Am I Qualified To Teach My Own?

Am I Qualified To Teach My Own?
by Gary Grammar in The Link, Volume 4 Issue 2

A number of years ago, July 2, 1998 in fact, a story out of Massachusetts was carried by the Associated Press describing the failure of 56% of the aspiring teachers of that state in the reading and writing portion of the teacher exam.

The then-governor referred to the failed test-takers as idiots and the state head of education suggested lowering the standards for prospective teachers. (Somewhat like intellectual limbo dancing: “How low can you go?”) The teachers’ unions considered all of this to be music to their ears, while much of the state legislature fumed along with the governor.

Most of the reason for the hubbub was that this exam was not particularly difficult. The “56 Percenters” missed spelling words a nine-year-old is expected to know, could not write in complete sentences and failed to correctly define a noun or verb. No matter how sympathetic one might want to be, this really is inexcusable! These college grads are supposed to become teachers, having completed the degree portion of the certification process; the remainder should be a cakewalk, intellectually.

Read More

http://www.homeschoolnewslink.com/homeschool/articles/vol4iss2/grammar_v4i2.shtml

Scott Joplin and “The Entertainer”

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Scott Joplin (c. 1867/68 – April 1, 1917) was an American composer and pianist, who achieved fame for his ragtime compositions and was dubbed the “King of Ragtime Writers.”  It is often claimed that Joplin was born in Texarkana, Texas, on November 24, 1868. Some have responded that the location is easily dispensed with because Texarkana was not established until 1873.  However, based on a letter discovered by musicologist John Tennison in 2015 in the December 19, 1856, edition of the Times-Picayune, it is clear that Texarkana was established as a place-name by no later than 1856. Consequently, it appears possible that Joplin, born twelve years later, could have been born in Texarkana. Despite evidence to support such a conclusion, it is now generally believed that Joplin was born in Linden, Texas, either in late 1867 or early 1868, into a musical family of railway laborers.  He was the second of six children (the others being Monroe, Robert, William, Myrtle, and Ossie) born to Giles Joplin, an ex-slave from North Carolina, and Florence Givens, a freeborn African-American woman from Kentucky.

In any event, the Joplins subsequently moved to Texarkana where Giles worked as a laborer for the railroad and Florence was a cleaner. Joplin’s father had played the violin for plantation parties in North Carolina, and his mother sang and played the banjo.   Joplin was given a rudimentary musical education by his family and from the age of seven, he was allowed to play the piano while his mother cleaned.  Young Joplin was serious and ambitious, studying music and playing the piano after school.  He received most of his music education from Julius Weiss, a German-born music professor who had immigrated to Texas in the late 1860s and was employed as music tutor to a prominent local business family.   Weiss tutored the 11-year-old Joplin until the boy was 16, during which time Weiss introduced him to folk and classical music, including opera. At the age of 16, Joplin performed in a vocal quartet with three other boys in and around Texarkana, also playing piano. In addition he taught guitar and mandolin.

In the late 1880s, having performed at various local events as a teenager, Joplin chose to give up work as a laborer with the railroad and left Texarkana to become a traveling musician.  Little is known about his movements at this time, although he is recorded in Texarkana in July, 1891, as a member of the Texarkana Minstrels in a performance that happened to be raising money for a monument to Jefferson Davis, President of the Southern Confederacy.  He soon discovered, however, that there were few opportunities for black pianists.  Joplin played pre-ragtime ‘jig-piano’ in various areas throughout the mid-South, and some claim he was in Sedalia and St. Louis during this time.  In 1893 Joplin was in Chicago for the World’s Fair. While in Chicago, he formed his first band playing cornet and began arranging music for the group to perform.

In 1894 Joplin arrived in Sedalia, Missouri. At first, Joplin stayed with the family of Arthur Marshall, at the time a 13-year-old boy but later one of Joplin’s students and a rag-time composer in his own right. There is no record of Joplin having a permanent residence in the town until 1904, as Joplin was making a living as a touring musician.  There is little precise evidence known about Joplin’s activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the Black 400 club, and the Maple Leaf Club. He performed in the Queen City Cornet Band, and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions and it is known that he went to Syracuse, New York and Texas. Two businessmen from New York published Joplin’s first two works, the songs “Please Say You Will”, and “A Picture of her Face” in 1895.

Joplin’s visit to Temple, Texas enabled him to have three pieces published there in 1896, including the “Great Crush Collision March”, which commemorated a planned train crash on the Missouri–Kansas–Texas Railroad on September 15 that he may have witnessed.  While in Sedalia he was teaching piano to students who included future ragtime composers Arthur Marshall, Brun Campbell, and Scott Hayden.  In turn, Joplin enrolled at the George R. Smith College, where he apparently studied advanced harmony and composition. The College records were destroyed in a fire in 1925.  In 1899, Joplin married Belle, the sister-in-law of collaborator Scott Hayden. Although there were hundreds of rags in print by the time the “Maple Leaf Rag” was published, Joplin was not far behind. His first published rag, “Original Rags”, had been completed in 1897, the same year as the first ragtime work in print, the “Mississippi Rag” by William Krell. The “Maple Leaf Rag” was likely to have been known in Sedalia before its publication in 1899.  The “Maple Leaf Rag” served as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime.  After the publication of the “Maple Leaf Rag”, Joplin was soon being described as “King of rag time writers” on the covers of his own works, such as “The Easy Winners” and “Elite Syncopations”.

After the Joplins moved to St. Louis in early 1900, they had a baby daughter who died only a few months after birth.  About this time, Joplin collaborated with Scott Hayden in the composition of four rags.  It was in St. Louis that Joplin produced some of his best-known works, including “The Entertainer,” “March Majestic,” and the short theatrical work “The Ragtime Dance.”  During this time, Joplin created an opera company of 30 people and produced his first opera A Guest of Honor for a national tour. It is believed that the score for A Guest of Honor was lost and perhaps destroyed because of non-payment of the company’s boarding house bill.  In 1907, Joplin moved to New York City, which he believed was the best place to find a producer for a new opera.  In 1911, unable to find a publisher, Joplin undertook the financial burden of publishing Treemonisha himself in piano-vocal format. In 1915, as a last-ditch effort to see it performed, he invited a small audience to hear it at a rehearsal hall in Harlem. Poorly staged and with only Joplin on piano accompaniment, it was a miserable failure to a public not ready for black musical forms—so different from the European grand opera of that time.

Joplin suffered a breakdown. He was bankrupt, discouraged, and worn out.   In 1914, Joplin self-published his “Magnetic Rag” as the Scott Joplin Music Company, which he had formed the previous December.  Also he plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed.  By 1916, Joplin was suffering from tertiary syphilis and a resulting descent into insanity.  In January 1917, he was admitted to Manhattan State Hospital, a mental institution. He died there on April 1, 1917, of syphilitic dementia at the age of 49. During his brief career, he wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first, and most popular pieces, the “Maple Leaf Rag,” became ragtime’s first and most influential hit, and has been recognized as the archetypal rag. Joplin’s death is widely considered to mark the end of ragtime as a mainstream music format, and in the next several years it evolved with other styles into stride, jazz, and eventually big band swing. His music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album recorded by Joshua Rifkin. This was followed by the Academy Award–winning 1973 movie The Sting that featured several of his compositions including “The Entertainer.” The opera Treemonisha was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.

The following work by Scott Joplin is contained in my collection:

The Entertainer (1902).

Trevor Jones and “The Last of the Mohicans”

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Trevor Alfred Charles Jones (born March 23, 1949) is a South African orchestral film score composer who, although not especially well known outside the film world, has composed music for numerous films that has been critically acclaimed for both its depth and emotion.  At the age of six, Jones, who was born in South Africa on March 23, 1949, had already decided to become a film composer. In 1967 he attended the Royal Academy of Music in London with a scholarship and afterwards worked for five years for the BBC on reviews of radio and television music. In 1974 Jones attended the University of York from which he graduated with a master’s degree in Film and Media Music. At the National Film and Television School Jones studied for three years on general film-making and film and sound techniques. During this time he wrote the music for twenty-two student projects. In 1981 Jones wrote the score for the Academy Award-winning short movie The Dollar Bottom and for the short Black Angel.

Jones was soon after brought to the attention of John Boorman, who was in the midst of making his Arthurian epic, Excalibur (1981). Although mostly tracked with classical music by Richard Wagner and Carl Orff, Boorman also needed original dramatic cues (as well as period music) for certain scenes. Given Excalibur’s modest budget, a “name” composer was out of the question, so Boorman commissioned the up-and-coming young Jones.  Excalibur brought Jones to the attention of Jim Henson, who was making The Dark Crystal (1982), and looking for a composer who was young and eager to work in the experimental, free-wheeling way which Henson preferred. The resultant score is an expansive, multi-faceted work, featuring the London Symphony Orchestra, augmented by inventive use of Fairlight and Synclavier synthesizers, as well as period instruments like crumhorn, recorder, and the unusual double-flageolet, which Jones came across by chance in a music store.

Jones followed Excalibur with scores for the horror films The Appointment (1981) and The Sender (1982), and the pirate adventure Nate and Hayes (1983). In 1985 Jones composed one of his best scores, for the acclaimed television production The Last Place on Earth.  Jones reunited with Henson for the 1986 fantasy musical Labyrinth. David Bowie wrote and performed the vocal tracks for this movie, including the hit “Underground”, while Jones provided the dramatic score.  Reflecting that his complex, symphonic score for The Dark Crystal garnered little notice, Jones began to re-think his entire approach to dramatic scoring. Around the mid-80s, Jones’ work became more electronic-based (much like fellow film composer Maurice Jarre), eschewing identifiable themes in favor of mood-enhancing synth chords and minimalist patterns. While he did write a somber, chamber orchestra score in 1988 for Dominick and Eugene (which featured classical guitarist John Williams), scores like Angel Heart (1987), Mississippi Burning (1988) and Sea of Love (1989) are more typical of Jones’ output during this period.

Jones’ return to large-orchestra scoring came with 1990s Arachnophobia, and he provided a light-hearted Georges Delerue-flavoured score for Blame it on the Bellboy in 1992.  Jones’ most popular success came later in 1992 with his score for The Last of the Mohicans, and his soaring, passionate music belies the difficulties which afflicted its creation. Director Michael Mann initially asked Jones to provide an electronic score for the film, but late in the game, it was decided an orchestral score would be more appropriate for this historic epic. Jones hurried to re-fashion the score for orchestra in the limited time left, while the constant re-cutting of the film meant music cues sometimes had to be rewritten several times to keep-up with the new timings. Finally, with the release date looming, composer Randy Edelman was called-in to score some minor scenes which Jones did not have time to do. Jones and Edelman received co-credit on the film (thus making this very popular and acclaimed score ineligible for Oscar consideration). Although all were displeased with the circumstances, Jones was not fired from the film despite reports to the contrary.

Jones became active in television in the 90s, with orchestral scores for several Hallmark productions, including Gulliver’s Travels, Merlin, and Cleopatra. He also provided a fun, jazzy, 30s-style score for Richard III (1995), which features a swing-band setting of Christopher Marlowe’s The Passionate Shepherd to His Love. In 1997 Jones worked for the first time with acclaimed director Ridley Scott, providing an electronic/orchestral/rock-flavoured soundtrack for G.I. Jane (1997).

My collection includes the following work by Trevor Jones:

The Last of the Mohicans (1992): Main Title.

Buford School, Buford, OH

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Buford School
State Route 138
Buford, Ohio
Buford is a town in central Clay Township, Highland County, Ohio. Although it is unincorporated, it once had a post office. It lies at the intersection of State Routes 134, 138, and 321. Buford was platted in 1834, and named after the maiden name of the wife of a first settler. After Clay Township voted to join with Lynchburg schools to form the Lynchburg-Clay School District, the Buford Elementary-High School, originally built in 1890, was closed in 2001 and is now the Buford Community Center.

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Stan Jones and “Ghost Riders in the Sky”

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Stanley Davis “Stan” Jones (June 5, 1914 – December 13, 1963) was an American songwriter and actor, primarily writing Western music, who is best remembered for writing the legendary “Ghost Riders in the Sky,” which has been called the #1 Western song ever written.  Jones was born in Douglas, Arizona, o  June 5, 1914. and grew up on a ranch. When his father died, his mother moved the family to Los Angeles, California. He attended the University of California at Berkeley, competing in rodeos to make money. However, he dropped out in 1934 to join the United States Navy. After his discharge, he worked at many jobs, including as a miner, a fire fighter, and a park ranger.

In his free time Jones wrote songs, and eventually more than 100 were recorded. His most famous, “(Ghost) Riders in the Sky,” was written in 1948 when he worked for the National Park Service in Death Valley, California. Assigned as technical advisor to the filming of The Walking Hills, he became friends with director John Ford, who opened his way into Hollywood.  Jones wrote almost entirely Western music. He composed songs for several Western movies by Ford and others producers, including The Searchers and Rio Grande. He also played small parts in several westerns.

In 1955 Jones began writing for Disney Studios. He was co-writer of the theme song for the television series Cheyenne, and in 1956 was hired to play Deputy Harry Olson in the syndicated television series Sheriff of Cochise (1956–1958), which starred John Bromfield as law enforcement officer Frank Morgan. After its first season, Sheriff of Cochise was renamed by Desilu Studios owner Desi Arnaz, Sr., as U.S. Marshal. Jones wrote again for John Ford’s Civil War film The Horse Soldiers, in which he made an uncredited appearance as Ulysses S. Grant. The following year, he returned to working for Disney Studios.  One major role for him was in playing the part of Wilson W. Brown, a Union soldier and locomotive engineer who was a member of the Andrews Raid depicted in Disney’s film The Great Locomotive Chase.

In his final film, Ten Who Dared, Jones appeared as Seneca Howland, a member of John Wesley Powell’s 1869 expedition. He also is credited for song writing for this film.  Three of his songs, “(Ghost) Riders in the Sky,” the theme from “The Searchers,” and “Cowpoke” were chosen by members of the Western Writers of America as being among the Top 100 Western songs of all time.  He died from cancer in Los Angeles, CA, on December 13, 1963, at the age of 49. His remains were buried at Julia Page Memorial Park in his hometown, Douglas, Arizona.  In 1997, he was posthumously inducted into the Western Music Association Hall of Fame.

The following work by Stan Jones is contained in my collection:

Riders in the Sky (1948).

 

Quincy Jones and “The Color Purple”

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Quincy Delight Jones Jr. (born March 14, 1933) is an American record producer, actor, conductor, arranger, composer, musician, television producer, film producer, instrumentalist, magazine founder, entertainment company executive, and humanitarian, whose career spans six decades in the entertainment industry with a record 79 Grammy Award nominations, and 28 Grammys, including a Grammy Legend Award in 1991.  Jones was born in 1933, on the South Side of Chicago to Quincy Delight Jones, Sr (1895-1971) and Sarah Frances (née Wells) (1903-1999).   His father was a semi-professional baseball player and carpenter from Kentucky.  Quincy was introduced to music by his mother, who always sang religious songs; and by his next-door neighbor, Lucy Jackson. When Jones was five or six, Jackson played stride piano next door, and he would always listen through the walls.

In 1943, when Jones was ten, his family moved to Bremerton, Washington, where his father got a wartime job at the Puget Sound Naval Shipyard.  After the war, the Jones family moved to Seattle, the major regional city, where Jones attended Garfield High School near his home. He had discovered music when he was 12 and became more deeply involved in high school, developing his skills as a trumpeter and arranger.   Classmates included Charles Taylor, who played saxophone and whose mother, Evelyn Bundy, had been one of Seattle’s first society jazz-band leaders. The youths began playing with a band. At the age of 14, they were playing with a National Reserve band.   That same year, Jones introduced himself to a 16-year-old musician from Florida, Ray Charles, after watching him play at the Black Elks Club.

In 1951, Jones won a scholarship to Seattle University, where a young Clint Eastwood – also a music major there – watched him play in the college band. After only one semester, Jones transferred to what is now the Berklee College of Music in Boston on another scholarship.  While studying at Berklee, he played at Izzy Ort’s Bar & Grille with Bunny Campbell and Preston Sandiford.  He left his studies after he received an offer to tour as a trumpeter with the bandleader Lionel Hampton and embarked on his professional career. While Jones was on the road with Hampton, he displayed a gift for arranging songs. Jones relocated to New York City, where he received a number of freelance commissions arranging songs for artists including Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington, Gene Krupa, and Ray Charles, by then a close friend.

At the age of 19, Jones traveled with Hampton to Europe and said it turned him upside down.  In 1956, Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the United States Information Agency. Upon his return, Jones signed with ABC-Paramount Records and started his recording career as the leader of his own band. In 1957, Quincy settled in Paris, where he studied composition and theory with Classical composers Nadia Boulanger and Olivier Messiaen. He also performed at the Paris Olympia. Jones became music director at Barclay Disques, a leading French record company and the licensee for Mercury Records in France.

During the 1950s, Jones successfully toured throughout Europe with a number of jazz orchestras. As musical director of Harold Arlen’s jazz musical Free and Easy, Quincy Jones took to the road again. A European tour closed in Paris in February 1960. With musicians from the Arlen show, Jones formed his own big band, called The Jones Boys, with eighteen artists. The band included double bass player Eddie Jones and fellow trumpeter Reunald Jones. They organized a tour of North America and Europe. Though the European and American concerts met enthusiastic audiences and sparkling reviews, concert earnings could not support a band of this size. Poor budget planning resulted in an economic disaster; the band dissolved.  Irving Green, head of Mercury Records, helped Jones with a new job as the musical director of the company’s New York division. There he worked with Doug Moody, who founded Mystic Records.

In 1964, Jones was promoted to vice-president of Mercury Records, becoming the first African American to hold this executive position.   In that same year, he turned his attention to film scores.  At the invitation of director Sidney Lumet, he composed the music for The Pawnbroker (1964). It was the first of his 33 major motion picture scores.  Following the success of The Pawnbroker, Jones left Mercury Records and moved to Los Angeles. After composing the film scores for Mirage and The Slender Thread in 1965, he was in constant demand as a composer. His film credits over the next seven years included Walk, Don’t Run, The Deadly Affair, In Cold Blood, In the Heat of the Night, Mackenna’s Gold, The Italian Job, Bob & Carol & Ted & Alice, Cactus Flower, The Out-of-Towners, They Call Me Mister Tibbs!, The Anderson Tapes, $ and The Getaway. In addition, he composed “The Streetbeater,” which became familiar as the theme music for the television sitcom Sanford and Son, starring close friend Redd Foxx; he also composed the themes for other TV shows, including Ironside, Banacek, The Bill Cosby Show, the opening episode of Roots, and the Goodson & Todman game show Now You See It.

In the 1960s, Jones worked as an arranger for some of the most important artists of the era, including Billy Eckstine, Sarah Vaughan, Frank Sinatra, Ella Fitzgerald, Nana Mouskouri, Shirley Horn, Peggy Lee, and Dinah Washington. Jones’s solo recordings also gained acclaim, including Walking in Space, Gula Matari, Smackwater Jack, You’ve Got It Bad Girl, Body Heat, Mellow Madness, and I Heard That!!.  He is known for his 1962 tune “Soul Bossa Nova”, which originated on the Big Band Bossa Nova album. Jones produced all four million-selling singles for Lesley Gore during the early and mid-sixties, including “It’s My Party” (UK No. 8; US No. 1), “Judy’s Turn to Cry” (US No. 5), “She’s a Fool” (also a US No. 5) in 1963, and “You Don’t Own Me” (US No. 2 for four weeks in 1964). He continued to produce for Gore until 1966, including the Greenwich/ Barry hit “Look of Love” (US No. 27) in 1965.

In 1975, Jones founded Qwest Productions, for which he arranged and produced hugely successful albums by Frank Sinatra and other major pop figures. In 1978, he produced the soundtrack for The Wiz, the musical adaptation of The Wizard of Oz, starring Michael Jackson and Diana Ross. In 1982, Jones produced Michael Jackson’s all-time best-selling album Thriller.  Jones’s 1981 album, The Dude, yielded multiple hit singles, including “Ai No Corrida” (a remake of a song by Chaz Jankel), “Just Once,” and “One Hundred Ways”, the latter two featuring James Ingram on lead vocals and marking Ingram’s first hits. In 1985, Jones wrote the score for the Steven Spielberg film adaptation of the Pulitzer-prize winning epistolary novel, The Color Purple, by Alice Walker. After the 1985 American Music Awards ceremony, Jones used his influence to draw most of the major American recording artists of the day into a studio to record the song “We Are the World” to raise money for the victims of Ethiopia’s famine.

In 1988, Quincy Jones Productions joined forces with Warner Communications to create Quincy Jones Entertainment. He signed a 10-picture deal with Warner Brothers and signed a two-series deal with NBC Productions. The television show The Fresh Prince of Bel-Air was completed in 1990.  In 1993, Jones collaborated with David Salzman to produce the concert extravaganza, An American Reunion.  Jones appeared in the Walt Disney Pictures film, Fantasia 2000, introducing the set piece of George Gershwin’s Rhapsody in Blue. In 2001, Jones published his autobiography, Q: The Autobiography of Quincy Jones. On July 31, 2007, he partnered with Wizzard Media to launch the Quincy Jones Video Podcast. On February 10, 2008, Jones joined Usher in presenting the Grammy Award for Album of the Year to Herbie Hancock. On January 6, 2009, Jones appeared on NBC’s Last Call with Carson Daly to discuss various aspects of his prolific career.  In February 2014, Jones appeared in “Keep on Keepin’ On,” a documentary about his friend Clark Terry.  In July 2014, Jones was starring in a documentary film, The Distortion of Sound.  In September 2015, Jones was a guest on Dr. Dre’s The Pharmacy on Beats 1 Radio. On February 28, 2016, he and Pharell Williams presented Ennio Morricone with the Oscar for best film score, and in August 2016, he and his music were featured at the BBC Proms at the Royal Albert Hall.

My collection includes the following work by Quincy Jones:

The Color Purple: Main Title.

Isham Jones and “It Had to Be You”

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Isham Edgar Jones (January 31, 1894 – October 19, 1956) was an American bandleader, saxophonist, bassist, and songwriter.  Jones was born on January 31, 1894, in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, where he started his first band. In 1911 one of Jones’s earliest compositions “On the Alamo” was published by Tell Taylor Inc.  Taylor had formed a publishing company the year before when his song “Down by the Old Mill Stream” became a hit.  In 1915 Jones moved to Chicago, Illinois. He performed at the Green Mill Gardens, then began playing at Fred Mann’s Rainbo Gardens.  In 1917, he composed the tune “We’re In The Army Now” (known also as “You’re In the Army Now”) when United States entered the World War I. The same tune was popular again during the World War II, and it’s played even by US Army Band.

The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. His first 26 sides, made at Rainbo Gardens, were credited to “Isham Jones’ Rainbo Orchestra.”  By the end of 1920, the name was simply “Isham Jones’ Orchestra.”   He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, “Wabash Blues” written by Dave Ringle and Fred Meinken, was recorded in 1921 by “Isham Jones and his Orchestra.”  This million-seller stayed for twelve weeks in the U.S. charts, six at No. 1.  It was awarded a gold disc by the RIAA.  From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.

Noted musicians who played in Jones’s band included Louis Panico, Benny Goodman (although no records were made during the short time he was there), Woody Herman, Walt Yoder, and Roy Bargy.  From 1929 to 1932, his Brunswick recordings became even more sophisticated with offbeat arrangements by Gordon Jenkins and others; Jones was his own arranger early on, but later cultivated others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, and Arthur Jarrett. He also toured England with his orchestra in 1925.

Chicago remained Jones’s home until 1932, when he settled in New York City.   In 1932, he added Joe Martin, another of the band’s violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones’s group which included “Sweet Georgia Brown.”  In August 1932, Jones signed with Victor, and these records are considered among the best arranged and performed commercial dance band records of the Depression era. Victor’s recording technique was suited to Jones’ band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded “experimental” songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded “Where? (I Wonder Where?)” and “What Would Happen to Me If Something Happened to You.” His Victor releases had an almost symphonic sound, often with a strong use of tuba. During his Victor period, he recorded two long playing “Program Transcription” records as part of Victor’s unsuccessful 33 1/3 RPM series.

Reed virtuoso Al Gallodoro appeared briefly with Jones in 1933, taking part in a record date October 3.  Jones stayed with Victor until July 1934, when he signed with Decca. Jones’s recordings during this period rivaled Paul Whiteman, Fred Waring’s Pennsylvanians, Leo Reisman, and other dance orchestras as examples of the most popular dance music of the era.  After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937–38 and recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.  In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands. He later resided in Los Angeles, CA. He moved to Hollywood, Florida in 1955, and died there of cancer on October 19, 1956.  His remains were interred at Forest Lawn Memorial Park in Glendale, California, and perhaps for that reason is often erroneously listed as having died in Hollywood, California.

The following work by Isham Jones is contained in my collection:

It Had to Be You (1924).