਀㰀栀琀洀氀㸀 ਀㰀洀攀琀愀 栀琀琀瀀ⴀ攀焀甀椀瘀㴀∀䌀漀渀琀攀渀琀ⴀ吀礀瀀攀∀ 挀漀渀琀攀渀琀㴀∀琀攀砀琀⼀栀琀洀氀㬀 挀栀愀爀猀攀琀㴀眀椀渀搀漀眀猀ⴀ㄀㈀㔀㈀∀㸀 ਀㰀䴀䔀吀䄀 一䄀䴀䔀㴀∀搀攀猀挀爀椀瀀琀椀漀渀∀ 䌀伀一吀䔀一吀㴀∀䘀刀䄀一䬀 䴀䔀䰀刀伀匀䔀∀㸀 ਀㰀䴀䔀吀䄀 一䄀䴀䔀㴀∀爀愀琀椀渀最∀ 䌀伀一吀䔀一吀㴀∀最攀渀攀爀愀氀∀㸀 ਀㰀䴀䔀吀䄀 一䄀䴀䔀㴀∀漀戀樀攀挀琀琀礀瀀攀∀ 䌀伀一吀䔀一吀㴀∀䠀漀洀攀瀀愀最攀∀㸀 ਀㰀䴀䔀吀䄀 䠀吀吀倀ⴀ䔀儀唀䤀嘀㴀∀最攀渀攀爀愀琀漀爀∀ 䌀伀一吀䔀一吀㴀∀一匀䄀∀㸀 ਀㰀琀椀琀氀攀㸀䘀刀䄀一䬀 䴀䔀䰀刀伀匀䔀㰀⼀琀椀琀氀攀㸀 ਀㰀戀漀搀礀 戀最挀漀氀漀爀㴀∀⌀昀昀昀昀昀昀∀ 氀椀渀欀㴀∀⌀    昀昀∀ 瘀氀椀渀欀㴀∀⌀㌀㌀㌀㌀㤀㤀∀ 琀攀砀琀㴀∀⌀      ∀ 戀愀挀欀最爀漀甀渀搀㴀∀戀愀挀欀⸀樀瀀最∀  琀漀瀀洀愀爀最椀渀㴀  氀攀昀琀洀愀爀最椀渀㴀㄀ 㸀 ਀㰀挀攀渀琀攀爀㸀



਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀ ∀ 戀愀挀欀最爀漀甀渀搀㴀∀昀洀攀氀爀漀猀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㐀㜀㐀∀ 栀攀椀最栀琀㴀∀㄀㈀ ∀㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀洀椀搀搀氀攀∀ 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㘀∀㸀㰀戀㸀刀愀最琀椀洀攀 뜀 䈀氀甀攀猀 뜀 䠀漀琀 倀椀愀渀漀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀戀爀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㘀∀㸀㰀戀㸀☀⌀㠀㈀㈀ 㬀䬀愀渀猀愀猀 䌀椀琀礀 䘀爀愀渀欀☀⌀㠀㈀㈀㄀㬀 䴀攀氀爀漀猀攀㰀⼀戀㸀㰀⼀昀漀渀琀㸀 ਀㰀⼀琀爀㸀 ਀㰀瀀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 眀椀搀琀栀㴀㌀㠀  愀氀椀最渀㴀爀椀最栀琀㸀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㌀⸀栀琀洀氀⌀爀攀挀爀攀挀㈀∀㸀㰀椀洀最 猀爀挀㴀∀搀漀挀搀ⴀ㔀㔀㤀㜀猀洀⸀樀瀀最∀ 愀氀椀最渀㴀∀爀椀最栀琀∀ 栀攀椀最栀琀㴀∀㈀  ∀ 眀椀搀琀栀㴀∀㈀  ∀ 戀漀爀搀攀爀㴀∀㄀∀ 愀氀琀㴀∀䌀氀椀挀欀 栀攀爀攀 琀漀 瘀椀攀眀 搀攀琀愀椀氀猀 漀昀 䌀䐀∀㸀㰀⼀愀㸀 ਀㰀⼀琀爀㸀
Click here to view details of CD਀㰀⼀琀搀㸀 Frank Melrose
਀㰀瀀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀ ∀ 戀愀挀欀最爀漀甀渀搀㴀∀昀洀洀甀猀椀挀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㄀㜀∀ 栀攀椀最栀琀㴀∀㠀 ∀㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀洀椀搀搀氀攀∀ 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀☀渀戀猀瀀㬀㰀愀 栀爀攀昀㴀∀洀愀爀欀攀琀昀洀⸀洀瀀㌀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀㸀㰀戀㸀䴀䄀刀䬀䔀吀 匀吀刀䔀䔀吀 䨀䤀嘀䔀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀愀㸀㰀戀爀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀㸀㰀戀㸀☀渀戀猀瀀㬀瀀氀愀礀攀搀 戀礀 ☀⌀㠀㈀㈀ 㬀䬀愀渀猀愀猀 䌀椀琀礀 䘀爀愀渀欀☀⌀㠀㈀㈀㄀㬀 䴀攀氀爀漀猀攀㰀⼀戀㸀㰀⼀昀漀渀琀㸀 ਀㰀⼀琀爀㸀
“KANSAS CITY FRANK” MELROSE
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਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀琀漀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

INTRODUCTION

Early in 2000 I had the great pleasure of corresponding with Ida Melrose Shoufler, Frank Melrose’s surviving daughter. The link and friendship with her continues and she is keen to provide detailed information about her father. Although Ida was only two years of age when Frank tragically died, both she and Frank’s wife, Frances Sacerich constantly reminisced about him. With the assistance of Ida and noted California drummer Hal Smith, together with archived documents of the late Dr. John Steiner and Pete Daily — here is the Frank Melrose chronicle.

Franklyn Taft Melrose was born in Sumner, Illinois, on 26th November 1907. He was the third son born to Frank H. and Mollie Melrose. He also had a younger brother Lee and sisters Muriel, Mamie, and Belle. In 1918 his two elder brothers, Walter and Lester went into partnership with M. L. Blumenthal, better known as Marty Bloom, to form The Melrose Brothers Music Company. There is no evidence that Frank had any business connections with the company.

Frank attended Bridgeport Township High School where he attained high academic marks in all subjects. Classes attended included, English 1 and 2, Latin 1 and 2, algebra, geometry, ancient history, medieval history, modern history and orchestra. Frank’s first instrument was the violin, which he took up at the age of six or seven. He received formal tutelage from a music teacher and he quickly became very proficient on this instrument. So much so, that when he was about ten years old he represented his district at a violin contest in St. Louis. At sixteen, he was class President of his school.

© 2000 Mike Meddings

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀
਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㌀㔀 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀㄀㔀 挀攀氀氀猀瀀愀挀椀渀最㴀 㸀
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㬀樀愀洀 猀攀猀猀椀漀渀猀☀⌀㠀㈀㈀㄀㬀 眀椀琀栀漀甀琀 眀漀爀爀礀椀渀最 愀戀漀甀琀 搀椀猀琀甀爀戀椀渀最 琀栀攀 渀攀椀最栀戀漀爀猀⸀㰀戀爀㸀㰀戀爀㸀䴀礀 猀椀猀琀攀爀 䘀爀愀渀挀攀渀攀Ⰰ 洀礀 戀爀漀琀栀攀爀 䘀爀愀渀欀氀椀渀 愀渀搀 洀礀猀攀氀昀Ⰰ 眀攀爀攀 愀氀氀 戀漀爀渀 椀渀 琀栀愀琀 栀漀甀猀攀⸀ 伀渀攀 漀昀 琀栀攀 爀攀愀猀漀渀猀 洀礀 搀愀搀 眀攀渀琀 琀漀 眀漀爀欀 愀猀 愀 洀愀挀栀椀渀椀猀琀 眀愀猀 琀漀 洀愀欀攀 洀漀爀攀 洀漀渀攀礀 猀漀 琀栀攀礀 挀漀甀氀搀 椀洀瀀爀漀瘀攀 琀栀攀椀爀 栀漀洀攀 愀渀搀 栀愀瘀攀 愀 戀攀琀琀攀爀 氀椀昀攀 猀琀礀氀攀⸀ 吀栀攀礀 搀椀搀 椀渀 昀愀挀琀 漀爀搀攀爀 猀攀瘀攀爀愀氀 琀栀椀渀最猀 昀漀爀 琀栀攀 栀漀洀攀 昀爀漀洀 愀 挀愀琀愀氀漀最 琀漀 洀愀欀攀 琀栀攀 栀漀甀猀攀 愀 ☀⌀㠀㈀㈀ 㬀栀漀洀攀☀⌀㠀㈀㈀㄀㬀⸀ 吀栀攀 椀琀攀洀猀 琀栀攀礀 漀爀搀攀爀攀搀 挀愀洀攀 漀渀攀 眀攀攀欀 愀昀琀攀爀 洀礀 昀愀琀栀攀爀 搀椀攀搀⸀ 䤀琀 愀氀眀愀礀猀 洀愀搀攀 洀礀 洀漀琀栀攀爀 琀攀愀爀 甀瀀 眀栀攀渀 猀栀攀 猀瀀漀欀攀 漀昀 琀栀椀猀⸀㰀戀爀㸀㰀戀爀㸀匀栀攀 愀氀猀漀 琀漀氀搀 洀攀 琀栀愀琀 眀栀攀渀 洀礀 昀愀琀栀攀爀 眀愀猀渀☀⌀㠀㈀㄀㜀㬀琀 眀漀爀欀椀渀最 愀渀搀 琀栀攀爀攀 眀攀爀攀渀☀⌀㠀㈀㄀㜀㬀琀 洀甀猀椀挀椀愀渀猀 愀琀 琀栀攀 栀漀甀猀攀Ⰰ 洀礀 搀愀搀 眀漀甀氀搀 最椀瘀攀 瀀椀愀渀漀 愀渀搀 瘀椀漀氀椀渀 氀攀猀猀漀渀猀 琀漀 愀渀礀 欀椀搀 琀栀愀琀 爀攀愀氀氀礀 猀栀漀眀攀搀 椀渀琀攀爀攀猀琀Ⰰ 眀栀攀琀栀攀爀 琀栀攀礀 栀愀搀 琀栀攀 洀漀渀攀礀 琀漀 瀀愀礀 栀椀洀 漀爀 渀漀琀⸀ 䤀 愀氀猀漀 爀攀洀攀洀戀攀爀 猀攀攀椀渀最 愀渀 愀爀琀椀挀氀攀 琀栀愀琀 洀礀 洀漀琀栀攀爀 栀愀搀 昀漀爀 礀攀愀爀猀 愀戀漀甀琀 洀礀 搀愀搀 最椀瘀椀渀最 昀爀攀攀 氀攀猀猀漀渀猀 琀漀 琀栀攀 甀渀搀攀爀ⴀ瀀爀椀瘀椀氀攀最攀搀 欀椀搀猀 椀渀 琀栀攀 䠀愀洀洀漀渀搀 愀渀搀 䜀愀爀礀 愀爀攀愀⸀ 唀渀昀漀爀琀甀渀愀琀攀氀礀 䤀 栀愀瘀攀 渀漀 椀搀攀愀 眀栀攀爀攀 琀栀愀琀 愀爀琀椀挀氀攀 椀猀 渀漀眀⸀㰀戀爀㸀㰀戀爀㸀䴀礀 洀漀琀栀攀爀 琀漀氀搀 洀攀 愀戀漀甀琀 洀礀 搀愀搀 愀渀搀 䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀 最漀椀渀最 琀漀 挀栀攀挀欀 漀甀琀 瀀椀愀渀漀猀Ⰰ 愀渀搀 爀攀挀漀爀搀猀 琀漀最攀琀栀攀爀⸀ 䄀氀猀漀 䨀攀氀氀礀 栀愀搀 瘀椀猀椀琀攀搀 琀栀攀椀爀 栀漀洀攀 椀渀 䠀愀洀洀漀渀搀 愀渀搀 琀栀愀琀 洀礀 搀愀搀 挀漀渀猀椀搀攀爀攀搀 栀椀洀 愀 最漀漀搀 昀爀椀攀渀搀⸀㰀戀爀㸀㰀戀爀㸀䠀漀眀 渀椀挀攀 椀琀 椀猀 琀漀 戀攀 愀戀氀攀 琀漀 猀栀愀爀攀 眀栀愀琀 欀渀漀眀氀攀搀最攀 䤀 搀漀 栀愀瘀攀 愀戀漀甀琀 洀礀 昀愀琀栀攀爀⸀ 圀栀攀渀 洀礀 猀椀猀琀攀爀 䘀爀愀渀挀攀渀攀 眀愀猀 愀氀椀瘀攀 眀攀 猀愀琀 昀漀爀 栀漀甀爀猀 瀀氀愀礀椀渀最 漀甀爀 昀愀琀栀攀爀☀⌀㠀㈀㄀㜀㬀猀 欀椀渀搀 漀昀 洀甀猀椀挀⸀ 圀攀 戀漀琀栀 瀀氀愀礀攀搀 瀀椀愀渀漀  愀渀搀 眀攀爀攀 猀攀氀昀ⴀ琀愀甀最栀琀⸀ 伀甀爀 洀漀琀栀攀爀 愀氀猀漀 瀀氀愀礀攀搀 愀渀搀 愀昀琀攀爀 栀攀愀爀椀渀最 洀礀 䐀愀搀 瀀氀愀礀Ⰰ 䤀 挀愀渀 猀攀攀 眀栀攀爀攀 洀礀 洀漀琀栀攀爀☀⌀㠀㈀㄀㜀㬀猀 猀琀礀氀攀 挀愀洀攀 昀爀漀洀⸀ 䴀礀 猀椀猀琀攀爀 瀀氀愀礀攀搀 昀漀爀 搀椀昀昀攀爀攀渀琀 挀氀甀戀猀 愀渀搀 氀漀甀渀最攀猀 椀渀 琀栀椀猀 愀爀攀愀 昀漀爀 猀攀瘀攀爀愀氀 礀攀愀爀猀 戀攀昀漀爀攀 栀攀爀 甀渀琀椀洀攀氀礀 搀攀愀琀栀⸀ 䤀 眀椀猀栀 洀礀 䐀愀搀 挀漀甀氀搀 栀愀瘀攀 氀椀瘀攀搀 琀漀 猀攀攀 琀栀椀猀⸀㰀戀爀㸀㰀戀爀㸀䈀愀挀欀 琀漀 琀栀攀 匀愀洀 猀甀戀樀攀挀琀 渀漀眀⸀ 䤀琀 眀愀猀Ⰰ 愀挀挀漀爀搀椀渀最 琀漀 洀礀 洀漀琀栀攀爀 愀渀搀 琀栀攀 愀爀琀椀挀氀攀 戀礀 䨀漀栀渀 匀琀攀椀渀攀爀Ⰰ 愀 ☀⌀㠀㈀㈀ 㬀䐀椀渀攀 愀渀搀 䐀愀渀挀攀☀⌀㠀㈀㈀㄀㬀 爀漀愀搀栀漀甀猀攀 漀渀 䜀爀攀攀渀戀愀礀 䄀瘀攀渀甀攀 椀渀 匀漀甀琀栀 䌀栀椀挀愀最漀⸀ 吀栀椀猀 椀猀 眀栀攀爀攀 洀礀 䴀漀洀 愀渀搀 䐀愀搀 洀攀琀⸀ 吀栀攀礀 戀漀琀栀 氀椀瘀攀搀 愀琀 愀 爀漀漀洀椀渀最 栀漀甀猀攀 渀攀砀琀 搀漀漀爀 琀栀愀琀 戀攀氀漀渀最攀搀 琀漀 愀 氀愀搀礀 渀愀洀攀搀 刀漀猀攀 䴀愀爀猀欀礀⸀ 䴀礀 䴀漀洀 愀氀眀愀礀猀 猀瀀漀欀攀 漀昀 栀攀爀 猀漀 昀漀渀搀氀礀 戀攀挀愀甀猀攀 猀栀攀 猀愀椀搀 琀栀愀琀 刀漀猀攀 洀漀爀攀 漀爀 氀攀猀猀 眀愀琀挀栀攀搀 漀甀琀 昀漀爀 戀漀琀栀 栀攀爀 愀渀搀 洀礀 䐀愀搀⸀ 匀栀攀 攀瘀攀渀 最漀琀 愀 瀀椀愀渀漀 猀漀 洀礀 搀愀搀 挀漀甀氀搀 瀀爀愀挀琀椀挀攀 眀栀攀渀 栀攀 眀愀猀渀☀⌀㠀㈀㄀㜀㬀琀 眀漀爀欀椀渀最⸀ 吀栀椀猀 眀愀猀 椀渀 琀栀攀 眀椀渀琀攀爀 漀昀 ㄀㤀㌀㌀⸀ 吀栀攀礀 最漀琀 洀愀爀爀椀攀搀 漀渀 䜀漀漀搀 䘀爀椀搀愀礀Ⰰ ㄀㤀㌀㐀Ⰰ 椀渀 䌀爀漀眀渀 倀漀椀渀琀Ⰰ 䤀渀搀椀愀渀愀⸀㰀戀爀㸀㰀戀爀㸀䴀礀 猀椀猀琀攀爀 㰀愀 栀爀攀昀㴀∀昀爀愀渀挀攀渀攀⸀樀瀀最∀㸀䘀爀愀渀挀攀渀攀㰀⼀愀㸀 眀愀猀 戀漀爀渀 椀渀 ㄀㤀㌀㔀Ⰰ 戀爀漀琀栀攀爀 䘀爀愀渀欀氀椀渀 ㄀㤀㌀㘀Ⰰ 愀渀搀 琀栀攀渀 洀攀 椀渀 ㄀㤀㌀㤀⸀ 䘀爀愀渀挀攀渀攀 栀愀搀 猀漀洀攀 洀攀洀漀爀礀 漀昀 漀甀爀 昀愀琀栀攀爀 愀渀搀 琀栀漀猀攀 洀攀洀漀爀椀攀猀Ⰰ 眀栀椀挀栀 眀攀爀攀 攀瘀椀搀攀渀挀攀 漀昀 栀漀眀 洀甀挀栀 漀甀爀 昀愀琀栀攀爀 氀漀瘀攀搀 甀猀 愀氀氀⸀ 匀栀攀 瀀愀猀猀攀搀 愀眀愀礀 椀渀 ㄀㤀㤀㌀ ⸀ ⸀ ⸀ 搀攀愀琀栀 昀爀漀洀 愀 爀甀瀀琀甀爀攀搀 愀瀀瀀攀渀搀椀砀⸀ 䴀礀 戀爀漀琀栀攀爀 䘀爀愀渀欀氀椀渀 搀爀漀眀渀攀搀 椀渀 ㄀㤀㔀㐀 ⸀ ⸀ ⸀ 栀攀 眀愀猀 漀渀氀礀 ㄀㠀⸀ 䴀礀 䴀漀洀 氀椀瘀攀搀 眀椀琀栀 洀攀 昀漀爀 琀栀攀 氀愀猀琀 ㄀  礀攀愀爀猀 漀昀 栀攀爀 氀椀昀攀 愀渀搀 䤀 氀漀猀琀 栀攀爀 䌀栀爀椀猀琀洀愀猀 䔀瘀攀Ⰰ ㄀㤀㤀㜀⸀ 匀栀攀 眀愀猀 㠀㄀ 礀攀愀爀猀 漀氀搀 戀甀琀 挀漀甀氀搀 猀琀椀氀氀 瀀氀愀礀 愀 洀攀愀渀 瀀椀愀渀漀Ⰰ 愀渀搀 猀椀渀最 琀栀攀 戀氀甀攀猀 氀椀欀攀 礀漀甀 眀漀甀氀搀渀☀⌀㠀㈀㄀㜀㬀琀 戀攀氀椀攀瘀攀⸀ 䌀愀渀 礀漀甀 椀洀愀最椀渀攀 栀漀眀 最爀攀愀琀 椀琀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀昀 洀礀 昀愀琀栀攀爀 栀愀搀 氀椀瘀攀搀 愀渀搀 䤀 眀漀甀氀搀 栀愀瘀攀 琀眀椀挀攀 琀栀攀 洀甀猀椀挀 椀渀 洀礀 氀椀昀攀⸀ 吀栀愀渀欀猀 琀漀 瀀攀漀瀀氀攀 氀椀欀攀 倀爀漀昀⸀ 䰀愀眀爀攀渀挀攀 䜀甀猀栀攀攀Ⰰ 䠀愀氀 匀洀椀琀栀 愀渀搀 礀漀甀 䤀 栀愀瘀攀 渀漀琀 爀攀愀氀氀礀 氀漀猀琀 椀琀 愀氀氀⸀㰀戀爀㸀㰀戀爀㸀䤀 挀愀渀 瘀愀最甀攀氀礀 爀攀洀攀洀戀攀爀 洀礀 唀渀挀氀攀 䰀攀攀 愀渀搀 䤀 搀漀 爀攀洀攀洀戀攀爀 洀礀 洀漀琀栀攀爀 琀攀氀氀椀渀最 洀攀 琀栀愀琀 栀攀 瀀氀愀礀攀搀 琀栀攀 愀挀挀漀爀搀椀漀渀⸀ 䠀攀爀攀☀⌀㠀㈀㄀㜀㬀猀 愀渀漀琀栀攀爀 戀椀琀 漀昀 渀攀眀猀 琀栀愀琀 礀漀甀 洀愀礀 渀漀琀 欀渀漀眀⸀ 伀渀 愀 琀愀瀀攀 琀栀愀琀 䨀漀栀渀 匀琀攀椀渀攀爀 猀攀渀琀 洀攀Ⰰ 眀栀椀挀栀 眀愀猀 爀攀挀漀爀搀攀搀 椀渀 琀栀攀 ㄀㤀㌀ 猀 椀渀 一攀眀 夀漀爀欀 昀漀爀 䌀漀氀甀洀戀椀愀Ⰰ 洀礀 洀漀琀栀攀爀Ⰰ 䘀爀愀渀 䴀攀氀爀漀猀攀 爀攀挀漀爀搀攀搀 琀栀攀 氀愀猀琀 猀漀渀最⸀ 匀栀攀 瀀氀愀礀攀搀 瀀椀愀渀漀 愀渀搀 搀椀搀 琀栀攀 瘀漀挀愀氀⸀㰀戀爀㸀㰀戀爀㸀䄀猀 琀漀 洀礀 昀愀琀栀攀爀☀⌀㠀㈀㄀㜀㬀猀 渀愀洀攀 ⸀ ⸀ ⸀ 栀攀 眀愀猀 愀搀搀爀攀猀猀攀搀 愀猀 䘀爀愀渀欀 䴀攀氀爀漀猀攀⸀ 䠀漀眀攀瘀攀爀Ⰰ 戀攀昀漀爀攀 洀礀 洀漀琀栀攀爀 瀀愀猀猀攀搀 愀眀愀礀 猀栀攀 挀漀洀洀攀渀琀攀搀 琀栀愀琀 琀栀攀 挀漀爀爀攀挀琀 猀瀀攀氀氀椀渀最 眀愀猀 䘀爀愀渀欀氀礀渀⸀ 吀栀攀礀 挀栀漀猀攀 琀漀 猀瀀攀氀氀 洀礀 戀爀漀琀栀攀爀☀⌀㠀㈀㄀㜀㬀猀 渀愀洀攀 愀猀 䘀爀愀渀欀氀椀渀⸀㰀戀爀㸀㰀戀爀㸀䴀礀 洀漀洀 氀椀瘀攀搀 氀漀渀最 攀渀漀甀最栀 琀漀 猀攀攀 琀栀攀 琀栀椀渀最猀 䤀 爀攀挀攀椀瘀攀搀 愀渀搀 琀漀 栀攀愀爀 琀栀攀 洀甀猀椀挀 愀渀搀 眀攀 猀栀愀爀攀搀 琀栀攀洀 眀椀琀栀 愀 氀漀琀 漀昀 樀漀礀 愀渀搀 攀洀漀琀椀漀渀⸀ 䴀礀 猀椀猀琀攀爀 愀渀搀 戀爀漀琀栀攀爀Ⰰ 䘀爀愀渀挀攀渀攀 愀渀搀 䘀爀愀渀欀氀椀渀Ⰰ 戀漀琀栀 搀椀攀搀 愀琀 礀漀甀渀最 愀最攀猀Ⰰ 猀漀 䤀 眀愀猀 戀氀攀猀猀攀搀 琀漀 栀愀瘀攀 䴀漀洀 栀攀爀攀 琀漀 猀栀愀爀攀 椀渀 洀礀 攀砀挀椀琀攀洀攀渀琀⸀㰀戀爀㸀㰀戀爀㸀䴀礀 昀愀琀栀攀爀 猀琀愀爀琀攀搀 琀攀愀挀栀椀渀最 洀礀 猀椀猀琀攀爀 䘀爀愀渀挀攀渀攀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀猀 漀昀 琀栀攀 瀀椀愀渀漀 眀栀攀渀 猀栀攀 眀愀猀 㔀 礀攀愀爀猀 漀氀搀⸀ 䠀攀 搀攀氀椀最栀琀攀搀 椀渀 琀栀攀 昀愀挀琀 琀栀愀琀 猀栀攀 眀愀猀 愀 焀甀椀挀欀 氀攀愀爀渀攀爀 愀渀搀 猀栀攀 氀漀瘀攀搀 琀栀漀猀攀 氀攀猀猀漀渀猀⸀ 䤀☀⌀㠀㈀㄀㜀㬀搀 氀椀欀攀 琀漀 琀栀椀渀欀 琀栀愀琀 洀愀礀戀攀 栀攀 欀渀攀眀 琀栀愀琀 猀栀攀 挀漀渀琀椀渀甀攀搀 琀漀 瀀氀愀礀 眀栀愀琀 猀栀攀 栀愀搀 氀攀愀爀渀攀搀 昀爀漀洀 栀椀洀Ⰰ 愀渀搀 眀栀攀渀 猀栀攀 最爀攀眀 漀氀搀攀爀 眀愀猀 挀漀渀猀椀搀攀爀攀搀 愀 瘀攀爀礀 琀愀氀攀渀琀攀搀 瀀椀愀渀椀猀琀⸀ 匀栀攀 瀀氀愀礀攀搀 椀渀 猀攀瘀攀爀愀氀 氀漀甀渀最攀猀 愀渀搀 挀氀甀戀猀 椀渀 琀栀攀 䌀攀渀琀爀愀氀 䤀氀氀椀渀漀椀猀 愀爀攀愀⸀ 匀栀攀 搀椀攀搀 愀琀 琀栀攀 攀愀爀氀礀 愀最攀 漀昀 㔀㠀Ⰰ 渀攀瘀攀爀 欀渀漀眀椀渀最 琀栀愀琀 琀栀攀爀攀 眀愀猀 爀攀挀漀爀搀攀搀 洀甀猀椀挀 戀礀 洀礀 䐀愀搀 琀栀愀琀 眀漀甀氀搀 攀瘀攀渀琀甀愀氀氀礀 戀攀 愀瘀愀椀氀愀戀氀攀 琀漀 甀猀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀爀椀最栀琀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 猀椀稀攀㴀㈀㸀꤀ ㈀    䤀搀愀 䴀攀氀爀漀猀攀 匀栀漀甀昀氀攀爀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀 ਀㰀⼀琀爀㸀
਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㌀㔀 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀㄀㔀 挀攀氀氀猀瀀愀挀椀渀最㴀 㸀
਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀愀 渀愀洀攀㴀昀爀愀渀挀攀猀洀攀氀㸀㰀⼀愀㸀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀 ਀㰀琀搀㸀

Ida Melrose Shoufler, daughter of Frank Melrose, sends the following rare photograph of her mother, Frances Melrose.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀

FRANCES MELROSE

Click to enlarge photograph of Frances Melrose

Frances and Frank Melrose were at Bud Jacobson’s home in Chicago about 1933, when Merritt Jacobson, Bud’s son, took this photograph. Marie Jacobson, Bud’s daughter, was kind enough to give it to Ida in March 2007.

Frances Melrose, a slender, pretty little female, who, according to John Steiner, lived next door to Sam’s club, a dance and dine roadhouse on Greenbay Avenue in South Chicago. On busy nights Sam would hire Frances to help out. Marie Jacobson recalls that it was love at first sight between Frank and Frances.

Note: See also the in-depth article Kansas City Frank by John Steiner, which recalls the meeting of Frances and Frank. Special thanks to Marie Jacobson.

© December 2007 Ida Melrose Shoufler

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

 Brian Goggin sends the following article for a previously unknown Frank Melrose engagement in Hammond, Indiana from The Hammond Times, dated Friday, 10th March 1939, page 16, column 6.

਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀爀㸀



The Hammond Times

PTA News

(HAMMOND)

One of the most interesting meetings of the year was held Thursday afternoon by the Hammond Lincoln school PTA.

The program arranged by Mrs. Kellen included a talk by Miss Doris Keane of the Hammond radio station. Her remarks on the radio as a medium of community aid and convenience were enlightening and thoroughly enjoyed by all.

The musical part of the entertainment was through the courtesy of the Works Progress Administration and included piano selections and a violin solo by Frank Melrose and selections on the piano accordion by John Schelfo. Both are good musicians whose performances were਀愀瀀瀀爀攀挀椀愀琀攀搀 戀礀 琀栀攀 愀甀搀椀攀渀挀攀⸀㰀戀爀㸀㰀戀爀㸀吀栀椀猀 洀漀渀琀栀 琀栀攀 瀀愀爀攀渀琀猀 眀攀爀攀 琀栀攀 最甀攀猀琀猀 漀昀 琀栀攀 琀攀愀挀栀攀爀猀⸀ 䐀愀椀渀琀礀 爀攀昀爀攀猀栀洀攀渀琀猀 眀攀爀攀 猀攀爀瘀攀搀 椀渀 琀栀攀 愀甀搀椀琀漀爀椀甀洀⸀ 䜀爀攀攀渀 挀愀渀搀氀攀猀 愀渀搀 愀 洀愀琀挀栀椀渀最 挀攀渀琀攀爀瀀椀攀挀攀 搀攀挀漀爀愀琀攀搀 琀栀攀 琀愀戀氀攀 昀漀爀 琀栀攀 洀漀渀琀栀 匀琀⸀ 倀愀琀爀椀挀欀☀⌀㠀㈀㄀㜀㬀猀 䐀愀礀 椀猀 挀攀氀攀戀爀愀琀攀搀⸀ 䴀椀猀猀 圀椀氀欀攀☀⌀㠀㈀㄀㜀㬀猀 爀漀漀洀 眀漀渀 琀栀攀 愀琀琀攀渀搀愀渀挀攀 瀀爀椀稀攀 昀漀爀 琀栀椀猀 洀漀渀琀栀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀愀 渀愀洀攀㴀∀栀琀㄀㘀洀愀爀挀栀㌀㤀∀㸀㰀⼀愀㸀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀琀漀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 猀椀稀攀㴀㈀㸀㰀戀㸀㰀椀洀最 猀爀挀㴀∀渀攀眀⸀最椀昀∀ 眀椀搀琀栀㴀∀㐀㠀∀ 栀攀椀最栀琀㴀∀㈀㐀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ☀渀戀猀瀀㬀䈀爀椀愀渀 䜀漀最最椀渀 猀攀渀搀猀 琀栀攀 昀漀氀氀漀眀椀渀最 愀爀琀椀挀氀攀 昀漀爀 愀 瀀爀攀瘀椀漀甀猀氀礀 甀渀欀渀漀眀渀 䘀爀愀渀欀 䴀攀氀爀漀猀攀 攀渀最愀最攀洀攀渀琀 椀渀 䠀愀洀洀漀渀搀Ⰰ 䤀渀搀椀愀渀愀 昀爀漀洀 㰀椀㸀吀栀攀 䠀愀洀洀漀渀搀 吀椀洀攀猀㰀⼀椀㸀Ⰰ 搀愀琀攀搀 㰀愀 栀爀攀昀㴀∀栀琀㄀㘀洀愀爀㌀㤀⸀樀瀀最∀㸀吀栀甀爀猀搀愀礀Ⰰ ㄀㘀琀栀 䴀愀爀挀栀 ㄀㤀㌀㤀㰀⼀愀㸀Ⰰ 瀀愀最攀 ㄀㄀Ⰰ 挀漀氀甀洀渀 ㌀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀 ਀㰀⼀琀爀㸀 ਀㰀瀀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀椀洀最 猀爀挀㴀∀渀攀眀⸀最椀昀∀ 眀椀搀琀栀㴀∀㐀㠀∀ 栀攀椀最栀琀㴀∀㈀㐀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀㰀戀爀㸀㰀戀爀㸀㰀椀洀最 眀椀搀琀栀㴀㈀㔀  栀攀椀最栀琀㴀㌀㈀ 愀氀椀最渀㴀∀洀椀搀搀氀攀∀ 戀漀爀搀攀爀㴀㄀ 猀爀挀㴀∀栀愀洀琀椀洀攀猀⸀樀瀀最∀ 愀氀琀㴀∀吀栀攀 䠀愀洀洀漀渀搀 吀椀洀攀猀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㔀∀㸀㰀戀㸀䠀攀爀攀 愀渀搀 吀栀攀爀攀㰀戀爀㸀䤀渀 匀漀挀椀攀琀礀㰀戀爀㸀㰀戀爀㸀倀吀䄀 一攀眀猀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀戀爀㸀㰀戀爀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀㸀㰀戀㸀⠀䠀䄀䴀䴀伀一䐀⤀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 猀椀稀攀㴀∀㈀∀㸀㰀戀㸀䴀漀琀漀爀挀礀挀氀攀 漀昀昀椀挀攀爀 愀渀搀 猀挀栀漀漀氀 瀀愀琀爀漀氀 戀漀礀 氀攀愀搀攀爀Ⰰ 䨀漀猀攀瀀栀 一漀爀戀攀挀欀Ⰰ 猀瀀漀欀攀 漀渀 琀栀攀 猀甀戀樀攀挀琀Ⰰ ☀⌀㠀㈀㈀ 㬀匀琀漀瀀Ⰰ 䰀漀漀欀 愀渀搀 䰀椀猀琀攀渀☀⌀㠀㈀㈀㄀㬀 愀琀 琀栀攀 爀攀最甀氀愀爀 洀攀攀琀椀渀最 漀昀 琀栀攀 刀椀瘀攀爀猀椀搀攀 倀吀䄀 圀攀搀渀攀猀搀愀礀 攀瘀攀渀椀渀最⸀ 䴀爀⸀ 一漀爀戀攀挀欀 攀洀瀀栀愀猀椀稀攀搀 琀栀攀 昀愀挀琀 琀栀愀琀 眀攀Ⰰ 琀栀攀 愀搀甀氀琀猀Ⰰ 愀爀攀 洀漀爀攀 椀渀 渀攀攀搀 漀昀 愀 猀愀昀攀琀礀 攀搀甀挀愀琀椀漀渀 瀀爀漀最爀愀洀 琀栀愀渀 琀栀攀 挀栀椀氀搀爀攀渀Ⰰ 愀猀 琀栀攀礀 愀爀攀 琀愀甀最栀琀 愀渀搀 洀愀搀攀 猀愀昀攀琀礀 挀漀渀猀挀椀漀甀猀 椀渀 琀栀攀 猀挀栀漀漀氀猀⸀㰀戀爀㸀㰀戀爀㸀䤀渀 挀漀渀渀攀挀琀椀漀渀 眀椀琀栀 琀栀椀猀 猀甀戀樀攀挀琀Ⰰ 愀 猀愀昀攀琀礀 瀀氀愀礀 眀愀猀 瀀爀攀猀攀渀琀攀搀 戀礀 琀栀攀 挀栀椀氀搀爀攀渀 漀昀 爀漀漀洀 一漀⸀ 㠀 甀渀搀攀爀 琀栀攀 搀椀爀攀挀琀椀漀渀 漀昀 琀栀攀椀爀 琀攀愀挀栀攀爀Ⰰ 䴀椀猀猀 匀洀愀氀氀⸀㰀戀爀㸀㰀戀爀㸀䄀渀 攀砀挀攀氀氀攀渀琀 洀甀猀椀挀愀氀 瀀爀漀最爀愀洀 眀愀猀 最椀瘀攀渀 戀礀 䘀爀愀渀欀 䴀攀氀爀漀猀攀 愀渀搀 䨀漀栀渀 匀挀栀攀氀昀漀Ⰰ 椀渀猀琀爀甀挀琀漀爀 漀昀 洀甀猀椀挀 甀渀搀攀爀 琀栀攀 爀攀挀爀攀愀琀椀漀渀 瀀氀愀渀 漀昀 琀栀攀 眀漀爀欀猀 瀀爀漀最爀攀猀猀 愀搀洀椀渀椀猀琀爀愀琀椀漀渀 愀琀 琀栀攀 䌀椀瘀椀挀 䌀攀渀琀攀爀⸀ 吀栀攀椀爀 爀攀渀搀椀琀椀漀渀猀 眀攀爀攀 愀猀 昀漀氀氀漀眀猀㨀㰀戀爀㸀㰀戀爀㸀䐀甀攀琀猀Ⰰ 䘀爀愀渀欀 䴀攀氀爀漀猀攀Ⰰ 瀀椀愀渀漀 愀渀搀 瘀椀漀氀椀渀㬀 䨀漀栀渀 匀挀栀攀氀昀漀Ⰰ 瀀椀愀渀漀ⴀ愀挀挀漀爀搀搀椀漀渀 ⠀愀挀挀漀爀搀椀漀渀⤀ 愀渀搀 猀愀砀漀瀀栀漀渀攀㨀 ☀⌀㠀㈀㈀ 㬀刀愀瀀愀猀猀 ⠀刀攀瀀愀猀稀⤀ 䈀愀渀搀 䴀愀爀挀栀Ⰰ☀⌀㠀㈀㈀㄀㬀 ☀⌀㠀㈀㈀ 㬀吀栀攀 圀愀氀琀稀 夀漀甀 匀愀瘀攀搀 昀漀爀 䴀攀⸀☀⌀㠀㈀㈀㄀㬀㰀戀爀㸀㰀戀爀㸀匀漀氀漀猀Ⰰ 䨀漀栀渀 匀挀栀攀氀昀漀Ⰰ ☀⌀㠀㈀㈀ 㬀圀栀椀猀瀀攀爀椀渀最Ⰰ☀⌀㠀㈀㈀㄀㬀 ☀⌀㠀㈀㈀ 㬀一攀愀瀀漀氀椀琀愀渀 一椀最栀琀猀☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀圀愀瘀攀 琀栀攀 䘀氀愀最⸀☀⌀㠀㈀㈀㄀㬀㰀戀爀㸀㰀戀爀㸀匀漀氀漀猀Ⰰ 䘀爀愀渀欀 䴀攀氀爀漀猀攀Ⰰ ☀⌀㠀㈀㈀ 㬀匀琀愀爀 䐀甀猀琀☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀嘀愀氀猀攀 倀攀琀椀琀攀⸀☀⌀㠀㈀㈀㄀㬀㰀戀爀㸀㰀戀爀㸀吀愀瀀 搀愀渀挀攀Ⰰ 䐀漀爀漀琀栀礀 䔀氀氀攀渀 䌀漀嘀愀甀氀琀Ⰰ 愀挀挀漀洀瀀愀渀椀攀搀 戀礀 一椀氀愀 吀栀漀爀渀戀攀爀爀礀⸀㰀戀爀㸀㰀戀爀㸀刀攀愀搀椀渀最猀Ⰰ 䔀瘀攀氀礀渀 䨀愀爀瘀椀猀Ⰰ ☀⌀㠀㈀㈀ 㬀匀瀀漀椀氀攀搀 䌀栀椀氀搀爀攀渀☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀䰀椀琀琀氀攀 䜀椀爀氀☀⌀㠀㈀㄀㜀㬀猀 匀攀挀爀攀琀⸀☀⌀㠀㈀㈀㄀㬀㰀戀爀㸀㰀戀爀㸀䄀琀 琀栀攀 挀氀漀猀攀 漀昀 琀栀攀 洀攀攀琀椀渀最 愀渀 椀渀昀漀爀洀愀氀 最愀琀栀攀爀椀渀最 眀愀猀 攀渀樀漀礀攀搀⸀ 刀攀昀爀攀猀栀洀攀渀琀猀 眀攀爀攀 猀攀爀瘀攀搀 戀礀 愀渀 愀戀氀攀 挀漀洀洀椀琀琀攀攀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀 ਀㰀⼀琀爀㸀
਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㌀㔀 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀㄀㔀 挀攀氀氀猀瀀愀挀椀渀最㴀 㸀
਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀 ਀㰀琀搀㸀

Prof. Lawrence Gushee sends the following article from Down Beat, dated 1st March 1940, Vol. 7, No. 5, page 20, column 3.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


Down Beat

New (But Old Style) Chicago Band
Features a Hot Banjo!!


BY TED TOLL

Chicago — An outfit of seven guys is playing a sort of jazz around here that would knock Chicago style enthusiasts right out from under their tops. They go Muggsy Spanier one better in using a banjo, and they’ve dug up a library of old Jelly-Roll Morton things and Elmer Schoebel arrangements that were published by Melrose here years ago. There are no other copies of the arrangements to be found anywhere, they tell me.

The tunes include Feelin’ That Way (which Tony Pastor’s band just recorded under the title Watchin’ the Clock), Shreveport Stomps, Roll Up the Carpets, Tampeekoe, Russian Rag and Jungle Blues, besides a couple dozen more.

“Trip-Hammer Rhythm”

Pete Daily, fronting the bunch on trumpet, gets that rhythmic drive in his lead that so few guys seem able to find today. LeRoy Smith is playing E-flat clarinet and can be listed as one of the few fine Chicago style purists left today.

Jack Daly on banjo gives the combo a wonderfully true-to-the-period trip-hammer rhythm that not even Muggsy’s band got. Frank Melrose, who has been playing fine blues for years, although nobody knows it, is on piano. A member of the Melrose publishing family, Frank provided the library for the group.

Muggsy’s bassist, Bob Casey, was with this bunch until recently, when he was offered a job with a strolling combo in Aurora. (Of course this Daily band doesn’t have a job). Bob was replaced by Willie Sherman. Bill Helgart on trombone feels the tradition with his fill-ins and ground floor effects, and Harold “Sleepy” Kaplan fits right in on drums.

Maybe They’ll Find Work

To say that June Davis with the band sounds like Billie Holiday would be the ultimate in understatement. You don’t realize there are so many fine individual nuances to Holidays’s singing until this Davis gal reveals them in her work. It seems that her subtlety with them is every bit equal to Billie’s too, but it’s the very idea of another gal performing them that makes them stand out so. She’s really got it.

As I say, this outfit isn’t working (not at press time anyway). Maybe they’ll find some spot where the kind of stuff they play will be tolerated. Maybe they won’t. In case they don’t, Frank Lyons of Chicago has a couple of private records they made. Maybe he’ll let you hear them if you ask real nice.
਀㰀⼀琀搀㸀

਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀

਀㰀琀搀㸀

Prof. Alan Wallace sends the following article from Down Beat, dated Thursday, 15th August 1940, Vol. 7, No. 16.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀
 WHOOPEE STOMP
 played by “Kansas City Frank” Melrose਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


Down Beat

THE HOT BOX

Melrose Was
Mistaken for
Jelly Morton


By GEORGE HOEFER

“The Kansas City Frank” who was always thought to be Jelly Roll Morton is Frank Melrose!

Verification of that was made last week in the Yes Yes Club on Chicago’s State Street where Frank, piano playing member of the famous Melrose publishing family, now taps the keys. Melrose acknowledged he is the “Kansas City Frank” of early record fame.

Collectors and even Delaunay have long credited Morton with Brunswick 7062 Jelly Roll Stomp and Pass the Jug (both Melrose’s own tunes) because Jelly’s name appears.

Melrose was working at the old Cellar Club in Chicago when the Cellar Boys waxed Wailing Blues and Barrel House Stomp. He played piano on the two now-famous with Wingie, Tesch, Freeman and Wettling, on Vocalion 1503.

There was another Wailing Blues date in Chicago with a different group which included, besides Frank Melrose, an all-Negro lineup with Jimmy Bertrand on drums. This came out on Paramount 12898 under the title “Kansas City Frank and his Footwarmers.” Wailing Blues (21469) and St. James Infirmary (21470). Same sides appeared on Broadway 1355 under the name of “Harry’s Reckless Five.”

Frank went to New York with a troupe to record around 1930 and made the following piano solos: Market Street Jive (9602); Piano Breakdown (9608); Whoopie Stomp (9609) and Distant Moan (9620), according to information found by George Avakian in the old Brunswick files and verified by Melrose himself.

Frank remembers recording Shanghai Honeymoon with Darnell Howard, clary, and Jimmy Bertrand, drums, for Brunswick. This and the already-mentioned piano sides have not turned up and may not have been released. Frank recalls record dates with Johnny and Baby Dodds. Two tunes owned by the Melrose people are Kentucky Blues (Frank Melrose) and Barrel House Stomp (Lester Melrose) as well as many others. Frank lately has been rehearsing with the fine Pete Dailey (Daily) band, which features a banjo, in Chicago — a real “old ragtime” group.

Note: Frank Melrose, the younger brother of Chicago music publishers Walter and Lester Melrose, was probably the first white pianist to come under the spell of Jelly Roll Morton.

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀爀㸀
਀㰀瀀 愀氀椀最渀㴀樀甀猀琀椀昀礀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 挀漀氀漀爀㴀∀⌀      ∀ 猀椀稀攀㴀㈀㸀㰀戀㸀䠀愀氀 匀洀椀琀栀 猀攀渀搀猀 琀栀攀 昀漀氀氀漀眀椀渀最 愀爀琀椀挀氀攀Ⰰ 眀栀椀挀栀 眀愀猀 昀椀爀猀琀 瀀甀戀氀椀猀栀攀搀 椀渀 琀栀攀 㰀椀㸀倀椀愀渀漀 䨀愀稀稀㰀⼀椀㸀 洀愀最愀稀椀渀攀Ⰰ 一漀⸀ ㄀Ⰰ 瀀愀最攀猀 㔀☀⌀㠀㈀㄀㈀㬀㄀ ⸀ 䨀愀稀稀 匀漀挀椀漀氀漀最椀挀愀氀 匀漀挀椀攀琀礀 漀昀 䰀漀渀搀漀渀Ⰰ ㄀㤀㐀㔀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀
਀㰀瀀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀愀 渀愀洀攀㴀∀戀愀爀爀攀氀昀洀∀㸀㰀⼀愀㸀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀

਀㰀琀搀㸀

Hal Smith sends the following article, which was first published in the Piano Jazz magazine, No. 1, pages 10—12. Jazz Sociological Society of London, 1945.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀
Kansas City Frank
by John Steiner਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


PIANO JAZZ No. 1

Barrelhouse Frank Melrose

Chicago Trumpeter Tells of Last Days of Famous Chicago
Blues Pianist; Last of the Professors


By PETE DALEY (Daily)

I had heard about the pianist Frank Melrose by 1930. Both of us lived near Hammond, but because he played up in Chicago or in Kansas City, he wasn’t home much, I didn’t meet him until later. Fellow musicians made a legend of his terrific piano style. It was in about 1932 that we worked together for the first time on a gig in Hegewisch. I started the job on bass horn, but before half the evening was over our trumpet man went blotto, so I finished the night on his instrument. Little details of that job are clear in mind. I recall as if it happened yesterday how Frank played even beyond his reputation — a solid and beautiful barrelhouse piano. He wore a brown suit; his straw hat was crown up on the upright lid. He played with his hands high over the keyboard, like a classical man; his fingers walked around like spider legs.

Afterwards we were on a lot of weekend gigs together. Whenever I got a job or could suggest personnel, Frank it was on piano. Evidently he was satisfied with my horn because he used to call me for work too, perhaps even oftener than I called him. One night in the summer of 1933 Frank and I went to the Fair in Chicago, and then when it closed, to some spots on the Southside. At one place Frank heard a good sounding piano. He pushed a fumbling black kid off the stool and we took over for about six hours. Along about daylight five Indians arrived from one of the Fair’s sideshows. I guess Frank didn’t realize about Indians and firewater when he said, sure, they could use our jug. When the quart was gone, we got some more. Soon the chief went mildly nuts and insisted on marrying a dizzy frump who had come in and had started giving them the routine. Frank wanted everybody happy, so he put his coat on backwards and married the couple with a phone book. Last we saw they were blissful.

By 1935 we were pretty regularly together. There were several weeks at Johnny Nichols’ in Calumet City with Owen Johnson drums and a Joe Sullivan reeds. At Nichols’ we celebrated like New Year’s Eve on the night when Frank’s first child, Franklin Jr., was born.

In 1932 we had a pretty good stay at the Continental Club in Cal City. Nick Nicholas was on drums, Dooney Ward clarinet. During this time my eyesight failed completely for several months. The fellows had to pick me up at home to take me to the job, and then lead me to the stand and afterwards down again and home. Sometimes they came during the day and we’d talk or walk or listen to the radio.

Frank’s playing had kids and young musicians packing around the stand every night. He killed them and us with his unpredictable breaks, wild solo choruses, and the piano burlesques he’d do with a straight face. One of his tricks reminded me of the drunken dance where the dancer begins to lean and then runs to catch up with himself, but finally too late. Frank would play a staggering arpeggio or chromatic chords, getting farther and farther off the beam, and finally as if ‘What the Hell’, he crashed both arms down on the keyboard. Two beats and away he’d go again. During my blind spell I couldn’t see the crowd that applauded Frank’s solos, but it made me feel good inside. He was my boy. I was getting an idea like religion that everything in spiritual life was in good jazz and that we were almost over the hill, almost we were playing perfect jazz. The joint jobs were more fun for us than anything that happened since, still there was something more we wanted.

By 1935 we had begun to shape in our minds a dream band, an outfit that would stick together until it was perfect, playing jazz, ragtime, and blues. Jack Daley (Daly), who sometimes came in on piano when Frank couldn’t, had the same slant. But he knew Frank was the man for piano, so he concentrated on his banjo. When we talked about the dream band we considered the fellows we had worked with. Some of them seemed consistently better than anybody on records; conceitedly perhaps we didn’t bother with anybody outside the Chicago area to get exactly what we wanted. Just as any jazzman whom we had learned to know on records, our boys made mistakes, but in the dream we had cured their errors or rehearsed away their shortcomings. And honest to God, it finally worked out that way, John.

Sleepy Kaplan became our drummer (he’s at a place on North Avenue now); LeRoy Smith clarinet (he was last heard from on Bataan). Bill Helgert was trombone (now in Boyd Raeburn’s outfit at the Band Box in Chicago). Bill Moore was on bass. All of us had the Blues and Dixieland spirit. It was Frank’s library which we used, and in a short time we began to find that as well as on the Blues and two-beat jazz we were sold on Frank’s versions of breakdown ragtime tunes like Russian Rag, The Romp, Wild Cat, and Roll Up The Carpets. Frank gave us the ragtime urge by showing us what could be done with it. I’ve listened to every ragtime band that has come out on records, and to dozens which haven’t. None of them could compare with ours, I honestly believe. Maybe Frank was the only man who ever lived who knew all the secrets. Some day I hope I can get with a group that will make that kind of music again. You’ll learn then what I’m talking about.

For a while we held Wednesday rehearsals at the Chelsea Hotel where a gang besides our own would collect and listen: when we were through rehearsals everyone would sit in for jam. Fazola once told me, when playing with us on a post-rehearsal session, “Pete, if anything should happen to LeRoy, remember I wanna.”

It didn’t occur to me until later, that I had neglected to tell Fazola that our spirit stemmed from the results Frank drew out of us with the same kind of natural ease Jelly Roll had used in shaping his groups. When recently I heard Lu Watters band I recognized from their first note that their greatest deficiency was a Frank Melrose, someone who could dominate and mold the group into musical unity. Louis, Muggsy, Fats and Noone have done it.

For two reasons this was a group like nothing commercial. First, because we couldn’t wait for rehearsals (we even got together on Sunday afternoons); second, we couldn’t get jobs. Once when we did manage to snag an Irish picnic up on the North side, a priest who apparently knew all things righteous asked for Georgia Swing. That was No. 19 in our books. But you may be able to imagine how rushed for jobs we were not, playing full programs of Georgia Swing, Gary Blues, Bluisiana, Sweet Daddy, 69th and Wentworth, Have You Ever Felt that Way, and rags. Nearly we got in the Sherman Hotel — nearly. Even though nobody hired us, there were a lot of good people who knew what we were doing and said so, and gave us confidence. “Hummer” Collette, now with Columbia’s Chicago Studios, was then at Gamble’s recording laboratory. After hearing us, he invited us to use Gamble’s sound-treated rooms and good pianos. As we played he would often copy things down on record. Frank Lyons came over from his brokerage office on LaSalle Street to listen and to buy copies of what he liked best. When Hummer left Gamble, Frank bought all the copies we fellows in the band hadn’t wheedled away. Some I have still, kind of ragged now — Wild Cat, D. D. Strain, and a piano solo.

In 1936 and ’37 Frank and I sat in many times with Lee Collins’ band at the Derby Club. Lonnie Johnson was for a time in the outfit and he gave Frank such kicks with his 12-string concert guitar that we never would quit until everybody had dropped out dead drunk or dead tired. I don’t suppose Frank admired any musician more than Lonnie except Jelly.

Here are some incidental data. About the time of the Chicago Fair, Frank played with Max Miller’s outfit at Club Ultra, 39th and Cottage. Frank’s recording of Whoopee Stomp on Paramount is really Boy In The Boat, which was always one of his favorites. Wherever a piano can be heard on the Kansas City Tin Roof Stompers sides for Brunswick race series, it is Frank. He may not have played on all sides, since I cannot hear piano at all on two of them. I am positive that Frank was a pianist on the 6 Memphis Nighthawk sides for Vocalion.

It was about 1937 that Frank and Georgie Barnes worked for the winter at the Little Club in Hammond. Georgie was about sixteen, and his father brought him to work and then called for him about midnight. Papa would sit around a while if they were really hitting the ball, or if a session had developed. No wonder Georgie has always worshipped Frank — you should have seen how, if business was dull, they would spend entire evenings on jazz rudiments. Frank enjoyed teaching earnest youngsters who showed promise.

One of the Detroit characters figuring in his reminiscences was a hoodlum who flashed a gun when Frank made like intermission. After bullying Frank for three hours, friend hood would clear up his little joke with a $10 tip.

There were some things about that Sunday before Labor Day 1941, the day before Frank’s death, you left unsaid. Late on Sunday morning, Frank came to our apartment in the Windsor-Wilson. My wife, Faye, helped him fix a bite, and then I sent him to the davenport to nap for a few hours. After rolling out, he played with our kids until dinner — that was unusual for Frank. I never before saw him show such interest in any children except his own. Frank was jubilant about the prosperity his machinist’s job was to bring. Faye caught the mood and celebrated by preparing a whoppin’ chicken dinner. That early evening, while I played a society fray at the Sheridan Plaza, Frank went to the Espana to see Max Miller, Sleepy, and Clary Vern Joachim. (I had been playing with the boys up to the previous week or so, but because business slumped, the boss had to lay off first our singer, then the brass section; within another few weeks chronic slumping killed the spot). After short stops in several spots, he came back at 11:30 p.m., in a hurry to make the one o’clock South Shore train to Hammond. I remember Frank saying that on the Saturday night previous he had been down to the Southside looking for some of the old familiar ‘barbecue gang’ around 48th and State. None were around. He mentioned that he wanted to try again when he had more time but tonight he had too little money left and time was short. I repeated this comment at the inquest after his death. As I said goodbye, I told him that I would stop off at the Melrose cottage on my way back from Crown Point, where I had a job the next night. I left him at Wilson Avenue.

Some of us said at the inquest that many circumstances of his death smelled fishy. Frank had no business at 135th (130th) and Oglesby, where his body was found; it was a lonely place only indirectly on his way home. Although bruised as if a car had run over him, Frank’s face had a long, clean cut below the left ear. His watch was not damaged. Nothing remained in his billfold but his Social Security card. Nobody knows.

਀㰀⼀琀搀㸀
਀㰀瀀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

Millie Gaddini sends the following article from the Pickup magazine, dated April 1946, Vol. I, No. 4, pages 2—3.

਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀爀㸀


Pickup

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㬀䌀氀愀爀椀渀攀琀 䴀愀爀洀愀氀愀搀攀☀⌀㠀㈀㈀㄀㬀 戀攀椀渀最 攀猀瀀攀挀椀愀氀氀礀 昀椀渀攀⸀ 伀渀 琀栀椀猀 猀椀搀攀 椀琀 椀猀 眀漀爀琀栀礀 漀昀 渀漀琀攀 琀栀愀琀 琀栀攀爀攀 愀爀攀 琀栀爀攀攀 挀氀愀爀椀渀攀琀 猀漀氀漀猀 椀渀 猀甀挀挀攀猀猀椀漀渀Ⰰ 琀栀攀 昀椀爀猀琀 戀礀 䨀愀挀漀戀猀漀渀Ⰰ 猀攀挀漀渀搀 戀礀 䠀甀渀琀攀爀Ⰰ 愀渀搀 氀愀猀琀 戀礀 刀甀猀栀琀漀渀⸀ 倀攀爀栀愀瀀猀 琀栀攀 戀攀猀琀 猀椀搀攀 琀漀 猀栀漀眀 甀瀀 䘀爀愀渀欀☀⌀㠀㈀㄀㜀㬀猀 瀀椀愀渀漀 眀漀爀欀Ⰰ 栀漀眀攀瘀攀爀Ⰰ 椀猀 ☀⌀㠀㈀㈀ 㬀伀瀀甀猀 伀渀攀Ⰰ 匀愀渀猀 䴀攀氀漀搀椀攀☀⌀㠀㈀㈀㄀㬀 ⠀伀瀀甀猀 ⌀㄀Ⰰ 匀愀渀猀 䴀攀氀漀搀礀⤀ 漀渀 眀栀椀挀栀 栀攀 椀猀 攀砀琀攀渀猀椀瘀攀氀礀 昀攀愀琀甀爀攀搀⸀㰀戀爀㸀㰀戀爀㸀圀椀琀栀 琀栀攀 眀愀爀Ⰰ 䘀爀愀渀欀 戀攀最愀渀 琀漀 眀漀爀欀 愀琀 愀 洀甀渀椀琀椀漀渀猀 瀀氀愀渀琀 愀猀 愀 洀愀挀栀椀渀椀猀琀Ⰰ 愀渀搀 洀漀猀琀 漀昀 栀椀猀 瀀氀愀礀椀渀最 栀愀搀 琀漀 最漀⸀ 伀渀 䰀愀戀漀甀爀 䐀愀礀Ⰰ ㄀㤀㐀㄀Ⰰ 䘀爀愀渀欀 氀攀昀琀 昀漀爀 䌀栀椀挀愀最漀 琀漀 瘀椀猀椀琀 栀椀猀 漀氀搀 栀愀甀渀琀猀 昀漀爀 琀栀攀 昀椀爀猀琀 琀椀洀攀 椀渀 洀愀渀礀 洀漀渀琀栀猀Ⰰ 栀攀 瘀椀猀椀琀攀搀 䨀愀挀漀戀猀漀渀Ⰰ 愀渀搀 瀀氀愀礀攀搀 愀琀 䰀椀戀攀爀琀礀 䤀渀渀 眀椀琀栀 䈀漀礀挀攀 䈀爀漀眀渀⸀ 䜀漀椀渀最 搀漀眀渀 琀漀 匀漀甀琀栀 匀椀搀攀 眀椀琀栀 倀攀琀攀 䐀愀氀攀礀 ⠀䐀愀椀氀礀⤀ 琀栀攀礀 最漀琀 椀渀琀漀 愀 昀椀最栀琀 愀渀搀 眀攀爀攀 瀀愀爀琀攀搀⸀ 䘀爀愀渀欀☀⌀㠀㈀㄀㜀㬀猀 戀漀搀礀 眀愀猀 氀愀琀攀爀 昀漀甀渀搀 渀攀愀爀 䠀愀洀洀漀渀搀⸀ 吀栀甀猀 攀渀搀攀搀 琀栀攀 挀愀爀攀攀爀 漀昀 愀 爀攀愀氀氀礀 漀甀琀猀琀愀渀搀椀渀最 瀀氀愀礀攀爀Ⰰ 愀渀 攀渀搀 眀栀椀挀栀 琀漀 琀栀椀猀 搀愀礀 猀攀攀洀猀 琀漀 栀愀瘀攀 爀攀洀愀椀渀攀搀 猀漀洀攀琀栀椀渀最 漀昀 愀 洀礀猀琀攀爀礀⸀㰀戀爀㸀㰀戀爀㸀伀昀 栀椀猀 爀攀挀漀爀搀猀Ⰰ ☀⌀㠀㈀㈀ 㬀䨀攀氀氀礀 刀漀氀氀 匀琀漀洀瀀☀⌀㠀㈀㈀㄀㬀 眀愀猀 洀愀搀攀 昀漀爀 䜀攀渀渀攀琀琀Ⰰ 昀漀甀爀 猀漀氀漀猀 爀攀瀀甀琀攀搀氀礀 昀漀爀 琀栀攀 䄀洀攀爀椀挀愀渀 刀攀挀漀爀搀 䌀漀⸀Ⰰ ☀⌀㠀㈀㈀ 㬀䴀愀爀欀攀琀 匀琀爀攀攀琀 䨀椀瘀攀Ⰰ☀⌀㠀㈀㈀㄀㬀 ☀⌀㠀㈀㈀ 㬀圀栀漀漀瀀攀攀 匀琀漀洀瀀Ⰰ☀⌀㠀㈀㈀㄀㬀 ☀⌀㠀㈀㈀ 㬀倀椀愀渀漀 䈀爀攀愀欀搀漀眀渀Ⰰ☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀䐀椀猀琀愀渀琀 䴀漀愀渀Ⰰ☀⌀㠀㈀㈀㄀㬀 戀甀琀 琀栀攀 氀愀猀琀 昀漀甀爀 眀攀爀攀 渀攀瘀攀爀 椀猀猀甀攀搀⸀ 倀愀爀愀洀漀甀渀琀 爀攀挀漀爀搀攀搀 ☀⌀㠀㈀㈀ 㬀刀漀挀欀 䴀礀 匀漀甀氀☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀圀栀漀漀瀀攀攀 匀琀漀洀瀀☀⌀㠀㈀㈀㄀㬀 甀渀搀攀爀 琀栀攀 瀀猀攀甀搀漀渀礀洀 漀昀 䈀爀漀愀搀眀愀礀 刀愀猀琀甀猀⸀ 吀栀攀渀 挀愀洀攀 琀栀攀 䈀爀甀渀猀眀椀挀欀 ☀⌀㠀㈀㈀ 㬀䨀攀氀氀礀 刀漀氀氀 匀琀漀洀瀀☀⌀㠀㈀㈀㄀㬀 愀渀搀 倀愀猀猀 琀栀攀 䨀甀最☀⌀㠀㈀㈀㄀㬀 愀戀漀甀琀 ㄀㤀㌀㄀ ⠀㄀㤀㈀㤀⤀⸀ 䄀爀漀甀渀搀 琀栀椀猀 琀椀洀攀 愀氀猀漀Ⰰ 挀愀洀攀 琀栀攀 猀椀搀攀猀 渀愀洀攀搀 椀渀 琀栀攀 䴀愀渀渀漀渀攀 ⠀䴀愀渀漀渀攀⤀ 猀攀挀琀椀漀渀 漀昀 ☀⌀㠀㈀㈀ 㬀䠀漀琀 䐀椀猀挀漀最爀愀瀀栀礀☀⌀㠀㈀㈀㄀㬀 ☀⌀㠀㈀㄀㈀㬀 ☀⌀㠀㈀㈀ 㬀匀琀⸀ 䨀愀洀攀猀 䤀渀昀椀爀洀愀爀礀☀⌀㠀㈀㈀㄀㬀 愀渀搀 ☀⌀㠀㈀㈀ 㬀圀愀椀氀椀渀最 䈀氀甀攀猀☀⌀㠀㈀㈀㄀㬀 漀渀 倀愀爀愀洀漀甀渀琀 愀猀 䬀愀渀猀愀猀 䌀椀琀礀 䘀爀愀渀欀 愀渀搀 栀椀猀 䘀漀漀琀眀愀爀洀攀爀猀Ⰰ 愀渀搀 漀渀 䈀爀漀愀搀眀愀礀 愀猀 䠀愀爀爀礀☀⌀㠀㈀㄀㜀㬀猀 刀攀挀欀氀攀猀猀 䘀椀瘀攀⸀ 䤀琀 椀猀 琀栀漀甀最栀琀 琀栀攀猀攀 椀渀挀氀甀搀攀 䨀椀洀洀礀 䈀攀爀琀爀愀渀搀 漀渀 搀爀甀洀猀⸀ 䄀瀀愀爀琀 昀爀漀洀 琀栀攀 匀椀最渀愀琀甀爀攀 䨀甀渀最氀攀 䬀椀渀最猀 搀愀琀攀Ⰰ 琀栀椀猀 椀猀 愀氀氀 愀瀀愀爀琀 昀爀漀洀 瀀爀椀瘀愀琀攀 爀攀挀漀爀搀椀渀最猀⸀㰀戀爀㸀㰀戀爀㸀䄀猀 爀攀最愀爀搀猀 䘀爀愀渀欀☀⌀㠀㈀㄀㜀㬀猀 氀愀猀琀 搀愀礀猀Ⰰ 䤀 昀椀渀搀 琀眀漀 爀攀昀攀爀攀渀挀攀猀 琀漀 琀栀攀猀攀 椀渀 䨀愀稀稀 䤀渀昀漀爀洀愀琀椀漀渀⸀ 䤀琀 愀瀀瀀攀愀爀猀Ⰰ 愀挀挀漀爀搀椀渀最 琀漀 䨀漀栀渀 匀琀攀椀渀攀爀Ⰰ 眀爀椀琀椀渀最 椀渀 琀栀愀琀 瀀愀瀀攀爀Ⰰ 琀栀愀琀 栀攀 眀愀猀 瀀氀愀礀椀渀最 愀琀 琀栀攀 匀瀀漀爀琀猀洀愀渀 漀渀 䌀栀椀挀愀最漀☀⌀㠀㈀㄀㜀㬀猀 匀漀甀琀栀 匀椀搀攀 漀挀挀愀猀椀漀渀愀氀氀礀 甀瀀 琀漀 匀攀瀀琀攀洀戀攀爀Ⰰ ㄀㤀㐀 ⸀ 䄀氀猀漀Ⰰ 愀爀漀甀渀搀 琀栀愀琀 琀椀洀攀 匀琀攀椀渀攀爀 爀攀瀀漀爀琀猀Ⰰ 愀最愀椀渀 椀渀 䨀愀稀稀 䤀渀昀漀爀洀愀琀椀漀渀Ⰰ 琀栀愀琀 䘀爀愀渀欀 䰀礀漀渀猀 栀愀搀 瀀爀椀瘀愀琀攀氀礀 爀攀挀漀爀搀攀搀 琀栀攀 匀椀氀瘀攀爀 匀氀椀瀀瀀攀爀 戀愀渀搀 昀攀愀琀甀爀椀渀最 䴀攀氀爀漀猀攀Ⰰ 愀渀搀 琀栀攀爀攀 眀愀猀 琀愀氀欀 漀昀 戀甀椀氀搀椀渀最 甀瀀 愀 爀攀挀漀爀搀 搀愀琀攀 甀猀椀渀最 洀甀猀椀挀椀愀渀猀 昀爀漀洀 琀栀愀琀 戀愀渀搀Ⰰ 愀爀漀甀渀搀 愀 爀栀礀琀栀洀 猀攀挀琀椀漀渀 栀攀氀搀 搀漀眀渀 戀礀 䘀爀愀渀欀 䴀攀氀爀漀猀攀⸀ 吀栀愀琀Ⰰ 栀漀眀攀瘀攀爀Ⰰ 眀愀猀 渀漀琀 琀漀 戀攀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀
਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀ ∀ 戀愀挀欀最爀漀甀渀搀㴀∀昀洀洀甀猀椀挀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㄀㜀∀ 栀攀椀最栀琀㴀∀㠀 ∀㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀洀椀搀搀氀攀∀ 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀☀渀戀猀瀀㬀㰀愀 栀爀攀昀㴀∀瀀戀搀漀眀渀昀洀⸀洀瀀㌀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀㸀㰀戀㸀倀䤀䄀一伀 䈀刀䔀䄀䬀䐀伀圀一㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀愀㸀㰀戀爀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀㸀㰀戀㸀☀渀戀猀瀀㬀瀀氀愀礀攀搀 戀礀 ☀⌀㠀㈀㈀ 㬀䬀愀渀猀愀猀 䌀椀琀礀 䘀爀愀渀欀☀⌀㠀㈀㈀㄀㬀 䴀攀氀爀漀猀攀㰀⼀戀㸀㰀⼀昀漀渀琀㸀 ਀㰀⼀琀爀㸀 ਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

Bill Haesler sends the following article from the Playback magazine, dated Oct.—Nov. 1949, Vol. 2, No. 10, page 14, columns 1—2.

਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


Playback - Incorporating The Jazzfinder

Mystery Record Identified

WALTER MELROSE AT THE PIANO . . . !

BY JOHN STEINER

Sparkling-eyed old-timer Walter Melrose is a warehouse of jazz information. Of course he should be, having been a jazz publisher and talent promoter since the days of the N.O.R.K. and Oliver, with whom he composed or co-published a mass of jazz standards. Walter is the brother of Kansas City Frank and Lester, Victor’s race series supervisor.

In a recent conversation with him regarding Jelly Roll Morton’s Chicago activities, I learned that it was not Jelly on:

Kitty Irvin:
   Ge 5592     Daddy Do
                                         Copenhagen

Several of the thorough Jelly collectors had held this item in ‘uncertain’ classification. I had determined several years ago that Volly de Faut was the clarinetist, but the pianist was a bit more difficult. Volly did not hear the record, but he remembered making it and felt positive that the pianist was white.

Yes, Walter remembered arranging the date. The two tunes were being pushed by his Melrose Music Publishers at the time, and he had sold Gennett on lusty singer Kitty Irvin. On the record Walter
played piano himself. And this is his only appearance on record. Add to those influenced by the Jelly piano style: Walter Melrose.

Walter has put me on the track some hitherto unissued Frank Melrose solos cut for the Marsh Studios (agent for Gennett, Autograph, Paramount, etc.)

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀爀㸀
਀㰀瀀 愀氀椀最渀㴀樀甀猀琀椀昀礀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 挀漀氀漀爀㴀∀⌀      ∀ 猀椀稀攀㴀㈀㸀㰀戀㸀倀爀漀昀⸀ 䄀氀愀渀 圀愀氀氀愀挀攀 猀攀渀搀猀 琀栀攀 昀漀氀氀漀眀椀渀最 漀戀椀琀甀愀爀礀 渀漀琀椀挀攀 昀爀漀洀 琀栀攀 㰀椀㸀䌀栀椀挀愀最漀 吀爀椀戀甀渀攀㰀⼀椀㸀Ⰰ 搀愀琀攀搀 㰀愀 栀爀攀昀㴀∀昀洀漀戀椀琀⸀樀瀀最∀㸀圀攀搀渀攀猀搀愀礀Ⰰ ㌀爀搀 匀攀瀀琀攀洀戀攀爀 ㄀㤀㐀㄀㰀⼀愀㸀Ⰰ 瀀愀最攀 ㄀㈀Ⰰ 挀漀氀甀洀渀 㜀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀
਀㰀瀀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀戀爀㸀㰀椀洀最 猀爀挀㴀∀挀栀椀琀爀椀戀⸀樀瀀最∀ 眀椀搀琀栀㴀∀㄀㘀㜀∀ 栀攀椀最栀琀㴀∀㌀㜀∀ 戀漀爀搀攀爀㴀∀㄀∀ 愀氀琀㴀∀䌀栀椀挀愀最漀 吀爀椀戀甀渀攀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 猀椀稀攀㴀∀㈀∀㸀㰀戀㸀䴀䔀䰀刀伀匀䔀 ☀⌀㠀㈀㄀㈀㬀 䘀爀愀渀欀氀椀渀 吀⸀ 䴀攀氀爀漀猀攀Ⰰ 愀最攀 ㌀㌀ 礀攀愀爀猀Ⰰ 爀攀猀椀搀攀渀挀攀 㐀㐀 ㌀ 圀愀戀愀猀栀 愀瘀攀渀甀攀Ⰰ 䠀愀洀洀漀渀搀Ⰰ 䤀渀搀⸀Ⰰ 栀甀猀戀愀渀搀 漀昀 䘀爀愀渀挀攀猀Ⰰ 昀愀琀栀攀爀 漀昀 䘀爀愀渀欀氀椀渀 䨀爀⸀Ⰰ 䘀爀愀渀挀椀渀攀Ⰰ 愀渀搀 䤀搀愀 䴀愀礀Ⰰ 猀漀渀 漀昀 䴀爀⸀ 愀渀搀 䴀爀猀⸀ 䘀⸀ 䠀⸀ 䴀攀氀爀漀猀攀Ⰰ 戀爀漀琀栀攀爀 漀昀 䰀攀猀琀攀爀Ⰰ 圀愀氀琀攀爀Ⰰ 䰀攀攀Ⰰ 䴀爀猀⸀ 䴀甀爀椀攀氀 䐀漀渀愀氀搀猀漀渀Ⰰ 䴀爀猀⸀ 䴀愀洀椀攀 匀洀椀琀栀Ⰰ 愀渀搀 䴀爀猀⸀ 䈀攀氀氀攀 䰀礀漀渀猀⸀ 䘀甀渀攀爀愀氀 吀栀甀爀猀搀愀礀Ⰰ 匀攀瀀琀⸀ 㐀Ⰰ 愀琀 ㈀㨀㌀  瀀⸀ 洀⸀Ⰰ 愀琀 挀栀愀瀀攀氀Ⰰ 䌀漀洀洀攀爀挀椀愀氀 愀瘀攀渀甀攀⸀ 䤀渀琀攀爀洀攀渀琀 䴀漀甀渀琀 䠀漀瀀攀⸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀 ਀㰀⼀琀爀㸀
਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㌀㄀㔀 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀㄀㔀 挀攀氀氀猀瀀愀挀椀渀最㴀 㸀
਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㤀㔀  戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀 㸀 ਀㰀琀搀㸀

Prof. Alan Wallace sends the following article, which was headlined on the News page of Down Beat, dated 15th September 1941, Vol. 8, No. 18.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


Down Beat

Frank Melrose

Struck Down by a hit-and-run driver or by thugs, Chicago blues pianist died at south Chicago within 15 minutes after he was found lying mangled in a south side Chicago street early Labor Day morning. He was the “Kansas City Frank” who played the piano believed for a long time to be Jelly Roll Morton’s on a number of early Brunswick jazz records.

Frank Melrose, Chi Pianist,
Is Found Fatally Injured

Chicago — Frank Melrose, considered by most Chicago musicians who knew or heard him to be one of the finest blues pianists of all time, was found fatally injured lying in a south side street early Labor Day morning.

According to police, who were unable to determine whether he had been struck by a hit-and-run driver or had been assaulted by hoodlums, Melrose was so mutilated as to be identifiable even by his wife, who recognized his coat.

Melrose, who lived in the nearby Indiana town of Hammond, had spent the evening with musicians and friends in the town. Trumpeter Pete Daily and clarinetist Bud Jacobson were among the last to see him alive. Frank left them at about 7 o’clock Labor Day morning, on his way home.

Before he died police heard him mumble “Bud Jacobson,” several times. They phoned Jacobson, whose wife Katherine, informed the Melrose family of the tragedy.

A coroner’s inquest to determine the cause of death was pending at press time.

Typical of the plight of so many truly gifted jazz men, Melrose never seemed able to make a decent living at his art, but occasionally found work playing in taverns and joints of the Calumet region southeast of Chicago.

The last job he had worked on piano was with Joe Sheets at Cedar Lake, Ind. For the month prior to his death he had been employed as a machinist at the Press Steel company at Hegewisch, Ill.

Frank left a wife and three children, girls aged 5, and 2, and four-year old Franklin P., Jr. There was no insurance.

Other survivors are Melrose’s mother and father, three brothers and three sisters.

The deceased was nearing 34 years of age, having been born Nov. 26, 1907, in Sumner, Ill. He was buried at Mount Hope, Ill., Sept. 4.

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

Alex van der Tuuk sends the following article from the Melody Maker, dated September 1950.

਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀


Melody Maker

OH, DIDN’T THEY RAMBLE

A monthly reminder by Peter Tanner

FRANK MELROSE

Another well-known name in jazz, both as pianist and composer, was Frank Melrose, whose body was found in a road near Chicago on Labour Day 1941.

Franklyn Taft Melrose was born on November 26, 1907. Much of his early life was spent in Kansas City and, under the name of Kansas City Frank, he made a number of recordings, both piano solos and with bands, for the Paramount and Brunswick companies. Best known of these is, perhaps, “Aunt Jemima (Stomp),” “St. Louis Bound” as by The Kansas City Tin Roof Stompers (Brunswick 7066).

Under his own name Frank recorded for Gennett and Varsity, and, during the last years of his life in Chicago, along with Bud Jacobson and Pete Daily, he recorded for Signature and also privately.

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀䄀䘀㤀䔀㠀㐀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㈀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㤀㔀 ∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

 Brian Goggin sends the following article from The Vidette-Messenger, Valparaiso, Indiana, dated Tuesday, 2nd August 1955, Vol. 29, No. 25, page 1, column 3.

਀㰀⼀琀搀㸀
਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀



The Vidette-Messenger

Plan Final
Rites For
River Victim

Funeral services for Franklin Eugene (Freeman) Melrose, 18, whose skeleton was found in the Kankakee river July 12 by three Hebron fishermen will be held Wednesday at the Todd Funeral home in DeMotte.

Deputy Coroner Herman Kosanke officially released the remains at 11 a. m. today after receiving a final identification in affidavit form from the Indiana State police. It was signed by Detective Sgt. Arthur Keller.

However, Kosanke stated that a formal inquest will not be held until he receives written information from Sgt. Charles Davis of the Indiana state police pathology department, who made the positive identification. Sgt. Davis is on vacation at the present time.

Franklin Eugene (Freeman) Melrose was born in Hammond Oct. 14, 1936, and disappeared Nov. 2, 1954, while on a duck hunting expedition. He was the son of Frances and Franklin Melrose. His father was killed in an automobile accident in 1941.

He lived in the Wheatfield area for seven years moving there from Rensselaer. He was graduated from the Wheatfield High school and at the time of his death was employed by the Indiana Steel Products company as a technician.

Surviving besides his mother is his step-father, C. W. Freeman, Gibson City, Ill., five half-sisters, Mrs. Francene Watson, Wheatfield, and Ida Mae (May), Elizabeth Ann, Maxine Evonne, and Carolyn, all of Gibson City, and two half-brothers, Wayne and Dale, also of Gibson City.

The Rev. Eugene Dayka will officiate at the funeral services. Burial will take place in the Wheatfield cemetery. Friends may call at the Todd Funeral home this evening.


Note: Francene Watson and Ida Mae (May) were full-sisters. There were three half-sisters, Elizabeth, Maxine and Donna, and two half-brothers Wayne and Dale. There was no half-sister by the name of Carolyn. [IMS]

਀㰀⼀琀搀㸀
਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀

਀㰀琀爀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀氀攀昀琀∀ 挀漀氀猀瀀愀渀㴀∀㈀∀㸀

REFERENCES

਀㰀⼀琀搀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀氀攀昀琀∀ 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㰀愀 渀愀洀攀㴀∀戀最洀洀∀㸀㰀⼀愀㸀

Brian Goggin — Letters and information to Mike Meddings, 19th and 21st October 2009.

਀㰀⼀琀搀㸀 ਀㰀琀爀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀氀攀昀琀∀ 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㰀愀 渀愀洀攀㴀∀椀洀猀洀洀∀㸀㰀⼀愀㸀

Ida Melrose Shoufler — Letter and information to Mike Meddings, 27th August 2009.

਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀 ਀㰀⼀琀爀㸀
਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀  挀攀氀氀瀀愀搀搀椀渀最㴀  挀攀氀氀猀瀀愀挀椀渀最㴀㄀㔀 瘀愀氀椀最渀㴀琀漀瀀 眀椀搀琀栀㴀㔀㜀 㸀

਀㰀戀㸀䈀䜀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀

਀㰀戀㸀䤀䴀匀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀

਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀爀㸀 ਀㰀琀搀 眀椀搀琀栀㴀∀㈀㘀 ∀ 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀
਀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀椀洀攀猀 一攀眀 刀漀洀愀渀∀ 猀椀稀攀㴀∀㌀∀ 挀漀氀漀爀㴀∀爀攀搀∀㸀㰀戀㸀㰀甀㸀䬀唀䐀伀匀㰀⼀甀㸀㰀⼀戀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀
਀㰀琀爀㸀 ਀㰀⼀琀爀㸀
਀㰀瀀 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀昀漀渀琀 昀愀挀攀㴀∀吀爀攀戀甀挀栀攀琀 䴀匀∀ 猀椀稀攀㴀㈀㸀 Gary Atkinson (UK)
਀䐀攀爀攀欀 䌀漀氀氀攀爀 ⠀唀䬀⤀㰀戀爀㸀 Adam M. Dubin (USA)
਀嘀攀爀愀 䌀栀攀攀欀 ⠀唀匀䄀⤀㰀戀爀㸀 Tom Fischer (USA)
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀⌀洀椀氀氀椀攀∀㸀䴀椀氀氀椀攀 䜀愀搀搀椀渀椀㰀⼀愀㸀 ⠀唀匀䄀⤀㰀戀爀㸀 Brian Goggin (Eire)
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀⌀氀愀爀爀礀∀㸀倀爀漀昀⸀ 䰀愀眀爀攀渀挀攀 䜀甀猀栀攀攀㰀⼀愀㸀 ⠀唀匀䄀⤀㰀戀爀㸀 Bill Haesler (Australia)
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀⌀瀀攀琀攀爀∀㸀倀攀琀攀爀 䠀愀渀氀攀礀㰀⼀愀㸀 ⠀䄀甀猀琀爀愀氀椀愀⤀㰀戀爀㸀 Christopher Hillman (UK)
਀䴀愀爀椀攀 䨀愀挀漀戀猀漀渀 ⠀唀匀䄀⤀㰀戀爀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀
਀㰀⼀琀搀㸀 ਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀ ∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀ ∀ 瘀愀氀椀最渀㴀琀漀瀀 眀椀搀琀栀㴀㈀㄀㔀㸀 ਀㰀琀搀㸀


਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀⌀洀椀欀攀洀搀∀㸀䴀椀欀攀 䴀攀搀搀椀渀最猀㰀⼀愀㸀 ⠀唀䬀⤀㰀戀爀㸀 John Morris (Australia)
਀䰀甀椀最椀 刀愀渀愀氀氀椀 ⠀䤀琀愀氀礀⤀㰀戀爀㸀 Roger Richard (France)
਀䤀搀愀 䴀攀氀爀漀猀攀 匀栀漀甀昀氀攀爀 ⠀唀匀䄀⤀㰀戀爀㸀 Hal Smith (USA)
਀䔀搀 匀瀀爀愀渀欀氀攀 ⠀唀匀䄀⤀㰀戀爀㸀 Mike Tovey (UK)
਀䄀氀攀砀 瘀愀渀 搀攀爀 吀甀甀欀 ⠀一攀琀栀攀爀氀愀渀搀猀⤀㰀戀爀㸀 Prof. Alan Wallace (USA)
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀⌀氀愀甀爀椀攀∀㸀䰀愀甀爀椀攀 圀爀椀最栀琀㰀⼀愀㸀 ⠀唀䬀⤀㰀戀爀㸀㰀戀爀㸀㰀戀爀㸀㰀⼀昀漀渀琀㸀㰀⼀瀀㸀 ਀㰀⼀琀爀㸀 ਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 眀椀搀琀栀㴀㈀㘀  栀攀椀最栀琀㴀㈀㌀  戀愀挀欀最爀漀甀渀搀㴀∀瀀漀猀琀戀漀砀⸀最椀昀∀ 戀漀爀搀攀爀㴀 㸀 ਀㰀琀搀 愀氀椀最渀㴀挀攀渀琀攀爀㸀 e-mail Mike Meddings

please e-mail Mike Meddings
if you can add any additional
documented information about

Frank Melrose਀㰀⼀琀搀㸀 ਀㰀⼀琀愀戀氀攀㸀

਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀愀搀愀搀愀搀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㄀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㘀 ∀ 栀攀椀最栀琀㴀㘀 㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀洀椀搀搀氀攀 愀氀椀最渀㴀挀攀渀琀攀爀㸀 Back to Top਀㰀⼀琀爀㸀 ਀㰀瀀 愀氀椀最渀㴀挀攀渀琀攀爀㸀㰀椀洀最 猀爀挀㴀∀氀椀渀攀⸀最椀昀∀ 眀椀搀琀栀㴀∀㌀㔀㔀∀ 栀攀椀最栀琀㴀∀㌀㈀∀ 戀漀爀搀攀爀㴀∀ ∀ 愀氀琀㴀∀∀㸀㰀⼀瀀㸀 ਀㰀琀爀㸀 ਀㰀琀爀㸀 ਀㰀琀爀㸀 ਀㰀琀爀㸀 ਀㰀琀爀㸀 ਀㰀⼀琀愀戀氀攀㸀


਀㰀琀愀戀氀攀 戀漀爀搀攀爀㴀∀㄀∀ 戀最挀漀氀漀爀㴀∀⌀愀搀愀搀愀搀∀ 挀攀氀氀瀀愀搀搀椀渀最㴀∀ ∀ 挀攀氀氀猀瀀愀挀椀渀最㴀∀㄀∀ 戀漀爀搀攀爀挀漀氀漀爀㴀∀⌀      ∀ 眀椀搀琀栀㴀∀㈀㈀㔀∀㸀 ਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀

਀㰀愀 栀爀攀昀㴀∀椀渀搀攀砀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀栀瀀㈀⸀最椀昀∀ 愀氀琀㴀∀䠀漀洀攀 倀愀最攀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀

਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀ ⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀樀爀洀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㄀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀樀氀挀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀⸀ 䰀愀眀爀攀渀挀攀 䌀漀漀欀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㌀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀昀洀㈀⸀最椀昀∀ 愀氀琀㴀∀䘀爀愀渀欀 䴀攀氀爀漀猀攀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㈀㘀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀爀樀挀㈀⸀最椀昀∀ 愀氀琀㴀∀刀漀礀 䨀⸀ 䌀愀爀攀眀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀愀渀椀琀愀戀欀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀愀最㈀⸀最椀昀∀ 愀氀琀㴀∀䄀渀椀琀愀 䜀漀渀稀愀氀攀猀 愀渀搀 䈀漀戀 䬀椀爀猀琀攀椀渀 刀愀搀椀漀 䈀爀漀愀搀挀愀猀琀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀洀愀砀欀漀爀琀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀洀欀㈀⸀最椀昀∀ 愀氀琀㴀∀䴀愀砀 䬀漀爀琀氀愀渀搀攀爀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀最攀渀攀愀氀漀最礀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀攀椀最㈀⸀最椀昀∀ 愀氀琀㴀∀䄀渀 䔀猀猀愀礀 椀渀 䜀攀渀攀愀氀漀最礀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀
਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㐀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀爀猀㈀⸀最椀昀∀ 愀氀琀㴀∀䤀渀琀攀爀渀愀琀椀漀渀愀氀 刀攀猀攀愀爀挀栀攀爀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀氀漀挀猀瀀攀攀挀栀㄀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀氀漀挀渀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀 愀渀搀 䄀氀愀渀 䰀漀洀愀砀 䰀椀戀爀愀爀礀 漀昀 䌀漀渀最爀攀猀猀 一愀爀爀愀琀椀瘀攀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㈀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀洀昀㈀⸀最椀昀∀ 愀氀琀㴀∀䴀䤀䐀䤀 䘀椀氀攀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㌀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀爀氀椀猀琀㈀⸀最椀昀∀ 愀氀琀㴀∀刀攀挀漀洀洀攀渀搀攀搀 䰀椀猀琀攀渀椀渀最∀㸀㰀⼀愀㸀㰀⼀琀搀㸀
਀㰀愀 栀爀攀昀㴀∀搀爀愀昀琀挀愀爀搀猀㄀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀眀眀搀挀㈀⸀最椀昀∀ 愀氀琀㴀∀圀圀䤀 䐀爀愀昀琀 刀攀最椀猀琀爀愀琀椀漀渀 䌀愀爀搀猀 愀渀搀 䔀猀猀愀礀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀椀挀漀渀愀瘀搀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀椀氀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀 䤀挀漀渀漀最爀愀瀀栀礀 䰀椀戀爀愀爀礀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㐀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀瀀最㈀⸀最椀昀∀ 愀氀琀㴀∀倀栀漀琀漀最爀愀瀀栀 䜀愀氀氀攀爀礀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㔀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀搀愀㈀⸀最椀昀∀ 愀氀琀㴀∀䐀漀挀甀洀攀渀琀 䄀爀挀栀椀瘀攀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀
਀㰀愀 栀爀攀昀㴀∀甀瀀搀愀琀攀猀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀甀瀀愀㈀⸀最椀昀∀ 愀氀琀㴀∀刀攀挀攀渀琀氀礀 唀瀀搀愀琀攀搀 䄀爀琀椀挀氀攀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㄀㔀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀搀椀猀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀 刀攀挀漀爀搀椀渀最猀 愀渀搀 䐀椀猀挀漀最爀愀瀀栀礀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀漀猀琀栀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀瀀愀㈀⸀最椀昀∀ 愀氀琀㴀∀䨀攀氀氀礀 刀漀氀氀 䴀漀爀琀漀渀 倀漀猀琀栀甀洀漀甀猀 䄀爀琀椀挀氀攀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀 ਀㰀愀 栀爀攀昀㴀∀瀀愀最攀㘀⸀栀琀洀氀∀㸀㰀椀洀最 眀椀搀琀栀㴀㈀ 㠀 栀攀椀最栀琀㴀㐀㐀 戀漀爀搀攀爀㴀  猀爀挀㴀∀爀氀㈀⸀最椀昀∀ 愀氀琀㴀∀䐀椀爀攀挀琀漀爀礀 漀昀 刀攀氀愀琀攀搀 䰀椀渀欀猀∀㸀㰀⼀愀㸀㰀⼀琀搀㸀
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