George Fisher and
his Kit Kat Band
THE RHYTHM BAND
Mello 1
Playlist
1. Broken Rhythm (Norman)
2. There’s A
Rickety Rackety Shack (R. Turk-C. Tobias) 
3. Calling Me Home (Graham-Sirmay)
4. Why Should I Feel Lonely (Charig-Meyer-Sirmay)
5. I've Found A Horseshoe (Meyers-Schoebel)
6. A Room With A View (N. Coward)
7. The Man I Love (G. Gershwin, arr: Peter York)
8. We Won’t Go Home 'Till
Morning Blues (H.M. Tennent)
9. Teach Me To Dance Like Grandma (N.
Coward)
10. Half A Kiss (Vernon Duke)
11. Love Lies ( C. Kellard-E. Clifford, arr Irving Brodsky)
12. Helping Hand (French)
13. Sweet So-And-So (Charig-Gershwin-Meyer)
14. Fancy Our Meeting (Furber-Meyer-Charig)
15. Blue Butterfly (Vivian Ellis)
16. That’s A Good Girl-Medley (Charig-Meyer)
17. Lila (Gottler- Tobias-Pinkard)
18. Didn't I Tell Ya (Rose-Monaco)
19. I'm Afraid Of You (Davis-Daly-Gottler)
20. Collegiana (Fields-McHugh)
21. Down By The Old Front Gate (Bloom-Kassel, arr: Lew Stone)
22. Minnetonka (R. Wallace-S.Myers)
23.Sweetheart Of All My Dreams ( A & K Fitch-B.Lowe)
24. Great Camp Meetin’ Day (Noble Sissle)
The
Kit-Cat Club was one of the more lavish and exclusive of the clubs that sprang up in
London’s West End after the First World War. These clubs were established to evade
the licensing laws and allowed dancers to carry on into the night when the hotels and
restaurants had all closed. It was owned by Mrs Kate Meyrick, who was in 1926 imprisoned
for bribing a police officer. The decor of the club was lavish and according to the mood
of the tune, the lighting in the club would change colour to lull or stimulate.
George Fisher (Fishberg) was an American pianist, who had recruited some of the top
British dance band musicians of the day to play at the club. In just under a year, nearly
70 sides were recorded under different names for different labels. Until now, only a few
of these sides have ever been re-issued.
George Fisher’s Kit-Cat band was not called the Rhythm Band for nothing. Whilst the
band’s propulsive rhythm section provided a great beat for dancing, the advanced
arrangements explored the possibilities of brass and reeds. It is likely that the band on
the records made for HMV was essentially a studio group. The personnel on the other
recordings may be more variable than the Rust/Forbes discography suggests, probably
reflecting the composition of the band working in the club.
Although Rickety-Rackety Shack is a stock arrangement, most of the HMV recordings seem to
be original arrangements written for this band. Irving Brodsky of the California
Ramblers supplied one arrangement, though a good proportion of the tunes are of British
origin and many of arrangements are probably by the young Peter Yorke and at least one is
by Lew Stone. For their day, they were both sophisticated and inventive and whilst they
left little space for improvisation, the ensemble playing of this band was spectacular.
Most of jazz on these sides is from Freddy Pit on trumpet, Les Norman and a teenage Harry
Hines on reeds.
Seen in its historical context, this is first rate dance music from the mythical jazz age
played by some of the best British musicians of the day. George Fisher’s band has
been a well kept secret for many years. It can now be shared.
Biographical information
George Fisher (1900-1981)
His real name was George Fishberg and was an American
who had been a member of Art Hickman's band in New York. George was born in Kharkov in the
Ukraine and came from a large family of musicians. His father had emigrated to New York in
1904 and later played the double bass in the NewYork Philharmonic. George came to London
in the autumn of 1920 with four other musicians as ‘Art Hickman's New York London
Five.’ When the band broke up, Fisher stayed on in Britain; he changed his name and
in 1828 formed his own band of British musicians to play at the Kit-Cat Club. He probably
returned to the US in the early 1930's. After WW2 he became accompanist to Marlene
Dietrich during her world tours. He went every winter to play in Florida at the Lake Wales
Club which was a sort of elite resort which has a renowned carillon and gardens. He worked
around Lake Placid in the summers and had lots of club and hotel dates. George
married in the 60s or 70s and moved to Florida. He died in 1981.
Freddy Pitt (trumpet)
Was from Selly Oak and was one of the leading British dance band trumpeters of the
1920’s. He recorded with the bands of Bert Ralton, Geoffrey Goodhart, Piccadilly
Revels Band 1926-7, and Percival Mackey. He was still working in the 1950’s.
Harry Wild (trumpet)
Played at the Savoy before joining George Fisher. He had also recorded with Ambrose
in 1927
Bill Morley (trombone)
Was previously member of Ambrose & his Mayfair Orchestra
Les Norman (clarinet, alto and baritone sax)
Was an excellent all round reed player who with his brother directed the studio bands
for Goodson/Wordecho
Harry Hines (clarinet, alto and baritone sax) (1911-1971)
Recorded with Spike Hughes Ambrose and played for Ray Noble in the 1930's. Later
became a band leader forming, in 1947, Dr. Crock and his Crackpots, playing zany music
similar to Sid Millward and his Nitwits.
Pat Whelan (clarinet and tenor sax)
Recorded for Bert Firman in the early 1920s and also with Percival Mackey
Ken Warner (soprano, alto and tenor sax-violin)
Recorded extensively with Harry Hudson as well as with Percival Mackey and Jay
Wilbur. He was also a multi-instrumentalist and arranger. In a broadcast in June 1932, he
and Fred Hartley played seven instruments between them. He was a regular contributor to
Rhythm Magazine, writing out hot choruses for different instruments.
Peter Yorke (piano -arranger)(1902-1966)
Was educated at Trinity College London and had worked previously with Percival
Mackey's band. He subsequently became pianist and arranger for Jack Hylton in 1929, before
forming his own dance band. He moved into light music forming the Peter Yorke Concert
orchestra. He was a prolific composer, arranger and broadcaster and wrote many tines
including Silks and Satins and the theme for Emergency Ward 10.
Nigel Newitt (banjo) (1900-79)
Studied as a violinist and took up the banjo in the early 1920’s. In 1924, he
become friends with the U.S. Guitarist, Eddie Lang during his stay in London. He recorded
with Geoffrey Goodhart, Debroy Somers, and later worked for Ambrose before reverting back
to the violin and continuing a career in the West End theatre orchestras, working for Lew
Stone.
Harry Evans (brass bass)
Recorded with the Savoy Havana Band in 1927
Bob Manning (drums)
Later played with Jack Payne
Bernard Miller (drums)
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Ned Newitt
Last revised: January 12, 2004