The Complete Brunswick, Parlophone and Vocalion Bunny Berigan Sessions Discography (7 CDs)
(Set is out-of-print)
By: Alan Goodman
Jazz music as an art form probably didn’t have much of a future, until people began to hear the music’s first great soloists. At the music’s birth, improvisation was collective. Rigid, and largely anonymous. The music, for the most part, served as an accompaniment to dances and funerals.
Great soloists changed that. They turned jazz into an art form for personal invention and free expression, the qualities that speak to us most. And trumpeter Bunny Berigan – whose daring, emotional, confident, swinging breaks helped show where jazz could go – was among the first to establish a style of his own. While often a sideman, or even one of the accompanists for the spotlighted vocalist, he found a way to make his mark on every recording.
Massive Range & Tone
Berigan was much in demand; arrangers and band leaders began chopping up stock arrangements to give him room to blow. And blow he did. His contemporaries marveled at how well he played the instrument through its whole range. They noted his massive tone, which recording technology of the day could only hint at. One fellow musician reported that he never played the same chorus twice. And one compared him to Louis Armstrong, whose eighth notes didn’t equal an eighth, whose attack played hide-and-seek, whose vibrato remained blessedly untamed and who regarded the beat as “for reference only” – all the stuff that makes jazz swing.
A Variety of Settings
Made for the Columbia family of labels, the performances in this set range from an 18-piece band led by Victor Young to smaller groups featuring the Boswell Sisters, Teddy Wilson, Artie Shaw and others. He was often a featured soloist in sessions with the ARC Studio Band, led by any number of musicians. Other soloists include Chu Berry, Joe Bushkin, Cozy Cole, Benny Goodman, Clyde Hart, Jack Jenney, Gene Krupa, Eddie Lang, Matty Matlock, Red Norvo, Claude Thornhill, and Joe Venuti.
Classic Small Group Sessions
In December 1935, John Hammond produced a series of jazz classics for the British Parlophone label. He matched the great trumpeter with Bud Freeman on one session, Johnny Hodges on a date led by Mildred Bailey, and finally with Eddie Miller and Edgar Sampson on a third date led by Bunny. These three dates with newly found alternate takes are highlights of this set, showcasing the Berigan horn in full flight.
In 1936, Berigan began a series of small group dates for Vocalion/Brunswick with some of his 52nd Street buddies (such as Joe Bushkin and Eddie Condon). The Berigan horn was in the spotlight, calling the shots and delivering some marvelous sides. One of these sessions included a version of “I Can’t Get Started” that packs the same high drama and beauty as his later hit version for Victor with a big band.
All 151 performances were newly transferred from original metal parts or mint condition 78s. The booklet includes notes by Richard M. Sudhalter and newly found discographical research, compiled by Scott Wenzel, Bozy White, Jeff Healey and our usual team of hardened collectors and historians.
– Alan Goodman, Mosaic Records brochure
The Complete Brunswick, Parlophone
and Vocalion Bunny Berigan Sessions (7 CDs)
Discography
For the purposes of this discography, only the first issue number of each matrix is listed unless contemporaneous issues exist. The personnel and instrumentation reflect only the titles represented in this set.
78 label abbreviations: ARC for American Record Corporation (from mid 1935 to early 1938, ARC masters were issued with the same catalog number on Banner, Melotone, Oriole, Perfect and Romeo and will be designated by ARC in each case), Ban for Banner, Br for Brunswick, Cl for Clarion, Col for Columbia, Cq for Conqueror, Dec for Decca, Dom for Domino, Har for Harmony, Od for Odeon, OK for OKeh, Mt for Melotone, Or for Oriole, Par for Parlophone, Per for Perfect, Ro for Romeo, SE for Special Editions, VT for Velvet Tone and Voc for Vocalion. Brunswick, Odeon, Parlophone, Rex and Vocalion issues with an (E) were originally pressed in England. Odeon and Parlophone issues with an ONY or PNY prefix are New York pressings.Brunswick, Melotone and Vocalion masters that were recorded prior to December 1, 1931 are not included since they are currently under license with Universal Music.
In addition to the regular 78s released to the public, ARC also recorded background music for use in theaters only which were almost always instrumentals ranging from organ solos to dance band material. Pressed with the same matrix on both sides of a 10″” 78 rpm recording (“”F”” series) as well as a 33 1/3 rpm recording (“”E”” series), these rare “”Theater-Use”” sides were cut as part of a regular ARC session.
As with some previous Mosaic sets, we have enlisted a number of musicians and jazz scholars to participate in a round table discussion to ascertain, to the best of our knowledge, the personnel for these sessions. Unraveling who is present on these sessions is a daunting task, especially when it concerns the ARC Studio (or House) Band, and therefore we invited both Bozy White and Jeff Healey into the fray. Mr. Healey, who also assisted us with our Beiderbecke/Trumbauer/Teagarden and Venuti/Lang box sets, is a highly regarded musician and collector whose fine ear was of enormous help in determining the personnel and unearthing rare Berigana. Mr. White is the premier Berigan discographer for over 50 years and without his input this discography would have been riddled with errors and omissions. His long awaited Bunny Berigan discography (which will also devote an entire chapter to recordings previously thought to contain Berigan – some 600 titles!), is scheduled for publication in the year 2003, and will be offered privately through Bozy White, Box 10208, Oakland, Ca. 94610-0208.
This germ of this discography stems from the following reference materials: Jazz Records 1897-1942 Fifth Edition by Brian Rust (Storyville), The Jazz Discography by Tom Lord (Cadence Jazz Books), Jimmy Dorsey: A Study In Contrasts by Robert L. Stockdale (Scarecrow Press), Bunny Berigan: The ARC Years 1931-1936 (IAJRC 1013 CD) discography by Bozy White, Artie Shaw: A Musical Biography and Discography by Vladimir Simosko (Scarecrow Press).
The following is a collective personnel of those who were employed by the American Record Corporation during the 1930s and who could very well be the “”unknowns”” that are listed in this discography: Benny Baker, Jules Berkin, Stirling Bose, Mickey Bloom, Bob Effros, Hymie Farberman, Fred Farrar, Louis Garcia, Harry Gluck, Tommy Gott, Frank Guarente, Mannie Klein, Charlie Margulis, Bill Moore, Phil Napoleon, Tommy Thunen, Ruby Weinstein, Mannie Weinstock, Lloyd Williams (tp) (Sylvester Ahola is another trumpeter employed by ARC, but he wrote to Bozy White stating he never did get to record with Berigan), Larry Altpeter, Will Bradley, Charlie Butterfield, Chuck Campbell, Tommy Dorsey, Sammy Lewis, Carl Loeffler, Glenn Miller, Jack Teagarden, Lloyd Turner, Joe Yukl (tb), Larry Binyon, Lyle Bowen, Arnold Brilhart, Bob Chester, Wally Curtis, Jimmy Dorsey, Alfie Evans, Max Farley, Elmer Feldkamp, Fran Frey, Benny Goodman, Mutt Hayes, Chet Hazlett, Bennie Krueger, Tony Parenti, Pete Pumiglio, Arthur Rollini, Hank Ross, Babe Russin, Sid Stoneburn, Henry Wade, Larry Tice (reeds), Harry Bluestone, John Bowman, Nat Brusiloff, Al Duffy, Walter Edelstein, Bernard Hirsch, Harry Hoffman, Murray Kellner, Lou Kosloff, Lou Raderman, Joe Raymond, Joe Venuti (vln), Frank Banta, Rube Bloom, Irving Brodsky, Lew Cobey, Fulton McGrath, Joe Meresco, Milt Rattenberg, Justin Ring, Arthur Schutt, Frank Signorelli, Joe Sullivan, Bobby Van Eps, Phil Wall (p), Perry Botkin, Clay Bryson, John Cali, Tony Colucci, Tommy Fellini, Larry Hall, Carl Kress, Eddie Lang, Dick McDonough, Benny Mortell, Tony Sacco, Frank Sylvano, Roy Smeck, Frank Worrell (g, bjo), Artie Bernstein, Dick Cherwin, Ward Lay, Lou Shoobe, Sam Shoobe, Hank Stern, Joe Tarto (b, tu), Larry Gomar, George Hamilton Green, Joe Green, Stan King, Chauncey Morehouse, Johnny Morris, Sam Weiss, Johnny Williams (d). Although Victor Young was the house director from early 1931 to mid 1934, there were others who filled in as the occasion arose. They were Dick Cherwin, Lou Gold, Ed Kirkeby and Bennie Krueger.
When Young left ARC in August of 1934 to join the newly formed (American) Decca company, trombonist, pianist and leader Russ Morgan and veteran bandleader Jack Shilkret were appointed house directors until the demise of ARC in 1938. Morgan brought to the studios, in addition to some of the above list of musicians, the following collective personnel: Russ Case, Pee Wee Erwin, Harry Shilkret, Dave Wade (tp), Mark Bennett, Jerry Colonna, Jack Jenney, Red Jessup, Jack Lacey, Russ Morgan, George Mazza, Al Philburn (tb), Rudy Adler, Dick Clark, Dave Harris, Johnny Ingram, Slats Long, Joe Marsala, Lou Martin, Reggie Merrill, Johnny Mince, Toots Mondello, George Napoleon, Gene Prendergast, Paul Ricci, Gil Rodin, Adrian Rollini, Sam Ruby, Andy Sannella, Artie Shaw, Sid Trucker, Milt Yaner (reeds), Mac Ceppos (vln), Frank Froeba, Harry Merker, Russ Morgan, Terry Shand, Jack Shilkret, Claude Thornhill (p), Dave Barbour, Carmen Mastren (g), Cozy Cole, Billy Gussak, Neil Marshall, Milt Schlesinger (d). There may very well be others who are excluded from these lists.
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(A) FRANK AUBURN AND HIS ORCHESTRA (FRED RICH ORCHESTRA): poss. Bob Effros, Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl, as), unknown (as), unknown (ts), 3 unknown (vln), poss. Sammy Prager, unknown (p), Eddie Lang (g), unknown (tu), unknown (d), Dick Robertson (as “”Chester Leighton”” or “”Bobby Dix”” on some issues) (vcl), Fred Rich (dir).
NYC, March 18, 1931
404881-B When I Take My Sugar To Tea (DR-vcl) Cl 5277-C, Har 1307-H,
Od ONY 36204, OK 41489,
Par PNY 34197, VT 2343-V
Note: The Clarion, Harmony and Velvet Tone releases carry a different matrix number (100501) but are identical to 404881. The Odeon release as “”Rex King and his Sovereigns””, the OKeh release as Fred Rich and his Orchestra, and the Parlophone release as “”The Deauville Syncopators””.
100502-1 Rockin’ Chair (DR-vcl) Cl 5273-C, Har 1306-H,
VT 2339-V
Note: Other matrices from this session fall outside the scope of this set.
Some issues of matrix 100502 show -4 but this is a dub of -1.
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(B) BOB HARING AND HIS ORCHESTRA: Bunny Berigan, unknown (tp), poss. Tommy Dorsey (tb), Andy Sannella, unknown (reeds), unknown (vln), unknown (p), John Cali (bj), unknown (tu), unknown (d), Dick Robertson (vcl), Bob Haring (dir).
NYC, May 15, 1931
10624- 3 Building A Home For You (DR-vcl) Ban 32189, Or 2272,
Per 15471, Ro 1639
Note: Other matrices from this session fall outside the scope of this set.
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(C) FRED RICH AND HIS ORCHESTRA: Bunny Berigan (tp, vcl), unknown (tp), Tommy Dorsey or Lloyd Turner (tb), Jimmy Dorsey, poss. Lyle Bowen (cl, as), unknown (ts), Joe Venuti, unknown (vln), Cornell Smelser (acc), Sammy Prager (p, cel), Eddie Lang (g), poss. Joe Tarto (tu), unknown (d), Scrappy Lambert (vcl), Fred Rich (dir).
NYC, June 15, 1931
151604-1 At Your Command (BB-vcl) Col 2484-D
151606-1 Pardon Me, Pretty Baby (SL-vcl) –
Note: Other matrices from this session fall outside the scope of this set. A second take of 151604, also with a Berigan vocal, was rejected and no longer exists in the Sony archives. A third take, this time with Scrappy Lambert as vocalist, was made and rejected as well. It is not known if this third take was made as protection in case the Berigan-vocal take was rejected by Columbia executives or because Lambert was late for the session and had originally been selected to be the vocalist for the tune.
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(D) CHESTER LEIGHTON AND HIS SOPHOMORES (BEN SELVIN ORCHESTRA): Bunny Berigan, Ruby Weinstein (tp), Tommy Dorsey (tb), Benny Goodman (cl, as), Lou Martin (as), Hymie Wolfson (ts), Ben Pobersky (vln), Rube Bloom (p), Carl Kress (g), Hank Stern (tu), Milt Schlesinger (d, xyl), Milt Coleman (ukulele, vcl), Ben Selvin (dir).
NYC, June 18, 1931
351042-2 On The Beach With You (MC-vcl) Cl 5351-C, Har 1340-H,
VT 2415-V
Note: Other matrices from this session fall outside the scope of this set. The personnel for this session came from Bozy White who through researcher Wally Fry, had access to the files for this session back in the 1940s.
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(E) LLOYD KEATING AND HIS MUSIC (BEN SELVIN ORCHESTRA): Bunny Berigan, unknown (tp), poss. Tommy Dorsey (tb), 2 unknown (reeds), poss. Joe Venuti, unknown (vln), poss. Arthur Schutt (p), unknown (g), unknown (tu), unknown (d), Ben Selvin (dir).
NYC, September 9, 1931
710008 Love Letters In The Sand Cl 11002-C, Har 6002-H,
VT 10002-V
Note: This was issued as a “”Double Track”” recording; one that has two separate grooves on each side. The “”B”” groove is without jazz content and is not included here.
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(F) THE BOSWELL SISTERS ACCOMPANIED BY THE DORSEY BROTHERS: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), Joe Venuti (vln), Martha Boswell (p), Eddie Lang (g), Joe Tarto (b), Stan King (d), The Boswell Sisters (Connie, Martha, Vet) (vcl).
NYC, December 4, 1931
37446-A I Thank You, Mister Moon (BS-vcl) Br 6231
37446-B I Thank You, Mister Moon (BS-vcl) Grannyphone(Du) 03318(LP)
Note: Matrix 37445, also from this session, falls outside the scope of this set.
Personnel confirmed by the Brunswick ledgers.
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(G)DORSEY BROTHERS AND THEIR ORCHESTRA: Bunny Berigan, Mickey Bloom, unknown (tp), Tommy Dorsey, unknown (tb), Jimmy Dorsey, Foster Morehouse, unknown (reeds), Chummy MacGregor (p), Tony Sacco (g, vcl), Tex Hurst (tu), Stan King (d).
NYC, December 9, 1931
152034-2 By The Sycamore Tree (TS-vcl) Col 2581-D
152035-2 Why Did It Have To Be Me? (TS-vcl) Col 2589-D
Note: Other matrices from this session fall outside the scope of this set. This personnel consists of some members of the pit band led by the Dorsey Brothers for the show “”Everybody’s Welcome”” which opened in October at the Schubert Theater, NYC. Glenn Miller (who played trombone in the pit band), Lou “”King”” Garcia (tp), Arnold Brilhart (reeds) and Arthur Schutt (p) have commonly been listed as being on this session. Discographies also list Wes Vaughan as the vocalist, however, Tony Sacco (who is sometimes listed as “”Tony Starr””) confirmed he was the only singer on this session.
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(H) TED WALLACE AND HIS CAMPUS BOYS (ED KIRKEBY ORCHESTRA): J. Earle Isom, Bunny Berigan (tp), Carl Loeffler (tb), Bobby Davis (cl, as), Elmer Feldkamp (reeds, vcl), Paul Mason (reeds), Lew Cobey (p), Ed Sexton (g), Ward Lay (tu), Jack Powers (d, vib), Ed Kirkeby (dir). NYC, January 15, 1932
152064-2 How Long Will It Last (EF-vcl) Col 2601-D
Note: Other matrices from this session fall outside the scope of this set. The personnel for this session comes from the Kirkeby files supplied to us by Bozy White.
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(I) THE BOSWELL SISTERS: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), Joe Venuti (vln), Martha Boswell or Arthur Schutt (p), Eddie Lang (g), Artie Bernstein (b), Stan King (d), The Boswell Sisters (Connie, Martha, Vet) (vcl, arr).
NYC, February 5, 1932
11240-A (We’ve Got To) Put That Sun Back
In The Sky (BS-vcl, arr) Br (C) 6257
Note: Matrix 11241, also from this session, falls outside the scope of this set. Instrumentation confirmed by the Brunswick ledgers.
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(J) THE BOSWELL SISTERS ACCOMPANIED BY THE DORSEY BROTHERS: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), Harry Hoffman (vln), Sammy Prager (p), Dick McDonough (g), Joe Tarto (b), Stan King (d), The Boswell Sisters (Connie, Martha, Vet) (vcl, arr).
NYC, February 19, 1932
11321-A (We’ve Got To) Put That Sun Back
In The Sky (BS-vcl, arr) Br 6257
Note: Matrix 11320, also from this session, falls outside the scope of this set. Personnel confirmed by the Brunswick ledgers.
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(K) EDDIE KIRKEBY AND HIS ORCHESTRA: Ted Sandow, Bunny Berigan (tp), Carl Loeffler (tb), Bobby Davis (cl, as), Elmer Feldkamp (reeds, vcl), Paul Mason (reeds), William Ray Gold (p), Noel Kilgen (g), Ward Lay (tu), Jack Powers (d, vib), Ed Kirkeby (dir). NYC, February 24, 1932
11347-2 Too Many Tears (EF-vcl) Ban 32382, Mt M-12326,
Or 2428, Per 15577
Note: Other matrices from this session fall outside the scope of this set. The Melotone release as “”Ed Loyd and his Orchestra””. The personnel for this session comes from the Kirkeby files supplied to us by Bozy White.
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(L)THE BOSWELL SISTERS ACCOMPANIED BY THE DORSEY BROTHERS: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), Joe Venuti (vln), Martha Boswell (p), Dick McDonough (g), Joe Tarto (b), Stan King (d), The Boswell Sisters (Connie, Martha, Vet) (vcl).
NYC, February 24, 1932
11354-A Everybody Loves My Baby (BS-vcl) Br 6271
Note: Matrix 11353, also from this session, falls outside the scope of this set. Personnel confirmed by the Brunswick ledgers.
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(M) IMPERIAL DANCE ORCHESTRA (ARC STUDIO BAND): Bunny Berigan, unknown (tp), poss. Tommy Dorsey (tb), Jimmy Dorsey (as, cl), unknown (as), unknown (ts), unknown (vln), poss. Joe Meresco (p), unknown (g), poss. Artie Bernstein (b), Stan King (d), Victor Young (dir).
NYC, c. March 1932
E601-1 Stop The Sun, Stop The Moon ARC Theater F-167 (78),
E-601 (33 1/3)
Note: Numerically, this matrix falls within 14 “”Theater-Use”” sides dubbed March 19, 1932, from commercially issued ARC and Brunswick releases.
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(N) BOB CAUSER & HIS CORNELLIANS -1 / ED LLOYD AND HIS ORCHESTRA -2 (ARC STUDIO BAND): Bunny Berigan, unknown (tp), Tommy Dorsey (tb), poss. Jimmy Dorsey (as), Bennie Krueger (as, c-mel), unknown (ts), 3 unknown (vln), unknown (p), poss. Eddie Lang (g), poss. Dick Cherwin (tu), Larry Gomar (d), Scrappy Lambert, Smith Ballew (vcl), Victor Young (dir).
NYC, March 1, 1932
11381-1 What Would You Do? (SL-vcl) -1 Ban 32404, Or 2440,
Per 15583, Ro 1812
11382-A What Would You Do? (SB-vcl) -2 Mt M-12335
Note: Other matrices from this session fall outside the scope of this set. Instrumentation confirmed by the ARC ledgers.
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(O)VICTOR YOUNG AND THE BRUNSWICK ORCHESTRA (ARC STUDIO BAND): Frank Guarente or Mannie Klein, Bunny Berigan (tp), Tommy Dorsey (tb), Bennie Krueger, Jimmy Dorsey (as), Larry Binyon (ts), 6 unknown (vln), Charlie Magnante or Cornell Smelser (acc), Joe Meresco (p), unknown (g), unknown (tu), Larry Gomar (d), poss. Justin Ring (bells), Fran Frey (vcl), Victor Young (dir). NYC, March 8, 1932
11418-A “”Face The Music”” Medley (Pt .2):
Manhattan Madness; Let’s Have
Another Cup Of Coffee (FF-vcl);
I Say It’s Spinach; Soft Lights And
Sweet Music Br (12″”) 20106
Note: Other matrices from this session fall outside the scope of this set. The metal part for 11418-B is a dub of the -A take. Instrumentation confirmed by the Brunswick ledgers.
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(P) BENNIE KRUEGER AND HIS ORCHESTRA (ARC STUDIO BAND): Bunny Berigan, unknown (tp), unknown (tb), Jimmy Dorsey (cl, as), Bennie Krueger (as, c-mel, dir), Fran Frey (as, vcl), unknown (ts), 2 unknown (vln), Justin Ring (p), unknown (g), unknown (tu), poss. Larry Gomar (d), Phil Neely (vcl).
NYC, March 9, 1932
11423-A-B Lovable (PN-vcl) unissued, master no longer exists
11424-A Sing A New Song (FF-vcl) Br 6280
11426-A I’m So In Love (FF-vcl) Br 6287
Note: Matrix 11423 was remade on March 18, 1932 without Berigan. Matrix 11425, also from this session, falls outside the scope of this set. Instrumentation confirmed by the Brunswick ledgers.
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(Q) BENNIE KRUEGER AND HIS ORCHESTRA (ARC STUDIO BAND): Bunny Berigan, poss. Mannie Klein (tp), poss. Tommy Dorsey (tb), Bennie Krueger (reeds, dir), 3 unknown (reeds), 3 unknown (vlns), poss. Arthur Schutt (p), Eddie Lang (g), unknown (tu), poss. Stan King (d), Dick Robertson (vcl).
NYC, April 6, 1932
11652-A Gosh Darn ! (DR-vcl) Br 6296
11655-A Crazy People (DR-vcl) –
Note: Other matrices from this session fall outside the scope of this set. Instrumentation confirmed by the Brunswick ledgers.
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(R) VIC IRWIN AND HIS ORCHESTRA (ARC STUDIO BAND): Bob Effros, Bunny Berigan (tp), Tommy Dorsey (tb), Bennie Krueger (as, c-mel), Jimmy Dorsey (cl, as), unknown (ts), 3 unknown (vln), unknown (p), Eddie Lang (g), unknown (tu), Larry Gomar (d), Les Reis (vcl), Victor Young (dir).
NYC, April 8, 1932
11673-1 If I Had My Way
‘Bout My Sweetie (LR-vcl) Ban 32454, Mt M-12363,
Per 15608, Ro 1849
Note: The Melotone and Romeo releases as “”Owen Fallon and his Californians””. Other matrices from this session fall outside the scope of this set. Instrumentation confirmed by the ARC ledgers.
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(S) IMPERIAL DANCE ORCHESTRA (ARC STUDIO BAND): Possibly the same session as matrix 11673. Definitely present are Bunny Berigan, Bennie Krueger, Jimmy Dorsey and Eddie Lang.
NYC, April 8, 1932
E607 Dream Sweetheart ARC Theater F-173 (78),
E-607 (33 1/3)
E615 Lawd, You Made The Night Too Long ARC Theater F-180 (78),
E-615 (33 1/3)
Note: We have not been able to locate an issued version of E615 (our source was a vinyl master pressing) and therefore the artist credit on the label is unknown. Other matrices from this session fall outside the scope of this set.
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(T) CONNIE BOSWELL: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), poss. Joe Venuti, poss. Harry Hoffman, unknown (vln), Harry Gray or Martha Boswell (p), Eddie Lang (g), Artie Bernstein (b), Stan King (d), Connie Boswell (vcl), Victor Young (dir).
NYC, April 9, 1932
11683-A My Lips Want Kisses (CB-vcl) Br 6297
Note: Matrix 11682, also from this session, falls outside the scope of this set. Berigan does not appear on the remaining titles from this session (matrices 11684-5). Instrumentation confirmed by the Brunswick ledgers.
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(U) THE BOSWELL SISTERS ACC. BY THE DORSEY BROTHERS: Bunny Berigan (tp), Tommy Dorsey (tb), Jimmy Dorsey (cl), Joe Venuti (vln), Martha Boswell (p), Dick McDonough (g), Artie Bernstein (b), Stan King (d), The Boswell Sisters (Connie, Martha, Vet) (vcl), Victor Young (dir).
NYC, June 17, 1932
11948-A Doggone, I’ve Done It (BS-vcl) Br 6335
Note: Matrix 11949, also from this session, falls outside the scope of this set. Personnel confirmed by the Brunswick ledgers.
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(V) ABE LYMAN & HIS CALIFORNIA ORCHESTRA (ARC STUDIO BAND): Bunny Berigan, Mannie Klein (tp), Tommy Dorsey (tb), Bennie Krueger (as or c-mel), Jimmy Dorsey (as), unknown (ts), 4 unknown (vln), poss. Fulton McGrath (p), poss. Dick McDonough (g), Artie Bernstein (b), unknown (tu), Larry Gomar (d), Harlan Lattimore (vcl), Victor Young (dir).
NYC, September 17, 1932
12310-A How Do You Do It? (HL-vcl) Br 6380
Note: Other matrices from this session fall outside the scope of this set. Instrumentation confirmed by the Brunswick ledgers.
