#968 (5/5/25)

IRVING BERMAN

Above: ALABAMA CITIZEN, February 23, 1946: Irving Berman, owner, president, and treasurer of Manor Records. The newspaper caption with this picture named him as "Treasurer, Manor Records, Office: 162 Prince Street, Newark, N.J. Sponsoring America's Only Recognized 100% Sepia Catalog".

MANOR RECORDS POLICY STATEMENT: (From ALABAMA CITIZEN, February 23, 1946)

The record of Irving Berman as a benefactor to the Negro Race, the accomplishments of his company, together with its establishing the first "all-Sepia catalog", makes the Manor Records Company outstanding. During the war when wax was hard to obtain and many major recording firms failed to place works of Negro artists on discs, Manor Records, through the efforts of Mr. Berman found means to wax our foremost artists — giving the best in entertainment with classics, popular and swing music.

Berman's deeds are known nation-wide for he has contributed to many worthy cases. At his offices he labors daily putting out the best in popular and classic records but still finds time to answer mail from organizations calling upon him to avail himself or his artists to some worthy cause. Often his pocketbook is loosened up. He is always ready and willing to advance some charitable cause. (IPS Matrix, Exclusive to Ted Yates Publications)

Irving Berman was first involved in the record business as proprietor of the G. & R. Record Shop, located in Newark, New Jersey. His first venture into the actual production of records was in late 1942 with his Regis label. In the beginning, Regis produced only spiritual records, using local artists such as Sister Evangeline Washington and the Silver Echo Quartet. Not long after, Regis would include local rhythm and blues artists. In 1945, Berman started another label, Manor Records, also located in Newark. Manor began life as a subsidiary label to Regis. When Regis shut down in 1946, Manor became the main label. Manor continued to use local talent, mostly for spiritual music. Of course, Manor became well known for making Savannah Churchill famous. Also for the origin of The Brown Dots and The Four Tunes. Other accomplished artists who had records on the Manor label are The Cats And The Fiddle, The Five Kings, The Coleman Brothers, Tiny Bradshaw, The Dixie Humingbirds, Manhattan Paul (Paul Bascomb), Silver Echo Quartet, Tab Smith Orchestra, The Selah Jubilee Singers, Joe Medlin, The International Sweethearts Of Rhythm, Luis Russell Orchestra, Ida James, and Joe Morris Orchestra. Manor Records was renamed Arco Records in 1949. Arco stands for American Record Company. Much of what was on the Arco label had been previously released on Manor, especially the Savannah Churchill sides. Irving Berman closed the door to his record making career in 1950.

Above Right: MISSISSIPPI ENTERPRISE, June 30, 1945. HERE they are, the greatest hit show of the 1945 Spring season, the superlative Big "3" Unit which is set for a tour across the country—North, South, East, and West. Savannah Churchill, America's favorite song stylist and popular Manor Records best–seller, whose waxing of "Daddy, Daddy" and Irving Berlin's "All Alone", is tops, will be featured with "Deek" Watson and His Brown Dots, the quartet that N.Y. critics hailed as "the singing favorites of the nation". The Brown Dots recently recorded for Manor Records, "31 Miles For A Nickel", "Let's Give Love Another Chance", "For Sentimental Reasons", and "You're Heaven Sent". Luis Russell and His Orchestra, hailed as the "Hit Band of the Year", will round out this star–studded show. Russell's Manor recordings of "Boogie in the Basement", "You Taught Me How To Smile Again", along with "St. Louis Holiday", and "I Need Your Kind Of Loving" are first rate. Milton Buggs is the vocalist with the band. (NOTE: The records mentioned in the above newspaper article are Savannah Churhill's first release on Manor, The Brown Dots' first two Manor releases, and Luis Russell's first release on the label.) Above Direct Right: THE BILLBOARD, Jamuary 26, 1946. NOTE: Savannah Churchill and Deek Watson's Brown Dots were both selling well. Spiritual records, in general, were a hot commodity. It seems that there should have been many applicants interested in Irving Berman's Manor Records.

NOTE: The basis for the following Billboard article seems to be Irving Berman and the heavy output of gospel groups on his record labels. All of the groups mentioned had records on Berman's Regis or Manor labels or both.

THE BILLBOARD, December 22, 1945: PIE IN THE SKY... NEW YORK—"Having religion" and singing about it is paying off in lots of spice, everything nice — close to a million bucks worth annually, the Billboard listenee of gospel and spiritual singer's dollar notes revealed last week. Jam–packed 'houses, turnaway crowds, with cops on the run and sky–high admision prices form the gospel–singing pic today. From Coast to Coast — from barns and auditoriums out California way, to ballrooms, community centers, and locations here in the East, religious "noters" like the Southern Sons, Coleman Brothers, Georgia Peach and The Skylight Singers, Heavenly Gospelers, and Silver Echos, are singing for their supper — and it's a 12–course affair! Locations like the Golden Gate in New York, Laurel Garden in Newark, and spots thruout Pennsylvania and New England alone are putting 400–600 grand annually in the pockets of the gospel groaners.

(Continued) Pic's a lot different from the old days when a church organization, if hard pressed for coin, would either rehearse some of the congregation in the spirituals and charge the rest two bits or a half for the performance, or hire itself some local cracker–barrel quartet with a knowledge of the gospels at a fin [five dollars] or a tenner. Now the singers are getting a sizable chunk of the take and in many places it adds up. For example, Newark's Laurel Garden, with a seating capacity of 6,000, packs them in and turns them away twice a day — afternoon and evening at $1.50 and $1.75 prices every Sunday. Situash [the situation] goes for the rest of the country — sometimes less, other places, parts of the South, much higher. Promoting, except in a few cases, is still a church or society affair.

Above Left: Georgia Peach, also known as Sister Clara Hudmon, was from... yes, you guessed it... Atlanta, Georgia. She had one more record on Manor with the Skylight Singers (1946) and another with the Matchless Love Gospel Singers (1947). The Skylight Singers, on their own, had three records released on Manor (1946-1949). Above Right: Label image of Manor 1008-B, released in 1945. Miss Peach did the arrangement for both sides. Like many of Irving Berman's spiritual artists, Georgia Peach And The Skylight Singers sang in a manner that could successfully be converted to secular style. Examples of two that actually accomplished that cross-over were the Coleman Brothers and the Southern Sons, spiritual groups that both recorded for Manor. At Direct Right: The Skylight Singers, from Wilmington, North Carolina, started life in 1943 as "The Skylight Jubilee Singers". They also became known as "The Mighty Skylight Singers" and "The Skylight Singers Of New York". LISTEN (Windows Media Player): 1. "Does Jesus Care" - Georgia Peach And Skylight Singers - Manor 1008-B - 1945. 2. "The Road Is Mighty Rugged" - Georgia Peach And Skylight Singers - Manor 1008-A - 1945. BOTH SONGS played in sequence.

REGIS RECORDS

The first records on the Regis label were released in 1943 using a 3-digit numbering system. A prefix was used to designate the type of music (e.g. "S" meant Spiritual). Not long after, Regis changed to a 1000, 2000, 5000, 6000, and 7000 numbering series. The 2000 series was country and western (hillbilly) and the 5000 series was jazz. The 1000 series included both spiritual and blues. It's more difficult to discern the difference between the other series, except that they were rhythm and blues oriented. Clearly, Irving had big plans for Regis. THE BILLBOARD, Deember 5, 1942: ANOTHER DISK FIRM READYING CATALOG NEWARK, N.J.—A new small disk firm, Regina Records, Inc. [sic Regis Record Company], is reportedly being readied to do business here. Understood that company will specialize in colored spirituals, retailing at popular price. Irving Berman, of the G & R music store here, is known to be connected with the new enterprise, but Berman would only comment: "It's too early to say anything. We're making some masters next week... maybe then I'll have some details. . Nothing's quite set, shellac being what it is." Talent for the prospective waxings will be all Negro. Berman claimed that arrangements had already been made with semi-name sepian vocalists and a colored choir. THE BILLBOARD, February 20, 1943: ANOTHER DISK MANUFACTURER; SPIRITUALS ONLY NEWARK, N.J.—G. & R. Record Shop of this city has started to produce waxings of spiritual numbers. Disks are made and distributed under the Regis Label. Irving Berman, president of the corporation, claims four records a month are being produced. To date, 2,000 copies of each have been made, and Berman feels no reorders will be necessary until end of this month. Local talent is used to make disks and includes the singing of Sister Evangeline Washington and the Silver Echo Quartet. Guitar and piano backgrounds only. Disks [by the Silver Echoes ], retailing for 53 cents, are "Jezebel" and "Me and the Devil Had a Tussle", "Anyhow My Lord", and "Where I Shall Go?", [Disks by Washinbton are] "My Record Will Be There" and "The Lord Is My Shepherd" and "I'm Going Back to Jesus" backed by "Come Thru the Water and the Flood". Regis is stimulating sales by sponsoring programs over stations WHOM, Jersey City, and WPA, Paterson. At Right: THE BILLBOARD, December 9, 1944. NOTE: As shown here and other places on this page, Berman spared no expense in advertising his record labels and new releases in The Billboard trade magazine. THE BILLBOARD 1944 YEAR BOOK: Regis Record Company Home Office: 162 Prince Street, Newark 3, N. J. Home Office Executive: Irving Berman, Owner-President Mildred Berman, Treasurer

SILVER ECHO QUARTETTE — COLEMAN BROTHERS:

At Left: AFRO-AMERICAN, November 17, 1945. SANG ON BOND AND NAVY DAY PROGRAMS The Silver Echo Quartet, recording artists and a regular radio feature, shown [at left], appeared on the Navy Day program and the launching of the victory bond drive at Military Park in Newark last week. The singers are heard twice weekly over station WAAT. They are (left to right) Joe Floyd, tenor; James Smith, first tenor; William Reeves, bass; and Douglas Ward, guitar and first bass. (NOTE: WAAT was located in Jersey City, New Jersey.) Above: The Coleman Brothers, from Newark, New Jersey, on the air for CBS Radio in 1943. (Top L-R) Wallace, Danny Owens, Melvin, (Bottom L-R) Russell, Everette, and Lander. These are the members who recorded for Regis Records, but without Danny Owens. Per Disco-File, Owens never sang on any of their records. In 1946, he would become a member of The Sentimentalists (soon to become The Four Tunes), recording for the Manor label.

Above Left: Label image of Regis S-101-A, released in 1943. The arrangement is by Alton Bradley on both sides. This record was reisued on Manor 8019 circa 1946/1947. The Silver Echo Quartette had at least four records released on the Regis label. They also had eight records on the Manor label, some of these reissues of Regis sides. Above Right: Label image of Regis 105 B, released in 1943. The arangement, per the label, was by Melvin Coleman. The Coleman Brothers had two records on Regis (1943-1944) and six on Manor (1945-1947). Manor released a three-record album by them in 1945. The "Colemans" moved on to Decca Records in 1944. NOTE: During the war years, and even after, Irving Berman used whatever shellac that was available. From the sound of the records, he probably mixed in something else to extend the usable amount. LISTEN (Windows Media Player): 1. "Jezebel" - The Silver Echo Quartette - Regis S-101-A - 1943. 2. "Me And The Devil" - The Silver Echo Quartette - Regis S-101-B - 1943. 3. "It's My Desire" - Coleman Brothers - Regis 105 B - 1943. 4. "New What A Time" - Coleman Brothers - Regis 105 A - 1943. ALL FOUR SONGS played in sequence.

THE BILLBOARD, November 20, 1943: THE SILVER ECHO QUARTETTE (Regis S-101 and S-193) Jezebel; Me and the Devil; Anyhow, My Lord; Where Shall I Go. For true vocal treatment of the standard Negro spirituals, this new record label, the product of the Regis Record Company, Newark, N. J., has a winning group in the well-blended male voices of the Silver Echo Quartet. The rhythmic qualities of the spirituals are accented by guitar accompaniment, and the fact that the boys simulate the musical brass instruments, makes for a more colorful harmonic background to enhance their sustained harmonies. All, save the famous Jezebel (S-101), are slow blues spirituals. With the mechanical reproduction of the voices making for excellent tonal qualities in the spinning, the sides should enjoy wide favor with such music and record fans. THE BILLBOARD, January 29, 1944: COLEMAN BROTHERS (Regis) The new Regis label, devoted to the efforts of the race artists, introduces a new Negro spiritual quartet for the records in the Coleman Brothers. ...The Coleman Brothers offer spirituals up in the conventional a capella style with the inherent rhythmic qualities enhanced by a guitarist, who makes his presence known right at the edge of the spinning. These boys are on par with most of the other spiritual groups getting on records. And, as long as there is a sizable demand for such singing, those efforts should he warmly received.

Above Left: Label image of Manor 1054-A, released in March 1947. Above Right: Label image of Manor 1133-A, released in mid-1948. The arrangements on all four sides are by Alton Bradley. He was The Silver Echo Quartet's lead singer. Bradley left them in 1944 to join The Golden Gate Quartet. He was replaced by Joe Floyd. Both "Lord Help Me" and "Rock My Soul" were recorded prior to Bradley's leaving, so he should be the lead singer on these. Note the "General Office, New York..." in the bottom perimeter of the labels (see following blurb). THE BILLBOARD, December 28, 1946: MANOR MOVES TO NEW YORK OFFICES NEW YORK—Irving Berman's Manor Records label moved its exec and shipping offices this week from Newark to local quarters here formerly occupied by a defunct ARA distributor. New shelter will be shared by Broadway Record distribs (headed by Julius and Milton Schiff) which jobs Manor line in the East.... At Direct Right: Photo of the Golden Gate Quartet from the 1948 movie "A Song Is Born". (L-R) Connie Fredericks (playing piano), Alton Bradley, Henry Owens, Clyde Riddick, and Orlandus Wilson. LISTEN (Windows Media Player): 1. "Lord Help Me" - Silver Echo Quartet - Manor 1054-A - 1947. 2. "Hold In The Frame" - Silver Echo Quartet - Manor 1054-B - 1947. 3. "Rock My Soul" - Silver Echo Quartette - Manor 1133-A - 1948. 4. "Beaming From Heaven" - Silver Echo Quartette - Manor 1133-B - 1948. ALL FOUR SONGS played in sequence.

GOLDEN GATE QUARTET (1948)

Above: Label image of Manor 1003 B, released in 1945. It was also released in a 78-rpm three-record album as Manor 102 B in 1945. (More about this album is included in the next section below.) At Right: THE BILLBOARD, February 9, 1946. NOTE: "Greatest" and "Sensational" might have been exagerations, but the Coleman Brothers indeed do an excellent job. The problem is that background noise from the poor quality shellac distracts significantly from the singing. The dealers, however, could make a significant 40% profit ($1.12) per album sold.

Above Left: Label image of Manor 100 A, released in 1945. This is the same song as "He'll Understand" by The Sunset Jubilee Singers (1946); "He'll Understand And Say Well Done", by The Four Knights (1947); "Well Done! Well Done!" by The Jubalaires (1947); and "Well Done" by (Prof.) James Hines And His Good Will Singers (1948). The flip-side, "It's My Desire", had previously been released on the Regis label and is included further above. Above Right: Label image of Manor 102 B, released in 1945. These two records are from a three-record album on the Manor label (See further above). Compare this label to the one for the same song further above. The arrangement is by Melvin Coleman instead of Wallace and Irving Berman's name is included in the credit. Also note "Clark Record Co., Newark N.J." at the bottom instead of "Manor Record Co.". LISTEN (Windows Media Player): 1. "The End Of My Journey" - Coleman Brothers - Manor 100 A - 1945. 2. "Plenty Of Room In The Kingdom" - Coleman Brothers - Manor 102 B - 1945. 3. "I Can See Everybody's Mother But Mine" - Coleman Brothers - Manor 102 A - 1945. ALL THREE SONGS played in sequence.

CLARK RECORD COMPANY The president of "Clark Phonograph Record Company" was George H. Clark. Irving Berman was their "Manager". They were one of the first American pressers to experiment with synthetic substitutes for shellac during World War II rationing. After the war, Clark provided venture capital to Asch Records and foreclosed on their masters when the label went bankrupt in 1946. The rights to some of these masters were eventually sold to Berman. Why "Clark" would be shown on some of the Manor labels is somewhat of a mystery. Was the pressing of these records done by Clark? Was Clark invested in Manor or had some ownership in them? Some of the labels on Stinson Records, located in New York City, show "Mfd. By Clark Phonograph Record Co. Newark, N.J." Stinson, at one time, was distributed by Asch Records. Manor labels also showed "Manor Record Co., Newark, N.J." and, later, "Manor Record Company, General Office, New York 19, N.Y. U.S.A.". Eventually the space was used for "Unauthorized Public Performance, Broadcasting And Copying Prohibited".

EXTRA RECORD — THE COLEMANS

Above Left: The Coleman Brothers (photo is courtesy of Hans Joachim Krohberger). (At Direct Right is a close-up of Lander Coleman.) Other than Regis/Manor (1944-1947) and Regal (1950), The Coleman Brothers had records on Decca (1944-1947) and their own label, Coleman (1948-1949). Above Right: Label image of Regal 3297, released in September 1950. This is the first of two records that The Colemans had on Linden, New Jersey's Regal label. (Linden is located about ten miles south of Newark.) They had previously backed Paul Gayton on one Regal release as the "Coleman Brothers". Disco-File has Lander, Everette, Russell, and Wallace Coleman, along with A.J. Eldridge, as the singers on the Regal sides. Eldridge had replaced Melvin Coleman in the line-up. TRADE MAGAZINE, August 1950. REGAL PACTS COLEMAN BROTHERS LINDEN, New Jersey—Regal Records, this city, has inked the Coleman Brothers to a long-term contract. Signing was announced by diskery exec Fred Mendelsohn here this week. Group, which comes to the diskery under the guidance of Howard Biggs, will reportedly be given an intensive promotional push. Biggs, who stated that the unit was "the most versatile I've heard in a long time," has been instrumental in the success of the Ravens vocal group on the National label. The Colemans are slated to cut sides both as featured artists and as vocal background for other artists in the Regal stable. Their premier wax, "Goodnight, Irene" with the Paul Gayten ork, has already made a dent on some r.&b. territorial charts, and threatens to break out big any day now. The Billboard Review (11/18/50): THE COLEMANS - REGAL 3297.... You Know I Love you, Baby (78) A fine group delivers a slow, rocking blues in convincing fashion. Figures to attract coin mainly in city locations. I Don't Mind Being All Alone (84) The group sparks a 1ive, ever-moving reading of this revived oldie. Could pick up strong play on strength of the fired performance. (NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "excellent".) LISTEN (Windows Media Player): 1. "I Don't Mind Being All Alone" - The Colemans - Regal 3297 - 1950. 2. "You Know I Love you, Baby" - The Colemans - Regal 3297 - 1950. BOTH SONGS played in sequence.

TINY BRADSHAW AND HIS ORCHESTRA:

WEEKLY REVIEW (Birmingham, Alabama), AUGUST 24, 1946 — TINY BRADSHAW AND HIS ORCHESTRA

Above: Tiny Bradshaw And His Orchestra. The words on the drum are "Jersey Bounce", a song co-composed and recorded by Tiny that was a big hit for him in 1942. Tiny had two records on Regis, released consecutively in 1944. One of these was reissued two more times, as well as three new records, on the Manor label. NOTE: Extensive coverage of Tiny Bradshaw is in the King Records - Part Three article. MICHIGAN CHRONICLE, July 1, 1944. TINY BRADSHAW WAXES SOME NEW TUNES FOR FANS NEW YORK—Tiny Bradshaw, composer of "The Jersey Bounce", is keeping on the "bounce" trend; which was very significant in the maestro's first and recent recording date. The Redhead with his famous band that is currently a smash hit at Harlem's Savoy ballroom waxed four sides. They included "Salt Lake City Bounce", "Bradshaw Bounce", "After You've Gone" (an old favorite done in the unique Bradshaw style), and the popular tune, "Straighten Up and Fly Right". Made famous after being introduced by the celebrated King Cole Trio, the "Straighten" piece puts Bradshaw in the famous firsts catagory. Although played by every name band in the business the juke box rave "Straighten Up and Fly Right" wasn't recorded until Tiny Bradshaw made the disc. The quartet of tunes will be released by Regis Record company next week. The Bradshaw record deal was set by the band leader's personal manager, Dick Boone. Records sound fine and put the "King of the Jitterbugs" on the "Jersey" side as did the "Jersey Bounce. At Right: Label image of Regis 1011 A, released in 1944. "Straighten Up And Fly Right" was recorded by many artists, but the Nat King Cole Trio's 1943 version was the biggest hit. It was written by Cole and Irving Mills. The flip-side, "Bradshaw Bounce", is an instrumental. The song is not listed at BMI.com, which seems to be a customary non-action for Irving Berman's Regis sides. Perhaps it's because he didn't own a publishing company. LISTEN (Windows Media Player): 1. "Straighten Up And Fly Right" - Tiny Bradshaw And His Orchestra - Regis 1011 A - 1944. 2. "Bradshaw Bounce (Instrumental)" - Tiny Bradshaw And His Orchestra - Regis 1011 B - 1944. BOTH SONGS played in sequence.

GENE PHIPPS AND HIS ORCHESTRA:

Above Left: SUNDAY NEWS (Ridgewood, New Jersey), May 20, 1945. Gene Phipps. NOTE: Gene, from Northern New Jersey, was a saxophone player, orchestra leader, and composer. He had the first two records released on Regis' 1000 series, his entire recording output. Above Right: Label image of Regis 1001-B, released in 1944. This record was reissued on Manor 1072 in 1947. The "Irving" shown on the label is Josh Irving, the featured vocalist in Phipp's orchestra at the time. As previously mentioned, "G. & R." was the name of Irving Berman's record store. However, the lyrics in the song have no relation to it's title. Both sides were composed by Gene Phipps. Josh Irving again does the vocal on the flip-side, "After Hour Bounce". Again, it seems that Berman neglected to register the titles at BMI. At Direct Right: CHARLOTTE OBSERVER, April 21, 1946. THE NEWS (Paterson, New Jersey), December 9, 1944: ....announced that the popular recording star, Gene Phipps and his orchestra will be present to furnish dance music. This band, which features the popular Johnson Lee, has created a sensation in Northern New Jersey dancing circles with its versatility of modern dance arrangements.... LISTEN (Windows Media Player): 1. "G. & R. Blues" - Gene Phipps - Regis 1001-B - 1944. 2. "After Hour Bounce" - Gene Phipps - Regis 1001-A - 1944. BOTH SONGS played in sequence.

Above Left: Photo of Gene Phipps. Above Right: WILMINGTON MORNING STAR (Wilmington, North Carolina), November 24, 1945.

TIMMIE ROGERS — TAB SMITH — TREVOR BACON:

Above Left: Photo of Timmie Rogers, who was a comedian, singer, tiple player, dancer, and actor. His catchphrase was "Oh Yeah", which was sometimes used as a middle name. After his work with Regis Records, he recorded for the Excelsior and Majestic labels. In 1957, Timmie scored a hit with "Back To School Again" on the Cameo label. Above Right: Photo of Tab Smith, who was a saxophone player, bandleader, composer, and arranger. He played for the Count Basie and Lucky Millinder orchestras, among others, before going out on his own. Tab's orchestra recorded for several labels, including Regis and Manor, before finding a home at Chicago's United Records in the 1950s.

At Direct Left: THE BILLBOARD, December 29, 1945. Above Left: Label image of Regis 7001 A, released in 1945. Above Right: Label image of Regis 7000 A, released in November 1945. At Direct Right: Photo of Trevor Bacon, who had been vocalist for Lucky Millinder's orchestra. Trevor had at least one more record on Regis with Tab Smith's orchestra (see next below), that one was reissued on the Manor label. NEW PITTSBURGH COURIER, March 10, 1945: ....Timmie Rogers and Savannah Churchill recorded four sides for Manor Records last week, with one of Timmie's being the increasingly popular original "Daddy-O".... (NOTE: Timmie composed "Daddy-O".) LISTEN (Windows Media Player): 1. "Good Deal" - Timmie Rogers And His All Star Orchestra - Regis 7001 A - 1945. 2. "Daddy-O" - Timmie Rogers And His All Star Orchestra - Regis 7001 B - 1945. 3. "The Things You Are" - Tab Smith And His Orchestra (Vocal By Trevor Bacon) - Regis 7000 A - 1945. 4. "Tab Steps Out (Instrumental)" - Tab Smith And His Orchestra - Regis 7000 B - 1945. ALL FOUR SONGS played in sequence.

Above Left: Photo of Tab Smith, also known as Tubby "Tab" Smith. Above Middle: MACON NEWS (Macon, Georgia), April 5, 1945. (Trevor Bacon) NOTE: Tragically, Trevor would be killed in an auto accident on April 14, 1945. Above Right: Label image of Regis 1015 B, released in December 1944. Both sides of this record were composed by Trevor Bacon. The record was reissued on Manor 1010 in 1945 as "Tab Smith And His Orchestra". And there was also another record, Manor 1097, released in 1947. Tab Smith and Trevor Bacon shared a fifty-fifty ownership of their seven piece ensemble, hence the equal depiction of their names on the label. Tab played the saxophone and Trevor played guitar and was vocalist. Except for this one record, their orchestra was never known as "Rendezvous Sextet". At Direct Right: MACON NEWS (Macon, Georgia), April 8, 1945. TAB SMITH ORK., FEATURING TREVOR BACON HERE Tab Smith Orchestra featuring Trevor Bacon, vocal sensation.... will be here at the Macon auditorium Tuesday, April 17, at 7:30 p.m. Tab Smith and his musical aggregation will make their debut.... on the heels of their reent tremendous success with the Decca recording, "You Lovely You". Tab Smith, hailed as one of the newest and most alluring artists of his day will thrill you with such numbers as "I'll Live True To You" and "Rosalie" [the above "Rosa Lee"?], with Trevor Bacon as the steller vocalist.... LISTEN (Windows Media Player): 1. "Rosa Lee (Blues)" - Rendezvous Sextet Featuring Tab Smith And Trevor Bacon - Regis 1015 B - 1944. 2. "I Was Wrong" - Rendezvous Sextet Featuring Tab Smith And Trevor Bacon - Regis 1015 A - 1944. BOTH SONGS played in sequence.

CATS AND THE FIDDLE — HAL MITCHELL AND HIS ORCHESTRA:

Above Left: 1941 photo of The Cats And The Fiddle , (L-R) Chuck Barksdale, Ernie Price, Tiny Grimes, and Austin Powell (photo is courtesy of Paul Ressler). Their first records were released on RCA Victor's subsidiary label, Bluebird (1939-1942). Many of these were also released on the Montgomery Ward label (1940-1941). The Cats And The Fiddle had ten records on Regis/Manor (1946-1948). Click HERE for an article about THE CATS AND THE FIDDLE by Marv Goldberg. (Will open in a separate window)

Above Right: Photo showing Hal Mitchell, who was from Newark, New Jersey. He was a trumpeter, composer, and bandleader. Hal is the trumpet player in the back of this photo. He had played trumpet for "The Savoy Dictators", a Newark orchestra, in the late 1930s. Later, in the early 1950s, Hal recorded for the Debut label as "The Hal Mitchell Four". He had the one record on the Regis label. Also, two records on Manor, one as "Hal Mitchell's New Dictators" and one as "Hal Mitchell And The Madmen".

THE BILLBOARD — APRIL 27, 1946.

Above Left: Label image of Regis 6000-B, released in February 1946. Unknown to me why this specific record was issued with a black and silver label. The record (both sides) was reissued on Manor 6000-A/B in 1946 and Arco 1265 in 1950. Hank Hazlet, a member of the group, composed "My Sugar's Sweet To Me". The flip-side,"I Miss You So", was originally released by The Cats And The Fiddle on the Bluebird label, an RCA Victor subsidiary, in 1940. The Regis version pales in comparison. The song was written by Jimmy Henderson, an original member of the group. RCA Victor reissued the original version in December 1946 and again in 1955. Disco-File identifies the Bluebird members as Chuck Barksdale, Jimmy Henderson, Austin Powell, and Ernest Price. The Regis members are given with the Detroit Tribune article further below. Above Right: Label image of Regis 6001 A, released in 1946. Mamie Miller does the vocal on the front side. The flip-side, "Blitzkreig", an instrumental, was composed (per the label) by Hal Mitchell and Irving Berman. BMI lists ten "Blitzkreig" titles, but none are this one. It was the first of many times, that Berman would add his name to writer credits on his labels. ZANESVILLE SIGNAL (Zanesville, Ohio), January 28, 1946: Tin Pan Alley is talking about a femme newcomer "find." Her name is Lucille Boone, a Colored lass with talent... Leeds Publishing Co. bought her blues number, "Put Your Brakes On, Poppa", which Louis Jordan recorded for Decca... Four top bands are readying platters of it... Another of her songs, "Not Now But Soon", was published by Duo Music... Cy Oliver [sic "Sy"] is rushing an arrangement of it for T. Dorsey... Other firms are bidding for Lucille's "My Heart's Still the Same", "Me and My Blues", and "Let's Deliver the Jam" (a swell jump rhythm) ... Tin Pan Alley is excited about her genius... But she won't quit her steady job at the Golden Fiddle, a Hungarian night club at 77th St. and Broadway... She is the attendant in the powder room. At Direct Right: Label image for The Cats And The Fiddle's Bluebird version of "I Miss You So", recorded on December 7, 1939 and released in May 1940. LISTEN (Windows Media Player): 1. "My Sugar's Sweet To Me" - The Cats And The Fiddle - Regis 6000-B - 1946. 2. "I Miss You So" - The Cats And The Fiddle - Regis 6000-A - 1946. 3. "I Miss You So" - The Cats And The Fiddle - Bluebird B-8429-B - 1940. 4. "Put Your Brakes On Papa" - Hal Mitchell And His Orchestra (Vocal By Mamie Miller) - Regis 6001 A - 1946. 5. "Blitzkreig (Instrumental)" - Hal Mitchell And His Orchestra - Regis 6001 B - 1946. ALL FIVE SONGS played in sequence.

DETROIT TRIBUNE, November 9, 1946: CATS AND THE FIDDLE (See accompanying picture at right) {NOTE: This is the group that recorded for Regis. (Top L-R) George Steinbeck, Pee Wee Brantford, (Bottom L-R) Ernie Price, and Hank Hazlet.} The Cats And The Fiddle — four boys and four instruments, who began an engagement at Sportree's Music Bar on November 7. Originally a Chicago group and well known in theatres and night clubs in the mid-west, the boys had to travel all the way to the Pacific Coast to really make their mark a few years ago. They were featured in movie shorts and full length features and recorded for Victor–Bluebird records. All four boys are instrumentalists, playing a bass fiddle, tiple, and two guitars, while blending their rich voices. Below: COURIER NEWS (Bridgewater, New Jersey), September 19, 1936. (Mamie Miller)

Above Left: THE BILLBOARD, March 2, 1946. NOTE: For sure, Irving Berman did not skimp on his advertising in The Billboard magazine! Above Right: THE BILLBOARD, May 18, 1946. NOTE: Two months after the above, The Cats And The Fiddle have moved from Regis to the Manor label.

Above Left: Label image of Manor 1023-B, released in June 1946. "Romance Without Finance" was composed by Tiny Grimes, a member of The Cats And The Fiddle when they were on the Bluebird label in 1940/1941. The Phil Moore Four had a hit with the song in 1946. Grimes later performed the song with Charlie Parker, released on the Savoy label in 1948. The flip-side's label shows "Duke" as the composer of "Life's Too Short". Wonder if this might be a homage to Duke Ellington? BMI lists 322 "Life's Too Short" titles, but none of those songwriters has "Duke" in their name. Above Right: Label image of Manor 1086-B, released in 1946. Both sides were composed by Austin Powell, a member of the Manor group. Disco-File gives Pee Wee Brantford, Austin Powell, Ernest Price, and George Steinbeck as the personnel on the above two records. Manor stayed with this basic style label design throughout it's life, using black with silver or gold printing. At Direct Right: PITTSBURGH COURIER, September 14, 1940: CHICAGO SINGS "I MISS YOU SO" Taking the swingistical trail Eastward this week are Chicago's Cats and the Fiddle, who journey to New York for a stand at the recently remodeled Apollo theater. The Cats stopped off in the Windy City on the week-end to say hello, coming from the Silver Congo, in Sioux City, Iowa, where they recently closed.... Photo: (L-R) Chuck Barksdale, Tiny Grimes, Ernest Price, and Austin Powell. It's interesting that Grimes played guitar with The Regis All-Stars on Regis 7002 in 1945. It really was an "All Star" aggregation which included Clyde Hart (piano), Denzil Best (drums), Oscar Pettiford (bass fiddle), Charlie Shavers (trumpet), Ed Hall (clarinet), and Coleman Hawkins (tenor sax). LISTEN (Windows Media Player): 1. "Romance Without Finance" - The Cats And The Fiddle - Manor 1023-B - 1946. 2. "Life's Too Short" - The Cats And The Fiddle - Manor 1023-A - 1946. 3. "Darling Can't We Make A Date" - The Cats And The Fiddle - Manor 1086-B - 1947. 4. "You're So Fine" - The Cats And The Fiddle - Manor 1086-A - 1947. ALL FOUR SONGS played in sequence.

Above: THE BILLBOARD, July 13, 1946. NOTE: Even though the Manor label is active, the business is still named the "Regis Record Company".

NOTE: Restoration of photos, clippings, and record label images is by Tony Fournier. Many of the audio files used in this Manor Records' series of articles were restored by Dave Saviet.

Listen to this article's audio selections using Windows Media Player:           1. "Does Jesus Care" - Georgia Peach And Skylight Singers - Manor 1008-B - 1945.           2. "The Road Is Mighty Rugged" - Georgia Peach And Skylight Singers - Manor 1008-A - 1945.           3. "Jezebel" - The Silver Echo Quartette - Regis S-101-A - 1943.           4. "Me And The Devil" - The Silver Echo Quartette - Regis S-101-B - 1943.           5. "It's My Desire" - Coleman Brothers - Regis 105 B - 1943.           6. "New What A Time" - Coleman Brothers - Regis 105 A - 1943.           7. "Lord Help Me" - Silver Echo Quartet - Manor 1054-A - 1947.           8. "Hold In The Frame" - Silver Echo Quartet - Manor 1054-B - 1947.           9. "Rock My Soul" - Silver Echo Quartette - Manor 1133-A - 1948.         10. "Beaming From Heaven" - Silver Echo Quartette - Manor 1133-B - 1948.         11. "The End Of My Journey" - Coleman Brothers - Manor 100 A - 1945.         12. "Plenty Of Room In The Kingdom" - Coleman Brothers - Manor 102 B - 1945.         13. "I Can See Everybody's Mother But Mine" - Coleman Brothers - Manor 102 A - 1945.         14. "I Don't Mind Being All Alone" - The Colemans - Regal 3297 - 1950.         15. "You Know I Love you, Baby" - The Colemans - Regal 3297 - 1950.         16. "Straighten Up And Fly Right" - Tiny Bradshaw And His Orchestra - Regis 1011 A - 1944.         17. "Bradshaw Bounce (Instrumental)" - Tiny Bradshaw And His Orchestra - Regis 1011 B - 1944.         18. "G. & R. Blues" - Gene Phipps - Regis 1001-B - 1944.         19. "After Hour Bounce" - Gene Phipps - Regis 1001-A - 1944.         20. "Good Deal" - Timmie Rogers And His All Star Orchestra - Regis 7001 A - 1945.         21. "Daddy-O" - Timmie Rogers And His All Star Orchestra - Regis 7001 B - 1945.         22. "The Things You Are" - Tab Smith And His Orchestra (Vocal By Trevor Bacon) - Regis 7000 A - 1945.         23. "Tab Steps Out (Instrumental)" - Tab Smith And His Orchestra - Regis 7000 B - 1945.         24. "Rosa Lee (Blues)" - Rendezvous Sextet Featuring Tab Smith And Trevor Bacon - Regis 1015 B - 1944.         25. "I Was Wrong" - Rendezvous Sextet Featuring Tab Smith And Trevor Bacon - Regis 1015 A - 1944.         26. "My Sugar's Sweet To Me" - The Cats And The Fiddle - Regis 6000-B - 1946.         27. "I Miss You So" - The Cats And The Fiddle - Regis 6000-A - 1946.         28. "I Miss You So" - The Cats And The Fiddle - Bluebird B-8429-B - 1940.         29. "Put Your Brakes On Papa" - Hal Mitchell And His Orchestra (Vocal By Mamie Miller) - Regis 6001 A - 1946.         30. "Blitzkreig (Instrumental)" - Hal Mitchell And His Orchestra - Regis 6001 B - 1946.         31. "Romance Without Finance" - The Cats And The Fiddle - Manor 1023-B - 1946.         32. "Life's Too Short" - The Cats And The Fiddle - Manor 1023-A - 1946.         33. "Darling Can't We Make A Date" - The Cats And The Fiddle - Manor 1086-B - 1947.         34. "You're So Fine" - The Cats And The Fiddle - Manor 1086-A - 1947.             ALL THIRTY-FOUR ABOVE SONGS played in sequence.           ALL THIRTY-ONE ABOVE REGIS/MANOR LABEL SONGS played in sequence.           At Right: THE BILLBOARD, May 4, 1946. MANOR/REGIS CATALOGUE           (NOTE: Right-click on image and select "Open in a new tab" for larger, easier to read view.)

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