the1920sand30s | Miff Mole - New Twister (1927) @the1920sand30s | Uploaded October 2018 | Updated October 2024, 10 hours ago.
Performed by: Miff Mole
Full Song Title: New Twister
Recorded in: 1927
Irving Milfred Mole, known professionally as Miff Mole (March 11, 1898 – April 29, 1961) was a jazz trombonist and band leader. He is generally considered one of the greatest jazz trombonists and credited with creating "the first distinctive and influential solo jazz trombone style."
His major recordings included "Slippin' Around", "Red Hot Mama" in 1924 with Sophie Tucker on vocals, "Miff's Blues", "There'll Come a Time (Wait and See)", on the film soundtrack to the 2008 movie The Curious Case of Benjamin Button, and "Toddlin' Blues" and "Davenport Blues", recorded in 1925 with Bix Beiderbecke and Tommy Dorsey as Bix Beiderbecke and His Rhythm Jugglers.
Miff Mole was born in Roosevelt, Long Island, New York. He studied violin and piano as a child and switched to trombone when he was 15. He played in Gus Sharp's orchestra for two years and in the 1920s went on to become a significant figure of the New York scene: he was a member of the Original Memphis Five (1922), played with Ross Gorman, Roger Wolfe Kahn, Sam Lanin, Ray Miller and many others. His other activities, like those of many jazz musicians at the time, included working for silent film and radio orchestras. In 1926–29, he and trumpeter Red Nichols led a band called Miff Mole and His Little Molers. They recorded frequently until 1930.
Mole and his band backed Sophie Tucker, who was known as "The Last of the Red Hot Mammas" and who was one of the most popular singers of the 1910s and 1920s. They accompanied her on her 1927 Okeh recordings of "After You've Gone", "Fifty Million Frenchmen Can't Be Wrong", "I Ain't Got Nobody", and "One Sweet Letter from You". Mole and his band, which included Eddie Lang, Jimmy Dorsey, Red Nichols, and Vic Berton, also accompanied her for live performances.
From 1925 to 1929 Mole was identified with bands led by cornetist Red Nichols: The Red Heads, The Hottentots, The Charleston Chasers, The Six Hottentots, The Cotton Pickers, Red and Miff's Stompers, and especially Red Nichols and His Five Pennies. These bands recorded for the labels Perfect, Domino, Pathé, Edison, OKeh and Victor, though the Five Pennies name was used only for their recordings on Brunswick. The original Five Pennies band consisted of Nichols on cornet, Mole on trombone, Jimmy Dorsey on clarinet and alto sax, Eddie Lang on guitar, Arthur Schutt on piano, and Vic Berton (who came up with the name for the group) on drums, but over time the personnel changed and expanded. Among the musicians who passed through the Five Pennies were clarinetist Pee Wee Russell, violinist Joe Venuti, bass saxophonist Adrian Rollini, tuba and bass player Joe Tarto, trombonist Glenn Miller, and extra trumpeters such as Leo McConville and Charlie Teagarden.
When Jack Teagarden arrived in New York in 1928, he replaced Mole as the role model for trombonists, with a more legato, blues-oriented approach. Having started working for radio in 1927 (at WOR), Mole changed his focus to working with NBC (1929–38). In 1938–40 he was a member of Paul Whiteman's orchestra, but his style by then had changed under the influence of Teagarden. In 1942–3 Mole played in Benny Goodman's orchestra, and between 1942–7 he led various dixieland bands. He worked in Chicago in 1947–54.
Due to bad health, Mole played sporadically during his last years. He died in New York City on April 29, 1961. A benefit to raise money for his medical expenses was scheduled too late. He was interred in the family plot in Greenfield Cemetery, Hempstead, Long Island, New York.
Mole's solo style, which included octave-leaps, shakes, and rapid-fire cadenzas, had a profound effect on jazz trombone playing in his time. Among those who emulated Mole's playing were white trombonists Bill Rank, Glenn Miller, and Tommy Dorsey, and black trombonist Jimmy Harrison.
Unfortunately, he is largely forgotten by the greater jazz world but I figured my video is a great way to keep his music alive by inviting the younger generation to watch it.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
Performed by: Miff Mole
Full Song Title: New Twister
Recorded in: 1927
Irving Milfred Mole, known professionally as Miff Mole (March 11, 1898 – April 29, 1961) was a jazz trombonist and band leader. He is generally considered one of the greatest jazz trombonists and credited with creating "the first distinctive and influential solo jazz trombone style."
His major recordings included "Slippin' Around", "Red Hot Mama" in 1924 with Sophie Tucker on vocals, "Miff's Blues", "There'll Come a Time (Wait and See)", on the film soundtrack to the 2008 movie The Curious Case of Benjamin Button, and "Toddlin' Blues" and "Davenport Blues", recorded in 1925 with Bix Beiderbecke and Tommy Dorsey as Bix Beiderbecke and His Rhythm Jugglers.
Miff Mole was born in Roosevelt, Long Island, New York. He studied violin and piano as a child and switched to trombone when he was 15. He played in Gus Sharp's orchestra for two years and in the 1920s went on to become a significant figure of the New York scene: he was a member of the Original Memphis Five (1922), played with Ross Gorman, Roger Wolfe Kahn, Sam Lanin, Ray Miller and many others. His other activities, like those of many jazz musicians at the time, included working for silent film and radio orchestras. In 1926–29, he and trumpeter Red Nichols led a band called Miff Mole and His Little Molers. They recorded frequently until 1930.
Mole and his band backed Sophie Tucker, who was known as "The Last of the Red Hot Mammas" and who was one of the most popular singers of the 1910s and 1920s. They accompanied her on her 1927 Okeh recordings of "After You've Gone", "Fifty Million Frenchmen Can't Be Wrong", "I Ain't Got Nobody", and "One Sweet Letter from You". Mole and his band, which included Eddie Lang, Jimmy Dorsey, Red Nichols, and Vic Berton, also accompanied her for live performances.
From 1925 to 1929 Mole was identified with bands led by cornetist Red Nichols: The Red Heads, The Hottentots, The Charleston Chasers, The Six Hottentots, The Cotton Pickers, Red and Miff's Stompers, and especially Red Nichols and His Five Pennies. These bands recorded for the labels Perfect, Domino, Pathé, Edison, OKeh and Victor, though the Five Pennies name was used only for their recordings on Brunswick. The original Five Pennies band consisted of Nichols on cornet, Mole on trombone, Jimmy Dorsey on clarinet and alto sax, Eddie Lang on guitar, Arthur Schutt on piano, and Vic Berton (who came up with the name for the group) on drums, but over time the personnel changed and expanded. Among the musicians who passed through the Five Pennies were clarinetist Pee Wee Russell, violinist Joe Venuti, bass saxophonist Adrian Rollini, tuba and bass player Joe Tarto, trombonist Glenn Miller, and extra trumpeters such as Leo McConville and Charlie Teagarden.
When Jack Teagarden arrived in New York in 1928, he replaced Mole as the role model for trombonists, with a more legato, blues-oriented approach. Having started working for radio in 1927 (at WOR), Mole changed his focus to working with NBC (1929–38). In 1938–40 he was a member of Paul Whiteman's orchestra, but his style by then had changed under the influence of Teagarden. In 1942–3 Mole played in Benny Goodman's orchestra, and between 1942–7 he led various dixieland bands. He worked in Chicago in 1947–54.
Due to bad health, Mole played sporadically during his last years. He died in New York City on April 29, 1961. A benefit to raise money for his medical expenses was scheduled too late. He was interred in the family plot in Greenfield Cemetery, Hempstead, Long Island, New York.
Mole's solo style, which included octave-leaps, shakes, and rapid-fire cadenzas, had a profound effect on jazz trombone playing in his time. Among those who emulated Mole's playing were white trombonists Bill Rank, Glenn Miller, and Tommy Dorsey, and black trombonist Jimmy Harrison.
Unfortunately, he is largely forgotten by the greater jazz world but I figured my video is a great way to keep his music alive by inviting the younger generation to watch it.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
![Nadezhda Zlateva - Slushai Malka Mome [Listen Little Girl] (1935)](https://i.ytimg.com/vi/3P9qdkKsH6c/hqdefault.jpg "Nadezhda Zlateva - Slushai Malka Mome [Listen Little Girl] (1935)
Performed by: Надежда Златева [Nadezhda Zlateva]
Full Song Title: Слушай Малка Моме [Slushai Malka Mome]
Recorded in: 1935, Bulgaria
I picked up this record a few years ago, its in poor shape but I tried my best to restore it.
Unfortunately, I have not been able to find any information about the artist, if someone could fill in the gaps I would be very grateful.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Jean Lumière - Les Deux Cœur [The Two Hearts] (1933)](https://i.ytimg.com/vi/52PSVBxg0qI/hqdefault.jpg "Jean Lumière - Les Deux Cœur [The Two Hearts] (1933)
Performed by: Jean Lumière
Full Song: Les Deux Cœur
Recorded in: 1933
Flip side of: https://youtu.be/idSWNS2abJw
Les Deux Cœur, its an absolutely rare recording and I seem to be the only one who has the original shellac record. I inherited it from my grandfather, who purchased it while he was visiting friends in France during the 1930s.
Jean Lumière (born August 20, 1895 in Marseille and died April 2, 1979 in Paris) was a popular French singer and Grand Prix du Disque winner of the 1930s.
His real name was Jean Anezin, he was born into a family of music-loving merchants. He first considered an acting career, but then changed his mind and began singing in Nice and Marseille. Following a meeting with the singer Esther Lekain, he made his debut in 1930 in Paris at the Théâtre de lEuropéen. Esther Lekain urged him to change his name and allegedly chose his pseudonym for him: Your voice is clear, you are from the South, your name will be Jean Lumière.
In 1934, he had great success with Paul Delmets song La Petite Église , winning the Grand Prix du Disque, pursuing a remarkable career in Europe, the Middle East, and South America. He is notably the first performer of the French version of the song taken from the animated feature film Pinocchio from Disney studios released in 1946: Quand on prie la bonne étoiles (When You Wish upon a Star).
Long considered to have the best radio voice, Jean Lumière left the stage in 1960 to become a singing teacher. His students include Marcel Amont, Gloria Lasso, Cora Vaucaire, Diane Dufresne, Mireille Mathieu.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Carlo Buti - Non dimenticar le mie parole [Dont forget my words] (1937)](https://i.ytimg.com/vi/9GxX9NflEZo/hqdefault.jpg "Carlo Buti - Non dimenticar le mie parole [Dont forget my words] (1937)
Performed by: Carlo Buti
Full Song Title: Non dimenticar le mie parole
Recorded in: 1937
Carlo Buti (14 November 1902 – 16 November 1963) was an Italian interpreter of popular and folk music. He was known as the Golden Voice of Italy, and was possibly the first superstar of Italian music in the twentieth century. He recorded 1574 songs during his career.
Buti was born in Florence, Italy. As a boy, he mastered the Tuscan folk song technique known as stornello. He was soon being paid by other men to serenade their girlfriends. He received limited vocal training from Raoul Frazzi. He was featured on Italian radio. His first recording contract (1930) was with Edison-Bell Records. In 1934 he signed with Columbia Records.
Buti has been called the Bing Crosby and the Frank Sinatra of Italy, because of his preference for the popular songs of the day over the more operatic-type songs. He retired in 1956 after having recorded 1574 songs. At the time, his was the most-recorded voice in Italian music history. His unique warm and melodic tenorino style of high quasi-falsetto phrasing sung in the mezza voce made him an international success. He also starred in several Italian movies. He died at his home in Montelupo Fiorentino, in Tuscany, Italy, at the age of 61.
One of his songs Vivere (1937) appears on the score to the 2000 film Titus by Elliot Goldenthal.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Roberto Maida - Golondrinas [Swallows] (1935)](https://i.ytimg.com/vi/9m0Auf3kGJM/hqdefault.jpg "Roberto Maida - Golondrinas [Swallows] (1935)
Performed by: Francisco Canaro y su Orquesta Típica
Vocals: Roberto Maida
Full Song Title: Golondrinas
Recorded in: 1935
Roberto Maida real name Domenico Maida (born March 3, 1908 – died March 30, 1993) was a popular Argentinean singer and lyricist of the 1920’s and 1930s.
Maida was born in Francica, Vibo Valentia, Italy in 1908. His parents were Italian immigrants and they settled in Buenos Aires, in the neighborhood of Balvanera, near the famous Mercado Spinetto.
Roberto Maida began his artistic career at a very early age in the backyard of the restaurant Damato. There he used to meet with the owner’s sons and other kids were they organized tango shows in which he was the lead singer. One day a singing instructor came to have lunch and wanted to know who that singer was. He suggested to him to sing at a cinema during the intermission shows. Maida was doubtful but his friends encouraged him. He made his debut at the 2º Coliseo cinema located at Bernardo de Irigoyen and Venezuela in the Monserrat district. The owners of the theater, José and Antonio Galvano liked him so much, that they placed a big photo of Maida at the entrance of the theater.
In 1925 he made his debut as professional singer in the Miguel Caló Orchestra. Thereafter he went to Spain with Cátulo Castillo’s group that included Miguel Caló, Alberto Cima, Ricardo, Carlos and Alfredo Malerba. It was a long tenure and they performed in many cities. They also made several recordings for the Odeon label. Their tour ended in 1930 and, back in Buenos Aires, Bayón Herrera and Manuel Romero invited Maida to appear in their play at the Teatro Sarmiento.
The following year he returned to Europe with the Sarmiento theater company, directed by Bayón, Romero and Cátulo Castillo. Sadly, the company went bankrupt and was dissolved but as Maida was already quite famous in Spain, he found work quickly and was hired to accompany the singer Celia Gámez.
Eduardo Bianco, on his way to Germany, asked the band leader Manuel Pizarro if he could bring Maida and some musicians from his orchestra to accompany him in his performances in Hamburg. In Hamburg they inaugurated the UFA Palace and performed at the Bocaccio café concert before later working in Cologne, Munich and Berlin.
He was hired to work for seven months at the Savoy Hotel in London, where, at that time, the Prince of Wales, whom Maida had met in Biarritz, France and who was a fan of tango, sometimes attended. For a while Maida settled on the continent and toured Belgium, Holland and Spain.
In 1968 he retired from the show business and died in Buenos Aires on March 30, 1993.
Francisco Canaro (November 26, 1888 – December 14, 1964) was a popular Uruguayan violinist and tango orchestra leader.
Canaro was born in San José de Mayo, Uruguay, in 1888. His parents were Italian immigrants, and later, when he was less than 10 years old, they emigrated to Buenos Aires, Argentina in the late nineteenth century. As a young man he found work in a factory, where an empty oil can, in his skilled hands, became his first violin. Performing in seedy bars initially, he ultimately forged a career that spanned many decades, and his orchestra was one of the most recorded. His introduction to the tango came by orquesta típica leader Vicente Greco in 1908, and in 1912 he composed Pinta brava (Fierce Look). Canaro composed the music for the 1915 Argentine classic film Nobleza gaucha. He later was romantically attached to Argentine actress and tango vocalist Ada Falcón, but the relationship, which began in the early 1920s, grew apart a decade later.
In 1920 Canaro discovered Azucena Maizani, who rapidly developed into a major tango star.
Canaro was active in the cause of intellectual property rights from 1918 onwards, and was instrumental in the establishment of the Argentine Society of Composers and Songwriters (SADAIC), in 1935, purchasing the downtown Buenos Aires lot where its headquarters were built. He performed in Paris with his orchestra in 1925, and a success among local audiences, he remained in Europe for a decade. Becoming a naturalized Argentine citizen in 1940, much of his recorded music is in the classic salon style of that decade, but he is also considered a member of the old guard, and some of his later recordings contributed to the transition to concert tango.
Canaros orchestra became a fixture on Argentine radio during the 1940s and early 1950s, though for many contemporary dancers and listeners, his early golden age recordings remained the best in their genre. Canaro authored his memoirs, Mis 50 años con el tango (My Fifty Years with the Tango) in 1956, but later developed Pagets disease, and was forced to retire. He died in Buenos Aires in 1964.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Eugen Wolff - Ich werde jede Nacht von Ihnen träumen [ I will dream of you every night ] (1937)](https://i.ytimg.com/vi/9t80nvdE8EA/hqdefault.jpg "Eugen Wolff - Ich werde jede Nacht von Ihnen träumen [ I will dream of you every night ] (1937)
Performed by: Eugen Wolff mit seinem Tanz-Orchester
Vocals: Ralph Maria Siegel
Full Song Title: Ich werde jede Nacht von Ihnen träumen (1937)
Recorded in: 1937
Eugen José Wolff (born February 19, 1901 in Hamm/Westphalia – died November 7, 1961 in Berlin) was a popular German violinist and orchestra leader who was active during the 1920s, 30s and early 1940s.
Wolff studied violin in Bochum and Antwerp. At the age of eleven he gave his first concert. In the mid-1920s, Eugen performed with his own small dance band at the Hotel Astoria (Leipzig), in Munich and also at the Faun in Hamburg. At the end of the 1920s he changed his name in the wake of the rumba wave and appeared temporarily as José Wolff . From autumn 1929 he received his first engagements in Berlin (Haus Imperator). At the beginning of 1930 he called his orchestra Jazz-Solisten-Kapelle and performed with this septet in Hamburg. By the end of 1930 he expanded his formation to big band strength and performed with his 12 jazz cannons in Denmark, the Netherlands, Switzerland and Austria.
Wolff played (again as Eugen Wolff) with his dance orchestra in the Berlin Eden Hotel in 1934/35 . In 1937 the Hotel Esplanade became the permanent venue for the formation. From 1936 Wolff recorded a number of shellac records with a studio ensemble for Odeon , mostly popular daily hits and film melodies.
Willy Berking , Detlev Lais and Lubo DOrio played in Wolffs orchestra ; The vocalists were Ralph Maria Siegel, Fred Kassen and the Metropol vocalists and Greta Schönfelder / Gustav Ludzey and Doddy Delissen. From 1940, Eugen Wolff was employed for troop support. In 1942, while serving in the Wehrmacht, he met his wife, the singer Marlene Mathan. At the end of 1942 their only joint recording session took place. Last recordings of Wolff took place in 1943.
In 1943 Wolff was drafted as a soldier; At the end of the war he was taken prisoner by the Soviets. When he returned to Berlin in 1949, he founded a new orchestra. The first post-war recordings for Odeon took place in October 1949. Further contract negotiations were unsuccessful, Wolff and his wife retired from the music business in 1954.
Ralph Maria Siegel, byname Rudolf Maria Siegel (born June 8, 1911 in Munich, – died August 2, 1972 in Munich) was a German composer, songwriter, music publisher, writer and singer (tenor).
Ralph Maria Siegel was a son of the lawyer and composer Rudolf Siegel. He studied music in Cologne, Florence, Rome and Berlin. His teachers included Ernst Toch, and began his singing lessons at a very early age.
He began his artistic career as an operetta tenor and sang in Berlin at the Metropoltheater and in the Admiralspalast. In the 1930s he was also a member of the GEMA supervisory board and one of those responsible for the ban on the free distribution of sheet music and the limitation to 250 free copies. With his Schlager music he also served not insignificantly the ethnic-cultural-political aesthetics of National Socialism. Light music with entertaining lyrics was intended to accompany the audience through the war years, in which the emotional cohesion of the population was subtly evoked through the seemingly perfect world of artistic ease. In addition to the intentionally banal music lyrics he wrote, Siegel occasionally deliberately discredited other contemporary music styles as “degenerate art”. For example, in his musical ABC he rhymed the following short pamphlet under the racist keyword of so-called “nigger jazz”:
“This is rightly frowned upon, so get rid of it as quickly as possible.
– Ralph Maria Siegel: A musical ABC”
From 1941 he worked at the Theater am Gärtnerplatz in Munich. From 1946 to 1949 he was artistic director and chief director at the Kurhaus Theater in Augsburg, and he also worked as a director at the Corso Theater in Berlin and at the Deutsches Theater in Munich.
Siegel was one of the most successful pop song writers and composers of the 1930s to 1950s. Siegel repeatedly wrote the lyrics while Gerhard Winkler composed the music.
In 1948 he founded the Ralph-Maria-Siegel-Musik-Verlag in Munich, which he headed until his death. He translated the texts of several foreign-language films into German and composed the film music for several German productions. The multi-talented Siegel also created numerous stage works, including in collaboration with Hellmut Seifert Alles für Eva (1933); Liebeszauber (1936), Frechheit siegt (1942) or Charley’s Tante (musical, world premiere 1959).
Siegel was married to the Leipzig operetta star Ingeborg Sternchen Döderlein , from whose marriage the later successful son Ralph Siegel emerged .
Siegel died on August 2, 1972. His grave is in the Munich North Cemetery.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
