Bobby Howell was one of the beneficiaries under the B.B.C.’s change of musical policy. Having been convinced by some that the top favourite band- leaders such as Lew Stone, Roy Fox, Harry Roy, Ambrose, Carroll Gibbons, etc., had a monopoly and unfair advantage, the B.B.C. introduced a disastrous new policy which took the top bands off the air and gave their prime time to new and often virtually unknown Bands which did not always possess well rehearsed, slick, star quality musicians and vocalists.
Bobby Howell, who made only one set of dance band gramophone records ever, using unknown musicians, fitted into the new policy, despite the fact that he liked, recorded, and broadcast Light music! He was of course, essentially a Cinema musical director who used a very large aggregation for this type of work. His variety work, using all kinds of Acts was at many of the theatres and other venues owned by the Gaumont British Entertainments Group of cinemas, ballrooms, and other similar establishments. He survived until 1962. On his B.B.C. broadcast in 1935, Howell used a dance band type of orchestra. In true Hollywood style, we’re told that Joe Loss was listening quite conveniently to the radio when Howell made that broadcast — liked the voice of the lad from Hartlepool, and invited him to talk to him about his future.
Joe Loss had just ended his short recording contract with Octacros, and was hoping to secure a contract with the giant EMI group.(Octacros was a label so obscure outside of London that the writer has never seen one in all of the thousands which have passed through his hands).
Not un-naturally, Loss was very impressed with Chick, whose manly voice and good looks were both in stark contrast to his previous male vocalist, Jimmy Mesene. However, Chick was under contract to Harry Leader, and Harry was not very pleased at the thought of Joe trying to take his star male vocalist. Harry’s contract with Crystalate’s “Eclipse” had ended with Chick’s first recording session. Because of this, plus the fact that his future was a little uncertain, he was prepared to release Chick from his contract, provided that if he got another recording contract himself, Joe would allow Chick to continue recording for the Harry Leader organisation. Joe Loss agreed and proved his integrity when Harry Leader procured a contract with EMI’s “Columbia” label three months later, in September, 1935. Chick recorded the very first number, which was “You’re all I need” (Columbia FB 1144).
Chick playing ‘dummy’ guitar, Joe Loss (front right) expected more from a top vocalist than songs. Chick had to sit and pretend to be a musician too..
EMI used odd pseudonyms for their budget label Regal-Zonophone and Harry, as well as Joe Loss, fell victim to these. “Mel Rose and his Orchestra” and “Wally Bishop and his Band” being two of them. Chick appeared on these too.
Chick’s final break with Harry Leader came on the session dated 15th March, 1938, thus ending a three year association between Harry Leader and Chick Henderson, the duration of the original contract. I read elsewhere that Harry Leader “managed” Chick and that Chick never paid him his 10%. On behalf of Chick’s family, I would like to refute this allegation. Harry Leader may have “managed” Chick whilst he was in his employment — in which case he controlled Chick’s income too, and would deduct whatever money he felt due to him. When Joe Loss engaged him, he bought him out, and it was on the understanding that Harry Leader could still use him for recording and broadcasting for the three year period for which he had previously signed Chick. If money had been owed to Leader, I cannot imagine him paying re- cording and broadcasting fees to Chick without deducting what was owed to him. The story that Chick agreed to perform with Leader’s Band in 1940 on a B.B.C. broadcast to make up for the amount owed is absolute rubbish. Chick’s fee for broadcasting was £2!! That they — Leader and Henderson “revived” “Begin the Beguine” for that session is totally untrue. The original recording was issued in September 1939, so a “revival” six months later would have been a joke — the record was still being pressed at the rate of 4,000 a month, and the song lived on as a hit until Chick’s untimely death in 1944. It most certainly never needed a “revival”, and Joe Loss continued to feature it using Harry Kaye as the vocalist until Kaye left him. Loss’s Band continued to fea- ture it in the 1990’s under its new conductor.