Bailey's Lucky Seven plays "Apple Sauce" on Gennett 5030
January 18, 1923
Song by Abe Lyman, Gus Arnheim, and Arthur Freed.
This was recorded in New York City with Phil Napoleon on trumpet, Miff Mole on trombone, Jimmy Lytell on clarinet, and Frank Signorelli on piano.
Is that Nick Lucas on banjo?
Nobody is named "Bailey" among the musicians.
This is a Sam Lanin group.
When Sam Lanin was not the organizer, then the ensemble is the Original Memphis Five--Phil Napoleon on cornet, Irving Milfred ‘Miff’ Mole on trombone, Jimmy Lytell on clarinet, Frank Signorelli on piano, and Jack Roth on drums.
Sam Lanin was an American dance band leader who presided over many recording sessions in the 1920s. Few other musical directors were so active in studios. Lanin never played an instrument during sessions aside from drums in early years.
He was valued by studios since he provided well-orchestrated arrangements and session directions.
Sometimes his name was cited on record labels--Sam Lanin's Dance Orchestra, Lanin's Famous Players, Lanin's Red Heads, Lanin's Arcadians. Dozens of non-Lanin names were also used for studio groups he assembled.
Occasionally his name was used for ensembles that he did not personally supervise.
No one Lanin record was a huge hit, but he stands out for the quantity of records made under his supervision.
Musicians who worked under him include Miff Mole, Tommy Dorsey, Jimmy Dorsey, Manny Klein, Jack Teagarden, Bix Beiderbecke, Benny Goodman, Eddie Lang, and Bunny Berigan.
In the 1920s a bandleader such as Lanin would send telegrams to musicians a day before a session, instructing each musician to be at a certain studio at a certain time. Lanin would often coordinate sessions for three different locations--three studios, three labels--on one given day.
Musicians for these "pick-up" groups showed up without knowing what new songs would be recorded at that session.
Lanin was paid by a record company for sessions, and he in turn paid the musicians. Many hired by Lanin were also used during sessions supervised by Ben Selvin, Nathan Glantz, Adrian Schubert, and Lou Gold.
Most of his sessions produced dance records featuring popular songs of the day that were given tasteful yet conservative arrangements. He was not an innovator but instead helped popularize musical trends begun by others.
Lanin ensembles produced good jazz records though none are of extraordinary interest to a jazz historian.
He was born on September 4, 1891, into a Jewish family headed by Benjamin and Mary Lanin.
Sources differ on whether he was born before or after the parents emigrated from Russia to the United States. He was raised in Philadelphia, one of ten children.
Younger brothers Jimmy, Howard, and Lester also became dance band directors. Born on July 15, 1897, Howard led dance orchestras in Philadelphia and made recordings beginning in 1923. He died in that city on April 26, 1991.
January 18, 1923
Song by Abe Lyman, Gus Arnheim, and Arthur Freed.
This was recorded in New York City with Phil Napoleon on trumpet, Miff Mole on trombone, Jimmy Lytell on clarinet, and Frank Signorelli on piano.
Is that Nick Lucas on banjo?
Nobody is named "Bailey" among the musicians.
This is a Sam Lanin group.
When Sam Lanin was not the organizer, then the ensemble is the Original Memphis Five--Phil Napoleon on cornet, Irving Milfred ‘Miff’ Mole on trombone, Jimmy Lytell on clarinet, Frank Signorelli on piano, and Jack Roth on drums.
Sam Lanin was an American dance band leader who presided over many recording sessions in the 1920s. Few other musical directors were so active in studios. Lanin never played an instrument during sessions aside from drums in early years.
He was valued by studios since he provided well-orchestrated arrangements and session directions.
Sometimes his name was cited on record labels--Sam Lanin's Dance Orchestra, Lanin's Famous Players, Lanin's Red Heads, Lanin's Arcadians. Dozens of non-Lanin names were also used for studio groups he assembled.
Occasionally his name was used for ensembles that he did not personally supervise.
No one Lanin record was a huge hit, but he stands out for the quantity of records made under his supervision.
Musicians who worked under him include Miff Mole, Tommy Dorsey, Jimmy Dorsey, Manny Klein, Jack Teagarden, Bix Beiderbecke, Benny Goodman, Eddie Lang, and Bunny Berigan.
In the 1920s a bandleader such as Lanin would send telegrams to musicians a day before a session, instructing each musician to be at a certain studio at a certain time. Lanin would often coordinate sessions for three different locations--three studios, three labels--on one given day.
Musicians for these "pick-up" groups showed up without knowing what new songs would be recorded at that session.
Lanin was paid by a record company for sessions, and he in turn paid the musicians. Many hired by Lanin were also used during sessions supervised by Ben Selvin, Nathan Glantz, Adrian Schubert, and Lou Gold.
Most of his sessions produced dance records featuring popular songs of the day that were given tasteful yet conservative arrangements. He was not an innovator but instead helped popularize musical trends begun by others.
Lanin ensembles produced good jazz records though none are of extraordinary interest to a jazz historian.
He was born on September 4, 1891, into a Jewish family headed by Benjamin and Mary Lanin.
Sources differ on whether he was born before or after the parents emigrated from Russia to the United States. He was raised in Philadelphia, one of ten children.
Younger brothers Jimmy, Howard, and Lester also became dance band directors. Born on July 15, 1897, Howard led dance orchestras in Philadelphia and made recordings beginning in 1923. He died in that city on April 26, 1991.
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