Doug Clark

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Doug Clark of Spring Hill, Florida. Click photo to view an enlargement.

Doug Clark
Spring Hill, Florida
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Musical Memories of Days Gone By - by Doug Clark

The Paramount Theater in New York City,
a big band mecca during the Swing Era.

Those who remember the days of which I write are few and far between, and disappearing nearly as fast as the summer leaves in autumn. But there was a time, long before television and CD’s when not only the night, but the day was filled with music, and the music was not recorded or taped! A sample announcement in the early 1930’s would be "We take you now to the Glen Island Casino, just off the Shore Road, in New Rochelle, New York for a program featuring the music of Glen Gray and the Casa Loma Orchestra, featuring solos by Pee Wee Hunt and Kenny Sargent."

Few realize how many hotels, restaurants, dance galls, or night clubs had ten to twelve piece orchestras and larger that played for dancing, not only in the late evening hours at various venues, but also at noontime and dinner time. WABC (now known as WCBS) was a leader in this area.

Paul Tremaine led a popular East Coast dance orchestra from the 1920s to the 1940s. The group featured ensemble vocals and the trumpet work of future band leader Sonny Dunham. During the early 1930's, the orchestra resided at Yoeng's Chinese-American Restaurant on Broadway. It recorded for Victor and Columbia.

Monday through Friday at noon an hour of music was broadcast live from Yoeng's Chinese-American Restaurant on Broadway, featuring such orchestras as Paul Tremaine, Charley Boulanger, Don Bigelow, and Buddy Harrod. At 1:00 p.m., they switched to George Hall and his Orchestra, featuring Dolly Dawn and Sunny Schuyler, at the Grill Room of the Hotel Taft. Hall's orchestra played a style that some called "the businessman’s bounce." Vincent Lopez, a skilled pianist and leader, was also a long-time feature at the Taft.

In the early evening there was a little dance music on WABC, but by 11:00 pm to 2:00 am there was a flow of music from Manhattan, New Jersey, and Westchester County. In Jersey, Ben Marden’s Riviera had name bands, and "just off the Newark--Pompton turnpike in Cedar Grove, New Jersey, the music of Tommy Dorsey from Frank Dailey’s Meadowbrook...."

WJZ, WEAF, WOR also had their share of bands. Saturday noon there were broadcasts from the Lotus Gardens in Cleveland, Hotel New Yorker, Roseland Ballroom, and Central Park Casino, where Eddy Duchin's tea dances were popular in the late afternoon. Late at night, the Harlem bands came on, with Cab Calloway and Duke Ellington from the famous Cotton Club, Don Redman from Connie”s Inn, and Chick Webb, with vocalist Ella Fitzgerald, from the Savoy Ballroom. Saturdays often featured music from San Francisco”s Hotel St Francis, with Tom Coakely, Anson Weeks at the Coconut Grove in Los Angeles, and different bands from Catalina Island Casino.

The Savoy Ballroom in New York City -- "Home to Happy Feet!"

The Savoy was also the home to Chick Webb, Ella Fitzgerald, and other big bands during the 1930s and 1940s.

Most of the midtown New York hotels had dance bands on the air, including the Astor, St. Regis, Palace, Paramount (Snooks Friedman), Plaza, Taft, Roosevelt (Guy Lombardo), Essex House (Richard Himber), New Yorker (Bob Crosby), Lexington (Xavier Cugat), and others. Restaurants, nightclubs, and ballrooms were well represented: Tony Sarg’s Bohemia, Hollywood Restaurant (Isham Jones), Paradise Restaurant (Glenn Miller), Rainbow Room (Ray Noble), Roseland (Joe Haymes), and Yoeng’s Chinese among others.

In Westchester County Will Osborne played nightly at the Playland Casino in Rye, Glen Gray was at the Glen Island Casino, and Irving Conn at the Arrowhead Inn....

The Glen Island Casino in New Rochelle, New York was the top ballroom in America during the 1930's and 1940's.

Yes, I heard music from all these venues, but within ten years most of the places had ceased using big bands, and unions had effectively brought reduction in the number of bands on the air. By l945, many of the bands were silent and remained only in memory. Fortunately for the fans, the music of some of them was first recorded on 78 rpm records, then on LP's, cassette tapes, and finally on CD's.

Sadly, however, others are gone and forgotten. Who remembers Snooks Friedman and his Memphis Ramblers? Dick Mansfield? Will Osborne? Little Jack Little? Don Bestor? Paul Tremaine and his "Band from Lonely Acres?" Yet they once held airtime from prominent venues.

Radio has been taken over by contemporary pop, and so far as I know there are no live dance orchestras playing. TV has Lawrence Welk re-runs, and perhaps annually a PBS program featuring a few others. The era of airwaves filled with live dance music vanished long ago. It did not last long, perhaps 25 years, at most.

I was born in 1917, and lived in New York City until l936, just the right time to tune in to my radio and hear the words that thrilled a boy and later a teen, “We now take you to hear a program of dance music...." What effect did these bands have on me? I spent hours daily tuning in, and so ignored my school studies that I finished high school on a five-year plan! I am sure they prevented me from picking up the typical vices, since I was a loner. They provided me with a vast amount of knowledge of popular music of that era, and I still remember hundreds of tunes and their lyrics.

Just don’t ask me what I recall of Shakespeare or the French language!

I am now in my 90’s and find relaxation and pleasant memories as I play the CDs and listen while I work at my computer. I am thankful I was part of what one band fan called "The Lucky Generation." Not only did I hear the bands on the radio, but I saw many of them in person. A large collection of photographs, many of them personally autographed, still remain among my souvenirs. In 1936, I left for Wheaton College, and it was only in the past 10 years that my interest returned.

In all honesty. I must admit my family was not enthused about by my obsession with radio music. I recall my mother, hearing me tuned in to Cab Calloway, demand "Douglas, turn off that awful music!" Once, when I was enjoying Hal Kemp playing "Got a Date With an Angel" and sung by Skinnay Ennis, my grandfather stalked over and turned the radio off, saying it was blasphemy!

Those were the days!

Doug Clark
Spring Hill, Florida
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Popular Music in the First Half of the 20th Century - by Doug Clark

In the period from the beginning of the century to World War One, a sampling of popular tunes includes “Just-a Wearyin’ for You”, “Mighty Lak’ a Rose”, “Because”, “In the Good Old Summertime”, Sweet Adeline”, “In the Shade of the Old Apple Tree, “Shine On Harvest Moon”, “Meet Me Tonight in Dreamland”, “I’d Love to Live in Loveland”, “Oh, You Beautiful Doll”, “When Irish Eyes are Smiling”, and ”Love’s Old Sweet Song”.

By 1914, a world war was destroying much of Europe and the songs began to reflect the uncertainties. “I Didn’t Raise My Boy to Be a Soldier”, “Keep the Home Fires Burning”, “Pack Up Your Troubles in Your Old Kit Bag”, “Roses of Picardy”, “Goodbye Broadway, Hello France”, “Mammy’s Soldier Boy”.”Oh, How I Hate to Get Up in the Morning”, and “It’s a Long, Long Way to Tipperary”. One tune asked “How Ya Gonna Keep them Down on the Farm (after they’ve seen Paree)?”It was a good question. Ironically, in1920 the census indicated that for the first time the

majority of Americans no longer lived on farms. In the period from the beginning of the century to World War One, a sampling of popular tunes includes “Just-a Wearyin’ for You”, “Mighty Lak’ a Rose”, “Because”, “In the Good Old Summertime”, Sweet Adeline”, “In the Shade of the Old Apple Tree, “Shine On Harvest Moon”, “Meet Me Tonight in Dreamland”, “I’d Love to Live in Loveland”, “Oh, You Beautiful Doll”, “When Irish Eyes are Smiling”, and ”Love’s Old Sweet Song”.

By 1914, a world war was destroying much of Europe and the songs began to reflect the uncertainties. “I Didn’t Raise My Boy

to Be a Soldier”, “Keep the Home Fires Burning”, “Pack Up Your Troubles in Your Old Kit Bag”, “Roses of Picardy”, “Goodbye Broadway, Hello France”, “Mammy’s Soldier Boy”.”Oh, How I Hate to Get Up in the Morning”, and “It’s a Long, Long Way to Tipperary”. One tune asked “How Ya Gonna Keep them Down on the Farm (after they’ve seen Paree)?”It was a good question. Ironically, in1920 the census indicated that for the first time the majority of Americans no longer lived on farms.

The “Roaring Twenties” spawned their own style of music, jazz: “Ain’t We Got Fun”? “Three O’Clock in the Morning”, “Wild Rose”, “Who Cares”?, “Charleston”,”Last Night on the Back Porch”, “Steppin’ Out”, “She’s Everybody’s Sweetheart”, “There’s Yes Yes in Your Eyes”, “If You Knew Susie”, “Nobody Knows What a Red-Headed Mama Can Do”, “Black Bottom”, “Tonight You Belong to Me.” “Let’s Misbehave”, “Makin’ Whoopee”, and “You Took Advantage of Me”. Of course, there were scores of romantic tunes as well, but these indicate a recognition of a change in the social mores.

When the Great Depression began on Black Monday (October 28, 1929) with the crash of the stock market, America faced previously unknown poverty, joblessness, and hunger. It would be assumed that the popular music would reflect misery, despair, anger. and uncertainty. Surprisingly, there were few such songs. Apart from the best known “Brother, Can you Spare a Dime?”, the music was upbeat. Comedian Eddie Cantor, on his Sunday night program, joked of the man who asked a hotel clerk for a room. The clerk said, “Is it for sleeping or for jumping?” He sang “Now’s the Time to Fall in Love,” claiming that the butcher, the baker and candlestick maker had given their prices a downward shove.

Hundreds of new songs were produced during the Depression. “I’ve Got Five Dollars”, “Life is Just a Bowl of Cherries”, “Let’s Have Another Cup of Coffee” suggested hope, as did “Happy Days are Here Again”, “On the Sunny Side of the Street”, “New Sun in the Sky”, and “Here Comes Cookie.” They brought smiles and lifted hearts with hope and optimism even during the darkest days.

It took the advent of World War Two for a different style of music. With the shortage of men, who were in the armed services, women went to work in the factories for the first time. “Rosie the Riveter” put this social change into music. Soloists sang of there being “Bluebirds Over the White Cliffs of Dover”, and how “A Nightingale Sang in Berkley Square.” While the forces of Hitler sent buzz bombs over England they were greeted with “There’ll Always be an England.” Spike Jones put smiles on many faces with his mocking “Der Führer’s Face”.

Back home sweethearts were urged “Don’t Sit Under the Apple Tree With Anyone Else But Me” while servicemen promised “I’ll Be With You in Apple Blossom Time”, “We”ll Meet Again” and “I’ll Be Seeing You” Our flying fighters claimed they would be “Coming in on a Wing and a Prayer” while troops on the ground could sing “Praise the Lord and Pass the Ammunition.”

For the wives and sweethearts back home, there were songs reflecting the sadness of separation. “Long Ago and Far Away”, “It’s Been a Long Long Time” and “They’re Either too Young or Too Old”. At the popular servicemen's canteens around the country, one song was especially appropriate: “I Left My Heart at the Stage Door Canteen”.

With the termination of the war, and the return of the troops, there was a decided shift not only in the tunes but in the style of music. The dance orchestras were gradually replaced in the late 1940s by an emphasis on improvisation rather than melody. Most of the dance orchestras disbanded shortly after the war. Swing was replaced by bebop and progressive jazz, rhythm n'blues, rock n'roll, and doo wop.

In the 1960s, the Beatles revolutionized popular music completely. In time, soul, rock n'roll, hip hop, and other forms became popular. The music of Irving Berlin, Cole Porter, Harry Warren and Mack Gordon, Hoagy Carmichael, and so many other fine songwriters gradually faded away.

In spite of it being considered “uncool” by later generations, much of the music of the earlier years has been preserved as “standards”. The influence of Lawrence Welk, Guy Lombardo, and several of the so-called “ghost bands” has kept the music alive. For example, Glenn Miller’s music lives on some 60 years after his death. Those who tune in to “Easy Listening” stations on radio and channels on television will recognize many songs from this era.

Those who mourn the death of the music of their youth need not despair. The CD has even improved the quality of the music, and fans may buy tunes that they listened and danced to a half century or more ago. Like old soldiers, it appears these old songs never die, but rather ever so slowly fade away.

One thing is certain: those who grew up in the early 20th century, as I did, will always prefer the music of their youth to anything that will be produced in the 21st century!

Doug Clark
Spring Hill, Florida
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Hearing the Bands in Person by Doug Clark

When I was between the ages of l6 and 18, I was not just a fan of the dance orchestras. Some would no doubt have considered me a fanatic, for who else would haunt the record shops searching for the latest copy of “Orchestra World,” devour the five-cent weekly “Radio Guide” to know who was on, write for autographed photos, and listen hours every day to the plethora of orchestras that flooded the airways in the early 1930's?

How did a teenager get to hear so many orchestras? It was the Great Depression, and my family was not rich. However, at Christmas and on my birthday, I received cash gifts from my grandfather and aunt. These I kept and doled out, for money went a long way in those days.

The New York Paramount Theatre was a five cent subway ride away, and it only cost a quarter to get in before noon (or was it 1:00 pm?). For many months the Paramount featured a different band every week and I sat in the third row to enjoy the music and sights!

For lunch my favorite spot was Yoeng’s Chinese-American Restaurant, three or four blocks up Broadway. For 55 cents, there was a full course meal -- coffee and dessert were included. For that price, in addition to the meal, there was a full hour broadcast of the current orchestra over WABC. On Saturday at noon there was even a floor show of sorts.

The Hollywood and Paradise Restaurants were steeper in price: 65 cents. Both had Saturday matinees, with lunch, a floor show of chorus girls and bands like Isham Jones, Ted Lewis, Rudy Vallee, and Abe Lyman. How did I get in at age 16,? By dressing in suit and tie and acting like I belonged. It always worked, and I just walked up the narrow staircase behind the adults! Several other hotels and restaurants offered similar deals.

Once I was asked to leave by the head waiter. It was in the Hotel Taft Grill Room. Prior to entering I had purchased a copy of the latest “Orchestra World” Maybe Dolly Dawn was singing “Good Morning Glory,” or Sunny Schuyler crooning “It”s So Peaceful in the Country” or George Hall was beating out “the businessman’s bounce”. But I decided to read my magazine after finishing the meal. However the headwaiter came to ny table, told me that the “boys depended on the tips,” and suggested that I, if finished eating, might want to leave. I did -- and never returned!

A cousin taught me a trick whereby we could hear and occasionally see a band in a smart hotel. Dining rooms often have empty chairs at the entrance and to sit in one, as though waiting for a guest, often presented no problem. At the staid Biltmore I remember doing this, while listening to Enric Madriguera. At the Drake Hotel in Chicago, just outside the Silver Forest room, small desks had been placed. I pretended writing a letter while listening to Horace Heidt and his Musical Knights.

Where there’s a will there’s a way. Between places I could afford, my family who would take me. I got close to the music at every opportunity. At times I brought photos and had the bandleaders autograph them. MCA sold pictures of bands they booked.and once I stopped Irving Aaronson as he was returning to the bandstand at Manhattan Beach. His only words were “Where did you get these?” Dick Mansfield at the Firenze and Paul Tremaine at the Bohemia were also very obliging. Most of the others in my photo collection were sent directly to me.

It was fun while it lasted, but after graduating from high school, I faced more difficult challenges. It was years before my interest returned. These were good days. Neither I nor other big band fans realized they would be so short.

Doug Clark
Spring Hill, Florida
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Doug Clark 's Bio

I am a New Yorker, born in 1917. The first orchestra I recall was Rudy Vallee and his Connecticut Yankees. Later, I heard Paul Whiteman. At first the music attracted me, but thanks to a cousin I soon began differentiating between the orchestrras.

My peak years of following them was between 1929 and 1940. Favorite bands were Isham Jones, Glen Gray, Tommy Dorsey, Russ Morgan, and Hal Kemp.

I saw many of the bands in person, as Broadway was only a nickle subway ride and depression-era venues were inexpensive. My collection of CD's is over 100, and I have a large collection of photos of the bands and their leaders.

My home is in Spring Hill, Florida . My family consists of 3 sons, 4 grandchildren, and 5 great-grandchldren. My wife is from Illinois. Hobbies when I was younger included travel, photography, and writing. I have visited 110 countries. Most of my career was in the academic world. I taught Sociology in church-related universities in Texas and Oklahoma. At the age of 90, my biggest problem is my failing eyesight.