," it happened around 1924. The 1923 Melody article cites his advice for those wishing "to start a jazz band of your own," beginning with this tip: "First of all, you must have musicians--real musicians...Gone are the days when a jazz band was an aggregation of jugglers who gave more pleasure to the eye than to the ear."

Incredibly popular from late 1921 was the orchestra's version of the Ringle-Meinken song "Wabash Blues" featuring the "laughing" cornet of Louis Panico, who joined the ensemble around mid-1921. Panico eventually left to begin his own band at Chicago's Guyon's Paradise.

Jones's band provided accompaniment for many Brunswick stars, including Marion Harris and Al Jolson. Jones recorded for Brunswick many of his own compositions, including "On the Alamo" (2245, 1922), "Ivy (Cling To Me)" (5177 and 2365, 1922), "Broken Hearted Melody" (2343, 1922), "Swingin' Down the Lane" (2438, 1923), "Spain" (2600, 1924), "It Had To Be You" (2614, 1924), "I'll See You In My Dreams" (2788, 1925), and "Ida- -I Do" (2915, 1925). For "I'll See You In My Dreams," Jones conducts Ray Miller's Orchestra, another of Brunswick's popular dance bands.

He finally moved from Chicago to New York City. On March 1, 1925, Jones was given a testimonial dinner and reception at the Park Lane Hotel by music publishers. On March 6, Jones and his orchestra opened the Rue de la Paix, a nightclub possibly owned by Jones himself at 247 West 54th Street in Manhattan. Page 35 of the May 1925 issue of Talking Machine World reports that on April 25, 1925, the formal opening of the Brunswick Salon on Fifth Avenue in Manhattan was broadcast on station WJZ, adding, "This was the first appearance of the Isham Jones aggregation before the [radio] microphone." He remained popular after Brunswick converted to its electrical "Light-Ray" recording system.

The band leader switched to Victor in 1932 (it was not a propitious time for a label change since all record companies were hit hard by the Depression at this time--his Victor records sold poorly), then to Decca in 1934, with clarinetist Woody Herman joining for Decca sessions. One of Jones's last bands to make 78 rpm records was called Isham Jones' Juniors on Decca. In 1936 it contained the basic personnel for the band led by Woody Herman. Later Isham Jones ("and his Famous Orchestra") cut numbers for Coast Records, including "I'll Never Have To Dream Again" backed by "The One I Love" (8025), vocals by Curt Massey. With Marilyn Thorne as vocalist, the Isham Jones Orchestra also recorded for the obscure Bantam label. He died in Hollywood, California.

 Here's a set of recordings I dug out and uploaded.....

(When It's) Darkness on the Delta (1932)
Blue prelude (1933)
Charleston (1926)
(recording...most of label worn off would be appreciated)
(another recording...most of label worn off would be appreciated)
Don't Tell Her What Happened To Me (1930) w/ Eddie Stone
Dream a little dream of me (1931)
Easy Melody (1924)
Everyone Says ''I Love You'' (1932) (from the Paramount Picture "Horse Feathers")
Feedin' The Kitty (1924)
Foolin' Around (1923)
For All We Know (1934)
Forgetful Blues (1923)
Goodnight sweet dreams (1931)
I want a new romance (1934)
I'll Never Have To Dream Again (1932)
I'll See You In My Dreams (1924)
I'm So Afraid Of You (1931)
Ida, I do (1925)
It Had To Be You (1924)
It Isn't Fair (1933)
Just A Little Street Where Old Friends Meet (1932)
Let Me Linger Longer In Your Arms (1925)
My Best Girl (1925)
My Ideal (1931)
Nina Rosa (1930)
Nobody's sweetheart (1924)
On The Alamo (1922)
Paddlin' Madelin' Home (1925)
Remember (1925)
Somebody's Wrong (1923)
Stardust (1930)
Stompin' At The Savoy (1936)
Sweet Georgia Brown 1925
Swingin' Down the Lane (1923)
Trees (1930)
What's the Use? (1930)
Where is my sweetie hiding (1924)
Who's Sorry Now (1923)
With My Eyes Wide Open I'm Dreaming (1934) (From Paramount film "Shoot The Works")
Wop Blues (1923)
You Don't Know What You're Doin' (1931)
You Got 'em (1925)
Thinking of You (1926) w/ Arthur Fields
Fools In Love (1932) w/ Billy Scott
I Can't Believe It's True (1932) w/ Eddie Stone
Miss Hannah (1930) w/ Eddie Stone
Not A Cloud In The Sky (1930) w/ Eddie Stone
Sweet Jennie Lee (1930) w/ Eddie Stone
Feeling That Way (1930) w/ Frank Sylvano
I'll be blue just thinking of you (1930) w/ Frank Sylvano
Lonesome lover (1930) w/ Frank Sylvano
You're Just A Dream Come True (1930) w/ Frank Sylvano

A little special extra for fun: Isham Jones Medley- (1932) Frank Trumbauer Orch. w/ Helen Rowland and Johnny Blake


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