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Jazz On Film....General Topics
Acknowledgements I could not have completed this “archeological dig” without the
help of many people, most notably my good friend and cohort in jazz film,
Theo Zwicky, as well as the late and much-missed filmographer Klaus Stratemann.
The three of us, in turn, relied upon the memories of a large number of musicians.
First and foremost was Frank Wess, who screened the film in question forty
years after appearing in it, and attempted to recall personnel and production
details for me. In addition, the film (or stills taken from it) was shared
with Dizzy Gillespie, Norris Turney, Nat Pierce, Percy Heath, Gus Johnson,
lllinois Jacquet, Al Grey, J.C. Heard, Milt Hinton, Buddy Tate, Dexter Gordon
and others, all of whom added to the meager information existing in print.
It should be noted that Gillespie, Gordon and Turney played in the Eckstine
band around the time the film was made! Introduction The Producer: William D. Alexander Born in Colorado and educated at Colorado State University and the University of Chicago, Alexander’s first work with film was apparently for the Office of War Information. Although best known for his black cast musicals and musical featurettes, Alexander also produced documentaries and television newsreels. Later in his career he was appointed the official “state film maker” for both Haile Selassie (Ethiopia) and William S. Tubman (Liberia). In addition to the above accomplishments, it should be noted that Alexander was the only black film maker to cross over to mainstream Hollywood, producing “The Klansman” for Paramount in 1974. Associated Producers of Negro Motion Pictures Some sources, including Dr. Henry Sampson’s Blacks in Black and White, claim that Alexander announced the company’s formation in August 1946. However, other evidence suggests while Alexander may have made an August announcement to the press, the formation of the company was already a fait accompli well before this point in time. On the May 4 of that year, for example, Alexander met with George Allen (formerly Ulcigan) of the Soundies Distributing Corporation of America, and informed Allen that he had completed two one-reel short subjects, one featuring the International Sweethearts of Rhythm, and the other Lucky Millinder and his Orchestra; both, Alexander suggested, contained material that might be released as soundies, and such ultimately proved to be the case. Copies of both shorts were available for screening as early as May 7, 1946, and the Lucky Millinder short definitely credits the film to The Associated Producers of Negro Motion Pictures. (It should be noted that my copy of the International Sweethearts of Rhythm short bears the credit “Associated Artists Productions,” although printed production file materials refer back to the Associated Producers of Negro Motion Pictures moniker.) One month later, on June 6, plans for another series of films were well underway, with the bands of Count Basie and Billy Eckstine the intended stars! Only the completion of a two-reel short during the third week of June stood between Alexander and the Eckstine and Basie films! (This short, featuring Henri Woode’s fine band, will be the topic of a future article.) While the Basie film was never made --- perhaps the Dizzy Gillespie feature Jivin’ In Bebop produced in the fall of the year was a replacement of sorts --- the Billy Eckstine featurette soon passed from the planning to production stage. Production - The Place Thomas Alva Edison had built his first studio --- the first film studio in America, for that matter --- in West Orange, New Jersey. Dubbed “The Black Maria,” the building rotated a full 360 degrees in order to orient filming to the best available light. In 1905 Edison erected a vast complex in the Bronx, where film making was to continue for many decades. The history of the Edison Studio is a story yet to be researched and reported. It is probable that various independent concerns rented space at the studio over the years. For instance, in Jimmy Dorsey - A Study in Contrasts, Robert Stockdale comments that, “A few days later [in early 1935] the [Dorsey Brothers] band returned to 2826 Decatur [the studio’s location], up in the Bronx, the location of the studios of Electrical Research Products, to cut some more tunes for Associated Transcriptions.” While the studio probably changed hands many times over the years, what we do know is that by early 1944 the studio, or a portion thereof, was rechristened Filmcraft Studios. While Filmcraft Productions was directly connected to the Mills Novelty Company of Chicago, and ultimately produced well over 500 soundies, it is not known if Mills owned the studio, or merely rented space from another owner. In any case, this site became the primary location for the New York production of soundies, as well as the filming and recording of independent shorts and features, advertising and industrial films, etc. Much of the East Coast production of black cast films during this period was completed at this location. While circumstantial evidence suggests that this was the production facility used by William Alexander for all of his films, we can be certain that at the very least Rhythm In A Riff was produced at Filmcraft Studios, 2826 Decatur Avenue, Bronx, New York City. Production - The Time While surviving production memos all point to the production of a film by producer William Alexander at the beginning of July, the film’s contents and featured performers are not noted anywhere! However, considering the total known output of Alexander’s company, as well as general “production standards and routines” within the independent film industry at this time, it seems reasonable to assume that the following information, quoted from a “studio activity report,” refers to the production of the Billy Eckstine featurette under consideration:
Monday, 7/1/6 - William D. Alexander, photography - 8 hours straight Now, the amount of photography noted above seems reasonable for a 30 minute featurette, but 25 1/2 hours for sound recording? A number of possibilities present themselves, including: errors in the studio report; incorrect interpretation of the studio report; difficulty in recording the orchestra or performing the arrangements, resulting in multiple takes of many tunes; and the recording of soundtrack material for more than one featurette. Alternately, and possibly more likely, is the fact that the term “sound” might refer not only to the recording of the musical tracks, which would have been photographed (“sidelined”) at a separate session. (Remember that “filming to a pre-recording soundtrack” was the rule of thumb within the entire film industry at this time.) In this case “sound” might also refer to portions of the film that were filmed and recorded simultaneously, such as some of the “dramatic dialogue,” musical sections (scat vocals, close-up instrumental solos, etc.) for which syncing would be difficult, and so forth. Ultimately, how do we establish a recording date for the Eckstine short?
On one hand we have the “studio activity report” noted and detailed
above. On the other hand, an article in Billboard (July 27, 1946) notes
that “Eckstine just completed work on a 30-minute featurette entitled
Rhythm In A Riff.” The same article refers to films made by Lucky
Millinder, Henri Woode and the International Sweethearts of Rhythm. Assume
for the moment that previous speculations are indeed accurate ..... that
the Lucky Millinder and International Sweethearts shorts were completed
by early May, and that the Henry Woode feature (which also might have
included an appearance by the International Sweethearts of Rhythm) “wrapped”
in late June. We can therefore conclude that, although the evidence from
the studio report is purely circumstantial, it is fair for discographers
to cite “probably July 2, 3 and/or 5” as the recording date
for the Billy Eckstine featurette. A Cottage For Sale It certainly appears that Franklin was well aware of Eckstine’s recordings for National! And while none of his suggestions were ultimately adopted, a telegram six days later recommending the use of two of the “latest Eckstine record hits -- Prisoner of Love and You Call It Madness” was carefully considered, with both of the songs included in the featurette. While much “film production talent” had long-since been drawn to Hollywood, there remained in New York a core of individuals who were highly capable of producing motion pictures of professional quality, be they intended for commercial release, industrial / advertising use, etc. To direct his film William Alexander turned to fledgling director Leonard Anderson. Although little is known about him Anderson was a talented young film maker, apparently white, who directed three films for Alexander, and produced Yiddish films in the 1950’s. (Henry Sampson’s Blacks in Black and White includes a review, quoted later in this article, that suggests one Maceo Birch as director, although Anderson’s name is present on my print of the film, and is credited in all other references to the film.) Director of photography Don Malkames and editor Gladys Brothers were both cinema veterans, highly respected within their fields. Their professionalism helps give the featurette a thoroughly polished look, despite a rather limited budget. (While I wouldn’t dare guess at the film’s budget, it might be noted that three-minute soundies were routinely produced for $2,400, give-or-take a couple of hundred dollars.) The only credit that must be approached with skepticism is the closing title card that pronounces “A New PRC Picture.” Referring to the “B” production company “Producers Releasing Corporation,” this credit was probably added to the 16mm home-use prints at a much later date ---- possibly replacing a “The End” missing from the master negative. It is present on most surviving collector’s prints and videotape releases of the film, and is cited in Stratemann’s Negro Bands On Film. No connection between Alexander and PRC has ever been suggested, and one certainly never existed! For the record, the production credits for the featurette --- with many
of the following individuals also working on other Alexander productions during
this period --- are: Distribution On occasion there was a semblance of cooperation between the major studios and the producer of independent black cast films. Los Angeles-based Leo and Harry Popkin, the white owners of Million Dollar Pictures, produced a series of films starring popular Ralph Cooper (of Apollo Theater fame), and persuaded Lowes Theaters (read MGM) to book the films on the East Coast. Two important film concerns, Astor Films and Sack Amusement, emerged to distribute a great deal of the black cast product; other black cast film producers probably turned to the established “states rights distributors” which were already in place to deal with the “B” product released by Grand National, Producers Releasing Corporation, Screen Guild and so forth. In 1945 pioneer manager and entrepreneur Berle Adams produced an important black cast short entitled Caldonia. While the content --- a slight story framing a handful of excellent performances by Louis Jordan and his Tympany Five --- was a formula long familiar to film makers and viewers, the film’s intent was somewhat more innovative. Adam’s planned to distribute the film to theaters where Jordan was soon to perform, thus preparing the audience for the artist’s appearance. The Louis Jordan short was distributed by Astor Pictures and, as noted in Billboard (July 26, 1946), “The movie trail blazed by Louis Jordan, whose Caldonia short has been a means of hyping his road take, is now to be followed by Billy Eckstine...which will be distributed according to the same principle which paid off for Jordan.” The article continues, “The Eckstine flicker will be planted to dovetail with his personal appearances on road tours. As often as possible he will hit town during the run of the picture, take bows between screenings, and otherwise try to boost one-nighter receipts.” With limited options available to him, Alexander turned to Astor Pictures to distribute this featurette, if not all of his product. By 1946 Astor was a well-established and respected concern. Robert M Savini headed of the company, and had previously worked with the Dixie Film Corporation. Astor Pictures shied away from production ---- Caldonia was an exception to the rule ---- preferring distribution and re-release of both black and white “product,” most of it independently produced. Astor was especially prominent in the distribution of black cast films, and it was to Astor that Alexander turned for the release of Rhythm In A Riff. The Cast Emmett “Babe” Wallace had been active in black entertainment for a decade and a half by the time the Eckstine featurette was made, and had appeared in short subjects (Smash Your Baggage, 1933 and The Black Network, 1935) and feature films (Stormy Weather, 1943 and William Alexander’s The Fight Never Ends, 1947, which starred Joe Louis). In 1936 he toured England as a member of Lew Leslie’s “Blackbirds.” Three years later Wallace recorded as a vocalist with Skeets Tolbert and his Rhythm, and was performing on stage in Los Angeles as late as 1985! Wallace is obviously very comfortable in front of the camera, and delivers his line smoothly and naturally, as would a veteran of stage and film. Of Sarah Harris nothing is known in addition to her appearance in this featurette, save that at one time she was married to Apollo Theater star Ralph Cooper! Her performance is somewhat stiff, suggesting that this may be her first (and perhaps only) film appearance. As noted above, Ray Moore’s name is not found in the opening credits, but is listed in Stratemann’s Negro Bands On Film and in other reference works on black cast motion pictures; the source of this information is probably the one-sheet advertising poster for the film, most recently reproduced in Kisch and Mapp’s A Separate Cinema - Fifty Years of Black Cast Posters. Moore was also a New York-based actor, and in addition to this short subject appeared in the black cast film Sepia Cinderella, 1947. Henry Sampson’s Blacks in Black and White adds the name Garfield Love to the cast list. Again, no such name is found in the opening credits, and the source is most likely the featurette’s one-sheet. It is probably Love who plays the booker, Mr. Jones, who “can’t use the band for six months.” The singers and dancers were all very active on the Harlem and New York scene, and appeared primarily in nightclubs and theaters, although recordings and film dates were not out of the ordinary. Although this is probably Ann Baker’s only film appearance, she was no neophyte to jazz and band singing. Baker spent much of 1943 with Louis Armstrong’s band, although I am not certain if she was a regular “band vocalist,” or merely an added attraction backed by the Armstrong orchestra on any number of broadcasts in the spring and summer of that year. (Theo Zwicky comments: “I think Ann Baker was a regular with Armstrong in 1943, replacing Velma Middleton who was absent (maybe sick).” In any case, three years later Baker was the “vocalist with the [Billy Eckstine] band” (this according the Chicago Defender ), and is advertised prominently for the Eckstine bookings at The Regal Theater and Club Sudan in 1946. Baker was with the orchestra until at least February 1947, at which point she moved on to the Count Basie band, probably appearing as an added attraction on a series of theater dates, as opposed to a “regular singer” with the band. It is possible that Ann Baker recorded on a number of occasions ..... but only “just possible.” Somewhere in my files, not available at the moment but taken from the liner notes for an old LP, is mention that Baker was a non-de-chanson for Ann Hathaway, a suggestion that is seconded in Lord. If this is the case, then Baker / Hathaway can be heard on a number of recordings (including a date under her name for Keynote in 1946), as well as on this film.
The Band Unfortunately, no union reports and few production records are extant, and
our identification of the band’s personnel is therefore “second
hand.” According to Frank Wess, the same musicians (with one exception,
and a couple of uncertainties) performed on both soundtrack and screen, so
for the most part “what you see is what you hear.” While the personnel
listed below cannot be verified 100%, a great deal of time and energy has
gone into its compilation. This has been a difficult job, complicated by the
fact that there was a great deal of turnover in the band during this period.
A close look at the literature, as well as the established personnels on the
National recording dates, indicate that many musicians passed through this
pioneering orchestra in 1945-46, some recording and some not. Billy Eckstine - vocal, valve trombone and leader In his notes for the Savoy “twofer LP” Mr. B and the Band - The Savoy [sic] Sessions, Ira Gitler writes, “At the onset of his band ... B. took up the valve trombone. Though he never attained the fluidity of a J.J. Johnson ... B was a spirited soloist whose technique never became polished enough to free him from the cliche.” trumpets The trumpet section is largely identified, with a few questions here and there. However, Theo Zwicky and I are largely comfortable with what follows: trumpet, far left: Joe Stroud - I am not familiar with this musician, but since he was identified by Frank Wess, we can assume with some certainty that it is indeed Stroud! The only other reference to this musician that I can locate is in Bruynickx, where Stroud is noted as a sideman on a Cat Anderson band recording in New York City for Apollo, May 1947. trumpet, second from left: Hobart Dotson - Long associated with the Chicago jazz scene, Dotson also worked on the West Coast with the bands of Wilbert Baranco and Gerald Wilson, with whom he broadcast (Jubilee transcriptions) in 1946. He was with Eckstine from the spring of the year through at least October 1946, and appears to be the main trumpet soloist with the band that made this featurette. trumpet, third from left: probably Rostelle Reese (although Leonard Hawkins has been mentioned as a possibility) - There is a bit of uncertainty where this section trumpet player is concerned, with both Reese and Hawkins mentioned at various times. However, both Frank Wess and Dizzy Gillespie --- men who should know! --- opted for Reese. In addition, Leonard Hawkins can be seen in the series of soundies featuring Skeets Tolbert and his Band, and the man who appears in the Eckstine featurette does not look like the trumpet player on the Tolbert band. (Nor, incidentally, does he look like the trumpet player identified as Joe Stroud.) trumpet, fourth from the left: King Kolax - Everyone seems to agree that this is King Kolax, long a fixture on the Chicago scene, who had at least ten year’s experience in Windy City jazz bands before working with Eckstine in the mid 1940’s. His high note ability is featured on “Second Balcony Jump.” In summary, for discographers of the future, the trumpets in the band should be listed as follows, left-to-right: probably Joe Stroud, Hobart Dotson, probably Rostelle Reese, King Kolax
trombones, fourth from the left: Howard “Scotty” Scott - This musician’s face and hairline are quite distinctive, and I rather doubt that he would be mistaken for someone else. A number of musicians have opted for Scott, and we must assume that they are right. In summary, for discographers of the future, the trombones in the band should be listed as follows, left-to-right: Gus Chappell, Carl Williams or Gerry Valentine, Alfred “Chippy” Outcalt, Howard Scott saxophones tenor sax, to far left: Gene Ammons - Everyone agrees that this is Jug, and a comparison of this musician with photos from the period, or slightly later, leaves no doubt! baritone sax, second from the left: probably Leo Parker, but possibly Eddie DeVerteuil - While this identification has been suggested by Percy Heath and Buddy Tate, others have felt that this was Eddie DeVerteuil. A photograph of Leo Parker in the Delmark CD “Takin’ Off - Sir Charles Thompson” certainly looks like Parker but then again, I have not seen any photos of Eddie DeVerteuil. I think I’d go with Parker. alto sax, third from the left: Porter Kilbert - Everyone agrees that this is Chicago musician Porter Kilbert. His son concurs, so there is no doubt in this case. alto sax, fourth from the left: probably Robert “Junior” Williams - I am not familiar with this musician, and know next to nothing about him; nor can I find his name in standard discographies. William’s name has been passed from discography to discography, without any citation whatsoever, and I would generally assign the term “possibly” to the name, save for this qualification: Theo Zwicky reports that a number of musicians have suggested Williams as a probability in this position, so until something better comes along, I’ll go with Williams .... albeit with a “probably” attached. tenor sax, fifth from the left: Frank Wess - Frank identified himself here, so all is settled, no questions asked! In summary, for discographers of the future, the saxophones in the band should be listed as follows, left-to-right: Gene Ammons, tenor sax; probably Leo Parker, baritone sax; Porter Kilbert, alto sax; probably Robert “Junior” Williams, alto sax; Frank Wess, tenor sax rhythm There are some problems with the rhythm section, some explained and some not. Theo Zwicky reports that among the photos and frame blow-ups in his possession, all shared in this article, at least one shows a pianist and drummer who are different from the musicians in the other pictures. The situation with the pianist is explained below, at least in part. I would suggest that it is quite possible that a publicity photos exists with a slightly differing personnel since the sideline sessions were completed on a number of days (see “Production - The Time” above). I’ll try to cover each discrepancy as it arises. piano: probably Jimmy Golden (soundtrack); Louie Dunlap (sideline) - The regular pianists during the period were Jimmy Golden, Richard “Duke” Ellington and Linton Garner. Frank Wess, after viewing the featurette, felt that it was probably Golden on soundtrack. However, Wess reports that “the boys were drinking during the lunch break,” and Golden was unable to make it back to the studio for the sideline session. As a result, Louie Dunlap was called in to sideline at the piano. (Dunlap, you might recall, was referred to as follows on the 1931 Louis Armstrong recording of “That Lonesome Road.”: “Why, here's two little songwriters here, little Louie Dunlap, and Charles (unintelligible)...and what you think about that, they are smokin' a Louis Armstrong special cigar...more power to ya, boys!” ) However, remember that sideline photography took place over a number of days. It is quite possible that if Wess noted Dunlap early in the film (perhaps he recognized Dunlap in the rehearsal scene that opens the short, seated screen left, wearing a beret), he might well have not looked at the pianist as the film continued, satisfied that he had already identified this member of the rhythm section. Jimmy Golden might therefore have appeared in other scenes, filmed on other days, although I cannot make a visual identification. In any case, Theo Zwicky publicity photos and the film indicate two different pianists! Perhaps we can conclude, at least for the moment, that it is Dunlap at the beginning of the film, and Golden during the later “nightclub performances.” guitar: Connie “Race” Wainwright - All sources are certain that Wainwright is the guitarist in the band. string bass: Bill McMahon - Again, everyone is certain that Mc Mahon is the string bass player. drums: Art Blakey - Blakey is certainly the “primary” drummer on the band. I have watched the featurette carefully, and have not noticed anyone else sitting in at any time, although a re-screening is now called for! While it is possible that I have missed the “second drummer” on screen, it is also possible that he sits in only for a publicity photo only. In any case, Theo Zwicky’s comments are important: “I still think there are two different drummer seen on the two stills .... one being Art Blakey for sure. Bassist Johnny Williams said, ‘You can see that the drummer is not the same on the two photos.’” In summary, for discographers of the future, the rhythm section in the band should be listed as follows: probably Jimmy Golden (soundtrack), Louie Dunlap and probably Jimmy Golden
(sideline), piano; Connie Wainwright, guitar; Bill McMahon, sting bass; Art
Blakey (probably all soundtrack recording and most sideline work) and one
unidentified (probably sideline only), drum In terms of plot, most story complications were sacrificed in order to spotlight the music. Leader Billy Martin’s band is “on strike” and about to fold, or at least find a new leader, unless Billy obtains work. He gets the opportunity to audition for Joe Corwin (Babe Wallace), and in the meantime falls for Corwin’s supposed girlfriend (Sarah Wallace); however, he is hesitant to take the job just so Helen can “get in good with the boss.” When it is discovered that Helen is free and available (she and Joe are “just friends”) the romance can proceed, and we are treated to the floor show that Billy has prepared for Joe’s club opening. The Music The music played in the film, along with composer, arranger, vocal and soloist credits, is as follows: (1) Second Balcony Jump (partial, behind opening credits) (Billy Eckstine-Gerry
Valentine) (Gerry Valentine, arranger) - Billy Eckstine and his Orchestra (3) unidentified title (boogie woogie piano, behind dialogue and dance routine) (composer unknown) - five unidentified female chorus line dancers, probably accompanied by Jimmy Golden, piano (4) (I Love the) Rhythm In A Riff (Billy Eckstine-Gerry Valentine) (Budd Johnson, arranger) It certainly seems odd that Gerry Valentine would compose a song, and then hand it over to Budd Johnson to arrange; however, this was apparently the case, according to Ira Gitler’s notes in the old Savoy “twofer” reissue of the National sides - Billy Eckstine and his Orchestra (Billy Eckstine, vocal) (soloists: Gene Ammons, tenor sax; Art Blakey, drums) (5) You Call It Madness (Con Conrad-Russ Columbo-Gladys Du Bois, (6) You Call It Madness (fragment) (Con Conrad-Russ Columbo- Gladys Du Bois, Paul Gregory) - Billy Eckstine, a-capella vocal (7) Second Balcony Jump (Billy Eckstine - Gerry Valentine) (Gerry Valentine,
arranger) - Hortense “The Body” Allen + five unidentified female
chorus line dancers, accompanied by Billy (8) Lonesome Lover Blues (Billy Eckstine - Gerry Valentine) (Gerry (9) Taps Miller (Buck Clayton) (arranger unknown) - Hortense “The Body” Allen, dance, accompanied by Billy Eckstine and his Orchestra (soloists: Hobart Dotson, trumpet; Frank Wess, tenor sax; Art Blakey, drums) (10) I Cried For You (Arthur Freed, Gus Arnheim, Abe Lyman) (arranger unknown) - Billy Eckstine and his Orchestra (Ann Baker, vocal) (soloists: Billy Eckstine, valve trombone) (11) I Want To Talk About You (Billy Eckstine) (Tadd Dameron, arranger) - Billy Eckstine and his Orchestra (Billy Eckstine, vocal) (12) Our Delight (Tadd Dameron) (Tadd Dameron, arranger) - Billy Eckstine and his Orchestra - Al Guster and Nicky O’Daniel, dance, accompanied by Billy Eckstine and his Orchestra (soloists: Hobart Dotson, trumpet; Billy Eckstine, valve trombone; Frank Wess, tenor sax) (13) Prisoner Of Love (Leo Robin; Russ Columbo, Clarence Gaskill) Klaus Stratemann (Negro Bands On Film ) also notes that six songs, presumably the ones re-issued as soundies, were assembled into a pair of one reel (ten minute) short subjects under the titles “Blue Harlem” and “Harlem After Midnight.” (It is not known which songs are performed in each of the two shorts. Stratemann continues, “A third montage of clips, which could be identical to either of the previous compilations, was titled BILLY ECKSTINE SINGS. It contained the following clips: Lonesome Lover Blues/Rhythm In A Riff/I Want To Talk About You.”) A number of sources also refer to an Eckstine featurette or feature from this period entitled “Flicker Up.” It is credited to either Associated Producers of Negro Motion or Alexander Productions, and is said to star Billy Eckstine and Mary Lou Harris (Sarah Harris?). In any case, it is not known if this is a separate and distinct featurette, a retitling of the film under consideration, or a reediting of the featurette. A Final Evaluation
I have long threatened to begin writing articles on jazz film, and this is the first. Please share your feedback .... too much information, could have used even more, a big bore, fascinating history, or whatever .... and if your response is positive, I can try to make this a regular part of the IAJRC Journal. And for those now interested in actually seeing this film, it is available on videotape, paired with another Alexander production, Jivin’ in Bebop. You should be able to locate it on the Internet at thejazzstore.com Let me know if you have problems locating the film and we’ll see what we can do! Bibliography Brown, Dale Billy Eckstine - A Discography (Joyce Record Club, 1996) Bruyninckx, W. Swing Discography (publisher uncertain, various dates) Gitler, Ira Billy Eckstine - Mr. B and the Band - The Savoy Sessions (liner notes, Savoy LP SIL2214) Kisch, John and Mapp, Edward A Separate Cinema - Fifty Years of Black-Cast Posters (Farrar, Straus and Giroux, 1992) Klotman, Phyllis Frame By Frame - A Black Filmography (Indiana University Press, 1979) Lord, Tom The Jazz Discography (Lord Music Reference, Inc., 1992-1999 Sampson, Henry T. Blacks In Black and White (The Scarecrow Press, 1995) Stockdale, Robert L. Jimmy Dorsey - A Study in Contrasts (The Scarecrow Press, 1999) Stratemann, Klaus Negro Bands In Films - Big Bands, 1928-1950 (Verlag Uhle & Kleimann, 1981) periodicals consulted, all various issues and dates Billboard Magazine |
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