Here’s the subject of our inquiry himself — inscribing a portrait to . . . . Hadley?  Hadey (as in “Hayden”?).  No reasonable suggestion refused:

And here’s Conrad Thibault:

That man might be unfamiliar to most people (Rob Rothberg recognized him immediately) but he was exceedingly popular on radio from the Thirties onward — the classically trained baritone (1903-1987).

You can hear Thibault (from a fascinating site called “Grandpa’s iPod”) as he sounded in July 1943 on a radio program, THE AMERICAN MELODY HOUR:


The best part of the photograph above, aside from the soft focus so characteristic of portraits of the time, and the sharp suit, is the inscription: even though Thiebault was hardly a jazz singer, he knew HOT when he heard it in Leo’s playing!

Don Voorhees (1903-89) is more well-known because of his dance / hot dance recordings of the Twenties, his radio work of the following decades, and his work with THE BELL TELEPHONE HOUR.  I presume that Leo could be heard on some of the Twenties recordings, and this photograph is especially interesting to me because it suggests that everyone in the music business who knew Leo knew that he yearned to leave it (perhaps when he’d made enough money to be comfortable) and start his own chicken farm.  Voorhees teases him about that rural dream on a portrait that is almost unnervingly intense:

Finally, there’s Harry Glantz — the memorable first-chair symphonic trumpeter who was chosen by Arturo Toscanini.  A delightful biographical sketch of Glantz (1896-1982) can be found here:


I didn’t know much about Mister Glantz before this, although I recognized the name — but have to conclude with this puckish anecdote, recalled by one of his students, Joe Alessi, Sr.:

Joe would come into his lessons and say politely, “Hello Mr. Glantz!”  Mr. Glantz would reply in a friendly tone, “Call me Harry!”  They would get down to business, and of course, out of respect, Joe was not going to call him Harry.  Next lesson… “Hello Mr. Glantz!”… “Call me Harry!”  This went on for some weeks. Joe finally got up the courage to enter the lesson and said “Hello Harry!”To which Harry shouted “Call me MISTER GLANTZ!!

And Chris Griffin remembered Harry in a 2005 ALL ABOUT JAZZ interview:  “Probably the greatest first trumpet player the New York Philharmonic ever had was a guy named Harry Glantz,” said Griffin with a smile.  “He was a friend of Benny’s.  He came in to hear the Benny Goodman band in the Paramount Theater.  He got Benny’s ear afterwards and he said, ‘What the hell do you feed those trumpet players?  Raw meat?'”

They all knew and respected Leo McConville, Sr.!


  1. A couple of comments about Harry Glantz. In 1920-21 he recorded about eight sides with Ben Selvin. [one of the recordings was titled Afghanistan!!] Harry was the nephew of sax player and band leader Nathan Glantz.
    A couple of comments about the photo of Glantz. It is taken at the Apeda studio, a New York studio that took photographs of several 1920s dance bands. One particularly interesting Apeda photo is found in http://tinyurl.com/643yjj6 This is a photo taken in the New York Gennett studio and includes Miff Mole and Nick Lucas.
    There are two dates in the Harry Glantz photo. 10/30/34. This is probably the date when the photo was taken. The other date, Sep 28, 1936 is the date when Harry signed the photo for Leo. It would seem reasonable to infer from this that Leo was in New York in 1936 when Harry signed the photo and gave it to Leo. Therefore, my suggestion that the “Pet Milk” photo in The McConville Archives, part three is from 1936 gains additional credence.

  2. … just want to say how much I have enjoyed looking and learning from these marvelous early photographs from The Leo McConville Sr. and Jr. Collection as well as from the many conversations/writings (yours, Michael, and comments from your many knowledgeable readers) elevating the importance of these photographs. Your blog Jazz Lives is facinating and all encompassing. And how gracious of Leo Jr. to share them with us. Thank you very, very much! mb

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