The format of these videos might change in the coming weeks. Acoustical Machines require more hands on work, especially ones who's breaks are shot. Who knows, I might make these Grafonola videos with a slideshow sort of thing.
Of the many house bands and studio orchestras of the 1920s and 1930s, two of them usually come to mind by collectors, Ben Selvin and Nat Shilkret. Nathaniel 'Nat' Shilkret, was the director of house bands for Victor going back as early as the mid 1900s, up to the mid 1940s. Being a Director in Sousa's band at one point, as well as being behind the majority of unnamed \"orchestra backing\" or \"orchestral accompaniment\" for foreign or operatic records on Victor and Victrola in the 1910s and doing occasional songwriting. As well as being in charge of the All Star Orchestra, Victor Salon Orchestra, Victor Symphony Orchestra, His Main Orchestra, and the Shilking Orchestra during the 1920s through 1940s. All of which having recording exclusively for Victor. The Victor Orchestra strangely enough though would have a few sides from 1928 and 1929 re-released on Montgomery Ward in 1939.
The Victor Orchestra is the one that would have the most of all the bands' Shilkret directed, having A ton of hits, so I'll only list some here. Dancing With Tears In My Eyes in 1930, Diane in 1927, All Alone Monday in 1927 (my all time favorite), Jeannine in 1928, One Alone in 1927, Delishious in 1932, June Brought Me The Roses in 1925, Get Happy in 1930, Maybe in 1927, The Wooden Soldier And The China Doll in 1932, l Apologize in 1931, On The Riviera in 1926, The Doll Dance in 1927, I Can't Give You Anything But Love in 1928, and many others.
Bernie Cummins was one of the more unique-yet lesser known about bandleaders of the late 1910s to late 1930s. Not just because he used to be a boxer and prizefighter before taking to the baton and drums, but because of his personality and character, which made him stand out in a ton when doing engagements. He had a pseudo-band known as Karl Radlach's Orchestra, but he also had His New Yorker Hotel Orchestra, being his main orchestra. Also of note is that he was a manager for The Wolverines at one point too.
His New Yorker Hotel Orchestra started out was his first and main orchestra in 1919, But this was well before the New Yorker even opened up. 5 years after forming, in 1924 they would get their first records on Gennett and Claxtonola. His orchestra's name on the records would be tailored to where-ever they were linked with at the time, including Toadstool Inn, Biltmore Hotel, and other places like it, but most of the time would just go as \"Bernie Cummins' and his orchestra\". Staying on both until 1927, when his orchestra would leave for Brunswick. They would stay and record there until late 1928, which is where they appeared mainly as the Biltmore Hotel Orchestra. In 1929 they would leave Brunswick for Victor, having some of their records released overseas on His Master's Voice. As The New Yorker Hotel opened up in 1930, they would again change their name in response to it. All through this time having the same roster from the start. After 1931, the depression started to affect the band more, and they would soon fall apart. There would be a few sides unreleased of theirs from previous years that would be released on victor up into 1933 though. He would form a second main orchestra in 1937, recording for the ARC until it's eventual collapse in mid 1938.
He only had one hit, and that was Absence Makes The Heart Grow Fonder in 1930.
The A Side is called Absence Makes The Heart Grow Fonder by Bernie Cummins which you can listen to here: https://youtu.be/ZtzLgkLdLbE
