The Time: 7:30 p.m. - 10:00 p.m., Friday, March 11, 2011
The Place: The Porch Club, 4th and Howard Streets, Riverton, NJ
Jeff Barnhart, piano and vocals; Anne Barnhart, guest musician, flute
Great piano artistry continues with the TSJS piano series. On Friday night, Jeff Barnhart gave an outstanding performance. In the first half of his piano concert he played medleys of songs by three composers: Hoagy Carmichael, George Gershwin and Fats Waller.
Flautist Anne Barnhart was invited to accompany Jeff on Gershwin’s "Summertime,” Anne soloed at the start of the tune by leaning underneath the piano lid, playing over the piano strings, which caused the strings to echo, creating a haunting effect (A similar routine was performed when the couple performed as part of the Barnhart-Midiri Quartet, back in November, 2009). The pair concluded the Gershwin segment with a rip-roaring version of Gershwin's "I Got Rhythm."
Fats Waller, whom Jeff called his patron saint, was celebrated in the performances of "Honeysuckle Rose" and “Hold My Hand." Jeff explained that in the latter piece Fats introduced an ABCD pattern in place of the AABA approach universally being used. It isn't heard often today, but Fats loved the tune so much that he both opened and closed each of his performances with it during the early 1940's.
The intermission was a pleasant social interlude with snacks provided by former TSJS President Pete Peterson. One of the attendees was a native from Scotland, Helen Campbell, who said she just had to come to hear Jeff.
To open the second set, Jeff made some short educational comments about stride piano and played James P. Johnson's "The Mule Walk" and Jelly Roll Morton's "The Pearls." He followed up by informing us that TSJS member Jay "JazzBo" Schultz had sent him a song titled "Red Hot Mama" to play, which Jeff first turned into a short educational interlude about the workings of Tin Pan Alley, after which he performed the song as it might have been played by several pianists in varying styles, such as boogie woogie.
Jeff next featured three tunes by Eubie Blake. The first one, "I'm Just Wild About Harry," had been written as a waltz which was rejected by Tin Pan Alley publishers, so Eubie changed it the next day into a fox trot which succeeded wildly.
The memorable concert concluded with "Blue Skies" by both Anne and Jeff. – Mike Mudry
Wednesday, March 23, 2011
Tuesday, March 1, 2011
REVIEW - PIANO SERIES - JOE HOLT
The Time: Sunday, February 27, 2011, 2:00 p.m. to 4:30 p.m.
The Place: The Porch Club, 4th and Howards Sts., Riverton, NJ
Joe Holt, piano
Direction. Getting from point A to point B. How we get from those two points varies according to the individual. For some, the quickest route serves best, not attractive for sight-seeing, but saves time. For others, taking in some scenery, and an escape from the busiest highways with its congestion, short-tempered drivers et al allows for a more pleasant drive.
Then there’s Joe Holt.
To illustrate visually a Joe Holt piano performance would go something like this: Getting in the car, starting the engine, go back in the house because he forgot something, get back in car, drive around the block three times to admire the Christmas lights, then go back to the house because he forgot to say goodbye to the pet dog, off again, one more trip around the block-this time to admire the neighbor’s ’57 Chevy, makes a U-turn, then arrives at a traffic light, makes another U-turn to go to an intersection where there is no light, takes a road less traveled to get to point B! It is an understated cliché to define Holt’s playing as the mouse in the maze hunting for the elusive piece of cheese.
To be a good stride pianist, one must have a strong left hand. All the greats had them – Smith, Johnson, Waller, etc. Mr. Holt was no exception. In some cases, he presented his left hand as a walking bass, taking “bass solos” as in the case in his performance of “Sweet Georgia Brown.” However, his right hand should not go unnoticed-the driving metaphor described in the previous paragraph is applied here. Some performances like in the opening “Aint Misbehavin’” had both hands switch parts – the bass playing melody and the treble playing bass.
All of the selections performed had their moments. “Putting on the Ritz” could be defined as “What happened after the Ritz.” Both hands stagger in opposite directions, somehow managing to hail a taxi cab to go uptown, while passing Carnegie Hall, “Anitra’s Dance” is performed, ultimately arriving at Small’s Paradise Café where the house band is playing “Sing, Sing, Sing.” “If Only” a Holt original, took a different direction. Described as a “feeling of regret,” the title fits the mood of the piece, sort of a looking back on an unpleasant past. Based loosely on the melody of “Ochi Chernye (Dark Eyes)”, the piece reminds one of Debussy’s impressionistic works. The closing, “I Got Rhythm” was the best saved for last. Describing his penchant for quoting as “my Tourettes,” Holt applied them liberally, citing diversified works as “Yes, We Have No Bananas” and “Seven, Come Eleven.” Gershwin’s composition brought out the Basie in Holt, applying the subtle treble effects the great Count was known for, even going so far as to allow a Walter Page impression with his left hand!
The relaxed encore, “If I Had You,” marked the end of an adventurous ride, arriving at Point B, safe and sound. - Jim McGann
The Place: The Porch Club, 4th and Howards Sts., Riverton, NJ
Joe Holt, piano
Direction. Getting from point A to point B. How we get from those two points varies according to the individual. For some, the quickest route serves best, not attractive for sight-seeing, but saves time. For others, taking in some scenery, and an escape from the busiest highways with its congestion, short-tempered drivers et al allows for a more pleasant drive.
Then there’s Joe Holt.
To illustrate visually a Joe Holt piano performance would go something like this: Getting in the car, starting the engine, go back in the house because he forgot something, get back in car, drive around the block three times to admire the Christmas lights, then go back to the house because he forgot to say goodbye to the pet dog, off again, one more trip around the block-this time to admire the neighbor’s ’57 Chevy, makes a U-turn, then arrives at a traffic light, makes another U-turn to go to an intersection where there is no light, takes a road less traveled to get to point B! It is an understated cliché to define Holt’s playing as the mouse in the maze hunting for the elusive piece of cheese.
To be a good stride pianist, one must have a strong left hand. All the greats had them – Smith, Johnson, Waller, etc. Mr. Holt was no exception. In some cases, he presented his left hand as a walking bass, taking “bass solos” as in the case in his performance of “Sweet Georgia Brown.” However, his right hand should not go unnoticed-the driving metaphor described in the previous paragraph is applied here. Some performances like in the opening “Aint Misbehavin’” had both hands switch parts – the bass playing melody and the treble playing bass.
All of the selections performed had their moments. “Putting on the Ritz” could be defined as “What happened after the Ritz.” Both hands stagger in opposite directions, somehow managing to hail a taxi cab to go uptown, while passing Carnegie Hall, “Anitra’s Dance” is performed, ultimately arriving at Small’s Paradise Café where the house band is playing “Sing, Sing, Sing.” “If Only” a Holt original, took a different direction. Described as a “feeling of regret,” the title fits the mood of the piece, sort of a looking back on an unpleasant past. Based loosely on the melody of “Ochi Chernye (Dark Eyes)”, the piece reminds one of Debussy’s impressionistic works. The closing, “I Got Rhythm” was the best saved for last. Describing his penchant for quoting as “my Tourettes,” Holt applied them liberally, citing diversified works as “Yes, We Have No Bananas” and “Seven, Come Eleven.” Gershwin’s composition brought out the Basie in Holt, applying the subtle treble effects the great Count was known for, even going so far as to allow a Walter Page impression with his left hand!
The relaxed encore, “If I Had You,” marked the end of an adventurous ride, arriving at Point B, safe and sound. - Jim McGann
RECALLING MUSIC OF THE PAST
RECORD RESEARCH, Issue 128, July 1974 saluted “Duke” Edward Kennedy Ellington (piano /composer/ arranger), born Washington, DC, April 29, 1899, died early 1974. The following biography by John Chilton appeared in “Who’s Who of Jazz(1970):
“During early childhood he was nicknamed “Duke” by a neighbor. He attended Armstrong H.S. in DC from February 1914 until June 1917; won a poster design contest (organized by NAACP), left high-school before graduation and started own sign-painting business. While still in High School , Duke had begun ‘gigging’ at the Washington True Reformers’ Hall, soon afterwards he began ‘subbing’ for pianist Lester Dishman at the ‘Poodle Dog Café’; while working there wrote his first composition “Soda Fountain Rag” --- soon followed by his first tune with lyrics: “What Are You Going To Do When The Bed Breaks Down?” He studied harmony with Henry Grant. He worked as relief pianist at the Abbott House and the Oriental Theater and ‘gigged’ with quite a
few bands.
“He worked New York and Atlantic City with “The Washingtonians” directed by Elmer Snowden. Early in 1924 Duke became the leader of “The Washingtonians”; during the following year he and lyricist Jo Trent wrote the score for the “Chocolate Kiddies” revue. From 1925 to 1927 the band did regular tours through New England as well as New York clubs. Starting 12-4-1927 the orchestra resided at the Cotton Club in NY until February 1931. The residency was not continuous -- the orchestra did regular tours and dates at many New York Theaters, and traveled to California (in August 1930) for local engagements and filming. The orchestra did extensive touring in 1931 (theaters), played residencies in Boston and California before returning to the Paramount, NY in February 1932, later returning to California.
“They arrived in England on June 9, 1933; residency at the London Palladium, they toured Bolton, Liverpool, Glasgow, Blackpool, etc., before playing concerts in Paris. They sailed back to New York August 2, 1933, later that year they did first southern tour, then played residency at the Cotton Club, Culver City. Toured Texas, Louisiana, Canada, etc. (summer 1935), played
residency at Congress Hotel, Chicago (May & June 1936) etc. Residency at the NY Cotton Club (from March 20, 1937) then resumed widespread touring.
“From July 1 until August 10, 1938 Duke was away from the scene whilst undergoing surgery for hernia; during this period wrote the music for the ballet “City Woman”. In March the orchestra toured France, Belgium, Holland, Denmark, and Sweden. By 1940 Billy Strayhorn had joined Duke as staff arranger and collaborator; the orchestra continued touring and residencies, then appeared in “Jump for Joy” revue in Los Angeles from August 1941. In 1943, they did the first of the Carnegie Hall Concerts plus residency at the Hurricane Club, NY (April – Sept.)toured in 1944-5.
“After a brief spell in the hospital (spring 1948), Duke, Ray Nance and vocalist Kay Davis toured variety halls in Great Britain (June - July 1948). During the 1940s, 1950s, and 1960s, Duke continued to lead (and compose) with undiminished success. In the autumn of 1956 they made a triumphant return to Britain. During the 1960s they also toured throughout Europe, the Far East, the Middle East, India, Japan, South America, Senegal, etc. Early in 1970 they began a wide range of overseas tours, visiting Japan, Australia, and New Zealand.”
The magazine also contains photos and adds details on his compositions, specifics at typical locations, and more. The world knew the Duke! - Woody Backensto
Monday, January 31, 2011
Review - Mark Kramer
The Time: Sunday, January 30, 2011, 2:00 p.m. to 5:00 p.m.
The Place: The Porch Club, Riverton, NJ
Mark Kramer, piano
The Tri-State Jazz Society began a new piano series on Sunday, and pianist Mark Kramer was invited to inaugurate the series.
Kramer's presentation was one of dramatics and education. In addition to performing the works of the influential Jazz pianists, Mr. Kramer "acted" in character, summarizing their lives and works. Louis Gottschalk, Scott Joplin, Jelly Roll Morton, James P. Johnson and Fats Waller were presented in this fashion. Treating the evolution of Jazz chronologically, Kramer pointed out the techniques that were developed over time; the influence of African rhythms and polyrhythms in the works of Gottschalk and Joplin; the Spanish clave (or "tinge") in Morton's work and the loosening of time in Johnson's and Waller's playing. Mr. Kramer even got the audience to participate in a rhythmic exercise, combining rhythm patterns based on the human heartbeat and breathing.
With all this history, demonstration and activity, one thing suffered - the music. Kramer, a pianist comfortable with modern players Eddie Gomez, the Brecker Brothers and Stanley Clarke, was entering new terrain with this concert. In most of his pianistic interpretations, Kramer's modern skills clashed with the works of the masters. Some modern players (post bop) were included and some (pre-Bop) players from the past were overlooked. Kramer acknowledged Thelonious Monk with developing space in his solos - did not Count Basie, by economizing his piano playing, allowed the sounds of Freddie Green, Walter Page and Jo Jones to filter in so the rhythm section worked as a whole unit? Would that be defined as using space?
One pleasant surprise - new faces. The audience at this concert were mostly first-time attendees, and generally enjoyed Kramer's presentation. Let's hope this is a trend!
Our next piano concert will return to the Porch Club. On February 27, pianist Joe Holt will perform "Stride Piano - A Continuing Legacy of Spontaneous Joy." at 2:00 p.m.
-Jim McGann
The Place: The Porch Club, Riverton, NJ
Mark Kramer, piano
The Tri-State Jazz Society began a new piano series on Sunday, and pianist Mark Kramer was invited to inaugurate the series.
Kramer's presentation was one of dramatics and education. In addition to performing the works of the influential Jazz pianists, Mr. Kramer "acted" in character, summarizing their lives and works. Louis Gottschalk, Scott Joplin, Jelly Roll Morton, James P. Johnson and Fats Waller were presented in this fashion. Treating the evolution of Jazz chronologically, Kramer pointed out the techniques that were developed over time; the influence of African rhythms and polyrhythms in the works of Gottschalk and Joplin; the Spanish clave (or "tinge") in Morton's work and the loosening of time in Johnson's and Waller's playing. Mr. Kramer even got the audience to participate in a rhythmic exercise, combining rhythm patterns based on the human heartbeat and breathing.
With all this history, demonstration and activity, one thing suffered - the music. Kramer, a pianist comfortable with modern players Eddie Gomez, the Brecker Brothers and Stanley Clarke, was entering new terrain with this concert. In most of his pianistic interpretations, Kramer's modern skills clashed with the works of the masters. Some modern players (post bop) were included and some (pre-Bop) players from the past were overlooked. Kramer acknowledged Thelonious Monk with developing space in his solos - did not Count Basie, by economizing his piano playing, allowed the sounds of Freddie Green, Walter Page and Jo Jones to filter in so the rhythm section worked as a whole unit? Would that be defined as using space?
One pleasant surprise - new faces. The audience at this concert were mostly first-time attendees, and generally enjoyed Kramer's presentation. Let's hope this is a trend!
Our next piano concert will return to the Porch Club. On February 27, pianist Joe Holt will perform "Stride Piano - A Continuing Legacy of Spontaneous Joy." at 2:00 p.m.
-Jim McGann
Tuesday, May 25, 2010
Celebrating Birthdays In The Month of June...
Ray Bauduc (June 18, 1906) drums/composer. Charter member of Bob Crosby's Bob Cats. Co-composer of "South Rampart Street Parade"
Louis Thomas "Lou" Black (June 8, 1901) banjo, with the New Orleans Rhythm Kings (1921-1923)
Tom Brown (June 3, 1888) trombone/string bass, performed with Papa Jack Laine's Reliance Brass Band, and led own Ragtime Band (1910-1915)
Adolphus Anthony "Doc" Cheatham, (June 13, 1905), trumpet, with Albert Wynn (1926), Wilbur DeParis (1927-1928, 1957, 1960), McKinney's Cotton Pickers (1931-1932), Cab Calloway (1933-1939), Teddy Wilson (1939), Benny Carter (1940) Fletcher Henderson (1941), Benny Goodman (1966-1967)
Lester Rallingston "Shad" Collins (June 27, 1910) trumpet, with Chick Webb (1931), Benny Carter (1933), Teddy Hill (1936-1937), Count Basie (1938-1940), Lester Young (1941), Cab Calloway (1941-1943, 1944-1946)
Edward Emerson "Ed" Cuffee (June 7, 1902), trombone, with McKinney's Cotton Pickers (1930-1934), Fletcher Henderson (1936-1939), Bunk Johnson (1947)
Charles A. "Charlie" Elgar (June 13, 1885) violin/saxes/clarinet/leader, performed with Will Marion Cook's Southern Syncopated Orchestra, led own orchestra
Glen Gray (Knoblaugh) (June 7, 1906), leader of the Casa Loma Orchestra
"Captain" John Handy (June 24, 1900) alto sax/clarinet, performed with local New Orleans orchestras, among them Kid Rena, Amos Riley, John Casimir, Kid Howard, Kid Sheik, etc. Led the Louisiana Shakers.
Emmett Louis Hardy (June 12, 1903) cornet, performed with Papa Jack Laine (1917), influenced many cornet players
Clarence Behrens Hutchenrider (June 13, 1906) clarinet/saxes/flute, with the Casa Loma Orchestra (1931-1943)
Dewey Jackson (June 21, 1900) trumpet, performed with Charlie Creath (1919, 1927, 1934, 1936), led own bands (1920-1923, 1927-1929, 1930-1932), Fate Marable (1924, 1926, 1929-1930, 1936), Andrew Preer at the Cotton Club (1926), led own Musical Ambassadors (1937) on riverboats - a favored venue for the trumpeter.
Anthony "Tony" Jackson (June 5, 1876) piano/vocals, legendary Storyville entertainer who had a profound influence on Jelly Roll Morton, and Clarence Williams
Richard M. Jones (June 13, 1889) piano/composer, with the Eureka Brass Band (early 1900s), John Robichaux, Armand Piron (mid-1910's), led the Jazz Wizards (1920s-early 1930s), "race" recording manager for Okeh records, talent scout for various record companies
Don Kirkpatrick (June 17, 1905) piano/arranger, performed with Chick Webb (late 1920s - 1932), Don Redman (1933-1938), arranged for many bands, including Benny Goodman, Alvino Rey, etc. Occasionally performed with Zutty Singleton, Mezz Mezzrow and Bunk Johnson (late 1930s-mid 1940s)
Hilton Napoleon "Nappy" Lamare (June 14, 1907), guitar/banjo/vocals, with Ben Pollack (1930-1934), founder member of the Bob Crosby Band (1935-1942), Eddie Miller (1943)
Ted Lewis (Theodore Leopold Friedman) (June 6, 1892) clarinet/vocals, led popular orchestra which on occasion featured Jazz musicians like Fats Waller, Muggsy Spanier, Benny Goodman and Georg Brunis
Jimmie Lunceford (June 6, 1902) bandleader, leader of a popular big band in the 1930s which favored the two-beat Dixieland style of Jazz as opposed to the four-beat Swing style embraced by other big bands of the time.
Paul Mares (June 15, 1900) trumpet/composer, organized (along with Leon Rappolo) the New Orleans Rhythm Kings
Charles "Charlie" Margulis (June 24, 1903) trumpet, performed with Jean Goldkette (1924-1925), Paul Whiteman (1927-1930), Dorsey Brothers (early 1930s), Glenn Miller (1938)
Joseph "Kaiser" Marshall, (June 11, 1899), drums, performed with Fletcher Henderson (1924-1930), McKinney's Cotton Pickers (early 1930s), Edgar Hayes (1939), Wild Bill Davison (1943), Art Hodes (1943-1947), Garvin Bushell (1944), Sidney Bechet (1945, 1947), Bunk Johnson (1946)
Raymond Frederick "Ray" McKinley (June 18, 1910) drums/vocals, with the Dorsey Brothers (1934-1935), Jimmy Dorsey (1935-1939), co-led band with trombonist Will Bradley (1939-1942), led Glenn Miller's Army-Air Force Orchestra after the leader's death (1944-1945)
Eddie Miller (June 23, 1911) tenor sax and clarinet, with Ben Pollack (1930-1934), Wingy Manone (1935), founder-member of Bob Crosby band (1935-1942)
Ernest "Punch" Miller (Ernest Burden) (June 14, 1894) trumpet/vocals, toured with Jelly Roll Morton (1927), Al Wynn, Tiny Parham, Erskine Tate and Freddie Keppard (1927-1928) Frankie Franko (Francois Moseley) and his Louisianians (1929-1933, 1934, 1935), led own bands (early 1920s, 1933, early 1940s)
James "Jimmy" Mundy (June 28, 1907) arranger, with Earl Hines (1932-1936), Benny Goodman (1936-1939), arranged for many big bands including: Count Basie, Paul Whiteman, Gene Krupa, Bob Crosby, Glen Gray
Don Murray (June 7, 1904) clarinet/saxes/violin, with the New Orleans Rhythm Kings (1923), Jean Goldkette (1924-1927), Bix Beiderbecke (recordings 1927-1928), Adrian Rollini (1927),
Ted Lewis (1928-1929)
Ben Pollack (June 22, 1903) drums, leader of a popular orchestra during the 1920s-early 1930s which, at various times, boasted the talents of top flight Jazz musicians. Appeared in the films, The Glenn Miller Story and The Benny Goodman Story
Irving "Mouse" Randolph (June 22, 1909) trumpet, with Fate Marable (late 1920s), Andy Kirk (1931-1933), Fletcher Henderson (1934), Cab Calloway (1935-1939)
Bill Rank (June 8, 1904) trombone, performed with Jean Goldkette (1923-1927), Bix Beiderbecke (recordings 1927-1928), Adrian Rollini (1927), Paul Whiteman (1927-1938)
Allan Reuss (June 15, 1915) guitar, performed with Benny Goodman (1935-1938, 1943-1944), Jack Teagarden (1939), Harry James (1944-1945)
Prince Robinson (June 7, 1902) clarinet / tenor sax, with McKinney's Cotton Pickers (1928-1931, 1932-1935), Blanche Calloway (1935-1937), Roy Eldridge (1938-1940), Louis Armstrong (1940-1942)
Adrian Rollini (June 28, 1904) bass sax/vibraphone/"hot fountain pen"/"goofus" performed with Bix Beiderbecke, Joe Venuti, Eddie Lang, Jack Teagarden, Benny Goodman among others on many freelance recordings during the 1920s-early 1930s
Irving "Babe" Russin (June 18, 1911) tenor sax/clarinet, with the California Ramblers (1926), Red Nichols (1928-1929, 1930-1932), Ben Pollack (1930), Benny Goodman (late 1937-early 1938 - appeared with band at Carnegie Hall concert), Tommy Dorsey (1938-1940), Jimmy Dorsey (1942-1944), appeared in the film, The Benny Goodman Story.
Eugene P. "Honey Bear" Sedric (June 17, 1907) tenor sax/clarinet, with Fats Waller (1934-1942)
Clarence "Pinetop" Smith (June 11, 1904), piano/vocals, one of the early contributors of the Boogie Woogie style
Tony Spargo (Antonio Sbarboro) (June 27, 1897) drums/kazoo, charter member of the Original Dixieland Jazz Band
Harry Alexander "Father" White (June 1, 1898) trombone/saxes/cornet/arranger/composer, with Luis Russell (1927-1928, 1935), Duke Ellington (1929), Cab Calloway (1931, 1932-1935), Mills Blue Rhythm Band (1931-1932), Louis Armtrong (1935-1936), Hot Lips Page (1938), Bud Freeman (1940)
Louis Thomas "Lou" Black (June 8, 1901) banjo, with the New Orleans Rhythm Kings (1921-1923)
Tom Brown (June 3, 1888) trombone/string bass, performed with Papa Jack Laine's Reliance Brass Band, and led own Ragtime Band (1910-1915)
Adolphus Anthony "Doc" Cheatham, (June 13, 1905), trumpet, with Albert Wynn (1926), Wilbur DeParis (1927-1928, 1957, 1960), McKinney's Cotton Pickers (1931-1932), Cab Calloway (1933-1939), Teddy Wilson (1939), Benny Carter (1940) Fletcher Henderson (1941), Benny Goodman (1966-1967)
Lester Rallingston "Shad" Collins (June 27, 1910) trumpet, with Chick Webb (1931), Benny Carter (1933), Teddy Hill (1936-1937), Count Basie (1938-1940), Lester Young (1941), Cab Calloway (1941-1943, 1944-1946)
Edward Emerson "Ed" Cuffee (June 7, 1902), trombone, with McKinney's Cotton Pickers (1930-1934), Fletcher Henderson (1936-1939), Bunk Johnson (1947)
Charles A. "Charlie" Elgar (June 13, 1885) violin/saxes/clarinet/leader, performed with Will Marion Cook's Southern Syncopated Orchestra, led own orchestra
Glen Gray (Knoblaugh) (June 7, 1906), leader of the Casa Loma Orchestra
"Captain" John Handy (June 24, 1900) alto sax/clarinet, performed with local New Orleans orchestras, among them Kid Rena, Amos Riley, John Casimir, Kid Howard, Kid Sheik, etc. Led the Louisiana Shakers.
Emmett Louis Hardy (June 12, 1903) cornet, performed with Papa Jack Laine (1917), influenced many cornet players
Clarence Behrens Hutchenrider (June 13, 1906) clarinet/saxes/flute, with the Casa Loma Orchestra (1931-1943)
Dewey Jackson (June 21, 1900) trumpet, performed with Charlie Creath (1919, 1927, 1934, 1936), led own bands (1920-1923, 1927-1929, 1930-1932), Fate Marable (1924, 1926, 1929-1930, 1936), Andrew Preer at the Cotton Club (1926), led own Musical Ambassadors (1937) on riverboats - a favored venue for the trumpeter.
Anthony "Tony" Jackson (June 5, 1876) piano/vocals, legendary Storyville entertainer who had a profound influence on Jelly Roll Morton, and Clarence Williams
Richard M. Jones (June 13, 1889) piano/composer, with the Eureka Brass Band (early 1900s), John Robichaux, Armand Piron (mid-1910's), led the Jazz Wizards (1920s-early 1930s), "race" recording manager for Okeh records, talent scout for various record companies
Don Kirkpatrick (June 17, 1905) piano/arranger, performed with Chick Webb (late 1920s - 1932), Don Redman (1933-1938), arranged for many bands, including Benny Goodman, Alvino Rey, etc. Occasionally performed with Zutty Singleton, Mezz Mezzrow and Bunk Johnson (late 1930s-mid 1940s)
Hilton Napoleon "Nappy" Lamare (June 14, 1907), guitar/banjo/vocals, with Ben Pollack (1930-1934), founder member of the Bob Crosby Band (1935-1942), Eddie Miller (1943)
Ted Lewis (Theodore Leopold Friedman) (June 6, 1892) clarinet/vocals, led popular orchestra which on occasion featured Jazz musicians like Fats Waller, Muggsy Spanier, Benny Goodman and Georg Brunis
Jimmie Lunceford (June 6, 1902) bandleader, leader of a popular big band in the 1930s which favored the two-beat Dixieland style of Jazz as opposed to the four-beat Swing style embraced by other big bands of the time.
Paul Mares (June 15, 1900) trumpet/composer, organized (along with Leon Rappolo) the New Orleans Rhythm Kings
Charles "Charlie" Margulis (June 24, 1903) trumpet, performed with Jean Goldkette (1924-1925), Paul Whiteman (1927-1930), Dorsey Brothers (early 1930s), Glenn Miller (1938)
Joseph "Kaiser" Marshall, (June 11, 1899), drums, performed with Fletcher Henderson (1924-1930), McKinney's Cotton Pickers (early 1930s), Edgar Hayes (1939), Wild Bill Davison (1943), Art Hodes (1943-1947), Garvin Bushell (1944), Sidney Bechet (1945, 1947), Bunk Johnson (1946)
Raymond Frederick "Ray" McKinley (June 18, 1910) drums/vocals, with the Dorsey Brothers (1934-1935), Jimmy Dorsey (1935-1939), co-led band with trombonist Will Bradley (1939-1942), led Glenn Miller's Army-Air Force Orchestra after the leader's death (1944-1945)
Eddie Miller (June 23, 1911) tenor sax and clarinet, with Ben Pollack (1930-1934), Wingy Manone (1935), founder-member of Bob Crosby band (1935-1942)
Ernest "Punch" Miller (Ernest Burden) (June 14, 1894) trumpet/vocals, toured with Jelly Roll Morton (1927), Al Wynn, Tiny Parham, Erskine Tate and Freddie Keppard (1927-1928) Frankie Franko (Francois Moseley) and his Louisianians (1929-1933, 1934, 1935), led own bands (early 1920s, 1933, early 1940s)
James "Jimmy" Mundy (June 28, 1907) arranger, with Earl Hines (1932-1936), Benny Goodman (1936-1939), arranged for many big bands including: Count Basie, Paul Whiteman, Gene Krupa, Bob Crosby, Glen Gray
Don Murray (June 7, 1904) clarinet/saxes/violin, with the New Orleans Rhythm Kings (1923), Jean Goldkette (1924-1927), Bix Beiderbecke (recordings 1927-1928), Adrian Rollini (1927),
Ted Lewis (1928-1929)
Ben Pollack (June 22, 1903) drums, leader of a popular orchestra during the 1920s-early 1930s which, at various times, boasted the talents of top flight Jazz musicians. Appeared in the films, The Glenn Miller Story and The Benny Goodman Story
Irving "Mouse" Randolph (June 22, 1909) trumpet, with Fate Marable (late 1920s), Andy Kirk (1931-1933), Fletcher Henderson (1934), Cab Calloway (1935-1939)
Bill Rank (June 8, 1904) trombone, performed with Jean Goldkette (1923-1927), Bix Beiderbecke (recordings 1927-1928), Adrian Rollini (1927), Paul Whiteman (1927-1938)
Allan Reuss (June 15, 1915) guitar, performed with Benny Goodman (1935-1938, 1943-1944), Jack Teagarden (1939), Harry James (1944-1945)
Prince Robinson (June 7, 1902) clarinet / tenor sax, with McKinney's Cotton Pickers (1928-1931, 1932-1935), Blanche Calloway (1935-1937), Roy Eldridge (1938-1940), Louis Armstrong (1940-1942)
Adrian Rollini (June 28, 1904) bass sax/vibraphone/"hot fountain pen"/"goofus" performed with Bix Beiderbecke, Joe Venuti, Eddie Lang, Jack Teagarden, Benny Goodman among others on many freelance recordings during the 1920s-early 1930s
Irving "Babe" Russin (June 18, 1911) tenor sax/clarinet, with the California Ramblers (1926), Red Nichols (1928-1929, 1930-1932), Ben Pollack (1930), Benny Goodman (late 1937-early 1938 - appeared with band at Carnegie Hall concert), Tommy Dorsey (1938-1940), Jimmy Dorsey (1942-1944), appeared in the film, The Benny Goodman Story.
Eugene P. "Honey Bear" Sedric (June 17, 1907) tenor sax/clarinet, with Fats Waller (1934-1942)
Clarence "Pinetop" Smith (June 11, 1904), piano/vocals, one of the early contributors of the Boogie Woogie style
Tony Spargo (Antonio Sbarboro) (June 27, 1897) drums/kazoo, charter member of the Original Dixieland Jazz Band
Harry Alexander "Father" White (June 1, 1898) trombone/saxes/cornet/arranger/composer, with Luis Russell (1927-1928, 1935), Duke Ellington (1929), Cab Calloway (1931, 1932-1935), Mills Blue Rhythm Band (1931-1932), Louis Armtrong (1935-1936), Hot Lips Page (1938), Bud Freeman (1940)
Tuesday, May 4, 2010
Celebrating Birthdays in the month of May...
Sylvester (Hooley) Ahola, (May 24th, 1902), cornet/trumpet, work with Adrian Rollini, the California Ramblers, and the British bandleader, Ambrose
Hayes Julian Alvis, (May 1st, 1907), string bass/tuba/arranger, toured with Jelly Roll Morton (late 1927-early 1928), with Earl Hines (1928-1930), Jimmie Noone (1931), the Mills Blue Rhythm Band (1931-1935), Duke Ellington (1935-1938), Benny Carter (1939), Joe Sullivan (1940, 1942), Wilbur de Paris (1958)
Fernando Arbello, (May 30th, 1907) trombone, arranger, with Claude Hopkins (1931-1934), Chick Webb (1934-1935), Fletcher Henderson (1936-1937, 1941), Marty Marsala (1941), Jimmie Lunceford (1942-1946)
Adolphe Paul Barbarin (May 5th, 1899) drums and composer, with King Oliver (1924-1927), Luis Russell (1928-1932), Louis Armstrong (1935-1938), Henry "Red" Allen (1942-1943), Sidney Bechet (1944)
Sidney Joseph Bechet (May 14th, 1897), soprano sax/clarinet/composer.
Vic(tor) Berton (Cohen) (May 6th, 1896), drums/percussion/vibes. With Bix Beiderbecke and the Wolverines (1924), Roger Wolfe Kahn (1926), free lance recording with Joe Venuti, Eddie Lang, Red Nichols and others.
Jack Bland (May 8th, 1899) guitar/banjo. Founded the Mound City Blue Blowers with Red McKenzie and Dick Slavin.
Rod Cless (May 20th, 1907) clarinet. Performed with Muggsy Spanier's Ragtimers (1939), Art Hodes (1940-41), Wild Bill Davison (1943), Max Kaminski (1944)
Sidney De Paris (May 30th, 1905) trumpet/tuba. McKinney's Cotton Pickers (1929), Don Redman (1932-1936), Mezz Mezzrow (1937), Zutty Singleton (1939-1940), Benny Carter (1940-1941), Wilbur De Paris (1943, 1947 until the mid 1960's), freelance recordings with Jelly Roll Morton (1939), Sidney Bechet (1940) James P. Johnson, Edmond Hall (1944).
Edwin "Eddie" Edwards (May 22nd, 1891), trombone/violin. Performed with the Original Dixieland Jazz Band.
George Murphy "Pops" Foster (May 18th, 1892), string bass/tuba. With Kid Ory (1908, 1923-1925,), Fate Marable (1917-1921), Luis Russell / Louis Armstrong (1929-1940), Sidney Bechet (1945), Art Hodes (1945-1946), Mezz Mezzrow (1948), Bob Wilber-Jimmy Archey (1948-1952), Papa Celestin (1954), Earl Hines (late 1950s), Elmer Snowden (1963-1964)
Harold Eugene "Gene" Gifford, (May 31st, 1908), guitar/arranger. Arranged for Jean Goldkette (1928-1929), and the Casa Loma Orchestra (1929-1938)
Benjamin David "Benny" Goodman (May 30th, 1909) clarinet/saxes/occasional cornet. With Ben Pollack (1926-1929), Red Nichols (1929-1930), Ben Selvin (early 1930s) before becoming the King of Swing in 1935.
Edmond Hall (May 15th, 1901), clarinet/baritone sax. With Buddie Petit (1921-1923), Claude Hopkins (1929-1935), Joe Sullivan (1939), Teddy Wilson (1941-1944), led bands at Cafe Society plus freelance recordings (1944-1946), Eddie Condon (early 1950's), Louis Armstrong and his All Stars (1955- 1958).
Edgar Hayes (May 23rd, 1904), pianist/arranger with the Mills Blue Rhythm Band (1931-1936)
Thomas J. "Tommy" Ladnier (May 28th, 1900) trumpet. With King Oliver (1924-1925), Sam Wooding (1935-1926, 1928-1929), Fletcher Henderson (1926-1927), Noble Sissle (1930-1931), Sidney Bechet (1932-1933)
John Rhea "Yank" Lawson (May 3rd, 1911) trumpet. Performed with Ben Pollack (1933-1934), Bob Crosby (1935-1938, 1941-1942), Tommy Dorsey (1938-1939) co-leader of the World's Greatest Jazz Band with Bob Haggart.
Castor McCord (May 17th, 1907), tenor sax and clarinet. Performed with the Mills Blue Rhythm Band (1929-1930, 1932-1934)
Albert Nicholas (May 27th, 1900) clarinet. With King Oliver (1924-1926), Luis Russell (1928-1933), Louis Armstrong (1937-1939)
Ernest Loring "Red" Nichols (May 8th, 1905) cornet. Leader of the Five Pennies, which included at various times Miff Mole, Fud Livingston, Benny Goodman, Jack Teagarden, Eddie Condon, Pee Wee Russell, etc.
Floyd O'Brien (May 7th, 1904), trombone. With Phil Harris (1935-1939), Gene Krupa (1939), Bob Crosby (1940-1942)
Joseph "King" Oliver (May 11th, 1885) cornet and composer. Leader of the Creole Jazz Band and Dixie Syncopators.
Artie Shaw (Arthur Jacob Arshawsky) (May 23rd, 1910) clarinet. Prior to his leading a big band, Shaw worked with Willie "the Lion" Smith (1929-1930), Red Nichols (1931), Roger Wolfe Kahn (1931-1933), Wingy Manone (1934), Bunny Berigan (1936)
Frank Signorelli (May 24th, 1901), piano and composer. Founder-member of the Original Memphis Five. Recorded with Joe Venuti, Eddie Lang, Bix Beiderbecke, etc. Co-composer of "I'll Never Be the Same"
Arthur James "Zutty" Singleton (May 14th, 1898), drums. Performed with Fate Marable (1921-1923), Jimmie Noone (1927), Louis Armstrong (recordings and with Carroll Dickerson) (1928-1929), Fats Waller (1931), Roy Eldridge (1936), Mezz Mezzrow's Disciples of Swing (1937), led own bands.
Warren Doyle Smith (May 17th, 1908) trombone. With Bob Crosby (1936-1940, 1945), Jess Stacy (1950), Nappy Lamare (1951), Joe Darensbourg (1957-1960), Red Nichols (early 1960s)
Frank Trumbauer (May 30th, 1901) c-melody saxophone/reeds. Collaborator with Bix Beiderbecke. Performed with Jean Goldkette and Paul Whiteman. While with Whiteman, led the Three T's with Jack and Charlie Teagarden.
Thomas Wright "Fats" Waller (May 21st, 1904) piano, organ, composer. Performed/composed for the show, "Keep Shufflin'" with James P. Johnson. Recorded with Fletcher Henderson, Jack Teagarden, McKinney's Cotton Pickers and Ted Lewis prior to his leading his famous "Fats Waller and his Rhythm" recordings
Newell "Spiegle" Wilcox (May 2nd, 1903) trombone. With Paul Whiteman's Collegians (1924), California Ramblers (1925), Jean Goldkette (1925-1927). Took part in Carnegie Hall tribute to Bix Beiderbecke in 1975 which resurrected his career.
Mary Lou Williams (May 8th, 1910) piano, arranger and composer. Arranged for Andy Kirk and his Clouds of Joy from 1931-1942. Arranged for other big bands, notably Benny Goodman, Tommy Dorsey, and Louis Armstrong.
Hayes Julian Alvis, (May 1st, 1907), string bass/tuba/arranger, toured with Jelly Roll Morton (late 1927-early 1928), with Earl Hines (1928-1930), Jimmie Noone (1931), the Mills Blue Rhythm Band (1931-1935), Duke Ellington (1935-1938), Benny Carter (1939), Joe Sullivan (1940, 1942), Wilbur de Paris (1958)
Fernando Arbello, (May 30th, 1907) trombone, arranger, with Claude Hopkins (1931-1934), Chick Webb (1934-1935), Fletcher Henderson (1936-1937, 1941), Marty Marsala (1941), Jimmie Lunceford (1942-1946)
Adolphe Paul Barbarin (May 5th, 1899) drums and composer, with King Oliver (1924-1927), Luis Russell (1928-1932), Louis Armstrong (1935-1938), Henry "Red" Allen (1942-1943), Sidney Bechet (1944)
Sidney Joseph Bechet (May 14th, 1897), soprano sax/clarinet/composer.
Vic(tor) Berton (Cohen) (May 6th, 1896), drums/percussion/vibes. With Bix Beiderbecke and the Wolverines (1924), Roger Wolfe Kahn (1926), free lance recording with Joe Venuti, Eddie Lang, Red Nichols and others.
Jack Bland (May 8th, 1899) guitar/banjo. Founded the Mound City Blue Blowers with Red McKenzie and Dick Slavin.
Rod Cless (May 20th, 1907) clarinet. Performed with Muggsy Spanier's Ragtimers (1939), Art Hodes (1940-41), Wild Bill Davison (1943), Max Kaminski (1944)
Sidney De Paris (May 30th, 1905) trumpet/tuba. McKinney's Cotton Pickers (1929), Don Redman (1932-1936), Mezz Mezzrow (1937), Zutty Singleton (1939-1940), Benny Carter (1940-1941), Wilbur De Paris (1943, 1947 until the mid 1960's), freelance recordings with Jelly Roll Morton (1939), Sidney Bechet (1940) James P. Johnson, Edmond Hall (1944).
Edwin "Eddie" Edwards (May 22nd, 1891), trombone/violin. Performed with the Original Dixieland Jazz Band.
George Murphy "Pops" Foster (May 18th, 1892), string bass/tuba. With Kid Ory (1908, 1923-1925,), Fate Marable (1917-1921), Luis Russell / Louis Armstrong (1929-1940), Sidney Bechet (1945), Art Hodes (1945-1946), Mezz Mezzrow (1948), Bob Wilber-Jimmy Archey (1948-1952), Papa Celestin (1954), Earl Hines (late 1950s), Elmer Snowden (1963-1964)
Harold Eugene "Gene" Gifford, (May 31st, 1908), guitar/arranger. Arranged for Jean Goldkette (1928-1929), and the Casa Loma Orchestra (1929-1938)
Benjamin David "Benny" Goodman (May 30th, 1909) clarinet/saxes/occasional cornet. With Ben Pollack (1926-1929), Red Nichols (1929-1930), Ben Selvin (early 1930s) before becoming the King of Swing in 1935.
Edmond Hall (May 15th, 1901), clarinet/baritone sax. With Buddie Petit (1921-1923), Claude Hopkins (1929-1935), Joe Sullivan (1939), Teddy Wilson (1941-1944), led bands at Cafe Society plus freelance recordings (1944-1946), Eddie Condon (early 1950's), Louis Armstrong and his All Stars (1955- 1958).
Edgar Hayes (May 23rd, 1904), pianist/arranger with the Mills Blue Rhythm Band (1931-1936)
Thomas J. "Tommy" Ladnier (May 28th, 1900) trumpet. With King Oliver (1924-1925), Sam Wooding (1935-1926, 1928-1929), Fletcher Henderson (1926-1927), Noble Sissle (1930-1931), Sidney Bechet (1932-1933)
John Rhea "Yank" Lawson (May 3rd, 1911) trumpet. Performed with Ben Pollack (1933-1934), Bob Crosby (1935-1938, 1941-1942), Tommy Dorsey (1938-1939) co-leader of the World's Greatest Jazz Band with Bob Haggart.
Castor McCord (May 17th, 1907), tenor sax and clarinet. Performed with the Mills Blue Rhythm Band (1929-1930, 1932-1934)
Albert Nicholas (May 27th, 1900) clarinet. With King Oliver (1924-1926), Luis Russell (1928-1933), Louis Armstrong (1937-1939)
Ernest Loring "Red" Nichols (May 8th, 1905) cornet. Leader of the Five Pennies, which included at various times Miff Mole, Fud Livingston, Benny Goodman, Jack Teagarden, Eddie Condon, Pee Wee Russell, etc.
Floyd O'Brien (May 7th, 1904), trombone. With Phil Harris (1935-1939), Gene Krupa (1939), Bob Crosby (1940-1942)
Joseph "King" Oliver (May 11th, 1885) cornet and composer. Leader of the Creole Jazz Band and Dixie Syncopators.
Artie Shaw (Arthur Jacob Arshawsky) (May 23rd, 1910) clarinet. Prior to his leading a big band, Shaw worked with Willie "the Lion" Smith (1929-1930), Red Nichols (1931), Roger Wolfe Kahn (1931-1933), Wingy Manone (1934), Bunny Berigan (1936)
Frank Signorelli (May 24th, 1901), piano and composer. Founder-member of the Original Memphis Five. Recorded with Joe Venuti, Eddie Lang, Bix Beiderbecke, etc. Co-composer of "I'll Never Be the Same"
Arthur James "Zutty" Singleton (May 14th, 1898), drums. Performed with Fate Marable (1921-1923), Jimmie Noone (1927), Louis Armstrong (recordings and with Carroll Dickerson) (1928-1929), Fats Waller (1931), Roy Eldridge (1936), Mezz Mezzrow's Disciples of Swing (1937), led own bands.
Warren Doyle Smith (May 17th, 1908) trombone. With Bob Crosby (1936-1940, 1945), Jess Stacy (1950), Nappy Lamare (1951), Joe Darensbourg (1957-1960), Red Nichols (early 1960s)
Frank Trumbauer (May 30th, 1901) c-melody saxophone/reeds. Collaborator with Bix Beiderbecke. Performed with Jean Goldkette and Paul Whiteman. While with Whiteman, led the Three T's with Jack and Charlie Teagarden.
Thomas Wright "Fats" Waller (May 21st, 1904) piano, organ, composer. Performed/composed for the show, "Keep Shufflin'" with James P. Johnson. Recorded with Fletcher Henderson, Jack Teagarden, McKinney's Cotton Pickers and Ted Lewis prior to his leading his famous "Fats Waller and his Rhythm" recordings
Newell "Spiegle" Wilcox (May 2nd, 1903) trombone. With Paul Whiteman's Collegians (1924), California Ramblers (1925), Jean Goldkette (1925-1927). Took part in Carnegie Hall tribute to Bix Beiderbecke in 1975 which resurrected his career.
Mary Lou Williams (May 8th, 1910) piano, arranger and composer. Arranged for Andy Kirk and his Clouds of Joy from 1931-1942. Arranged for other big bands, notably Benny Goodman, Tommy Dorsey, and Louis Armstrong.
Saturday, April 10, 2010
April Jazz Musician of the Month
Joseph Gustaf "Sharkey" Bonano (April 9, 1904-March 27th, 1972)
Bonano represents part of an unfairly unrecognized but rich in quantity, Italian-American community that contributed to early New Orleans Jazz. Bonano's first cornet was previously owned by another famous NO cornetist: Buddie Petit.
In the 1920's Bonano worked with Eddie Edwards (ODJB trombonist), Chink Martin (veteran bass player associated with the Reliance Brass Band, Papa Jack Laine, and later, the New Orleans Rhythm Kings), Monk Hazel, and most notably the clarinetist, Sidney Arodin. Bonano was one of the first auditioned to replace Bix Beiderbecke in the Wolverines orchestra but did not get the job. Did work with pianist Jimmy Durante and briefly (but did not record with) Jean Goldkette. Led own band on the S.S. Island Queen and co-led a band with trumpeter Leon Prima, Louis's brother
After a brief leave from music in the 1930's, Sharkey Bonano led bands in New Orleans. Worked with Ben Pollack in 1936, and from 1936-1939, led and recorded with his Sharks of Rhythm. During this period, replaced Nick Larocca on one ODJB recording session.
After serving in the Coast Guard, Bonano returned to New Orleans and began a long tenure as leader of the Kings of Dixieland, a group which featured veterans like Chink Martin, Monk Hazel, trombonist Santo Pecora, pianist Armand Hug. Appeared on Art Ford's Jazz Party in 1958. Despite occasional touring to New York and Chicago, Bonano performed regularly in New Orleans until illness forced his retirement shortly before his death in 1972.
Sources:
Chilton, John. Who's Who In Jazz. DaCapo Press. Revised 1985
Sudhalter, Richard M. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. Oxford University Press. 1999
Lord, Tom et al. The Jazz Discography. CD-Rom. Lord Music Reference, Inc. 1992-2002.
Bonano represents part of an unfairly unrecognized but rich in quantity, Italian-American community that contributed to early New Orleans Jazz. Bonano's first cornet was previously owned by another famous NO cornetist: Buddie Petit.
In the 1920's Bonano worked with Eddie Edwards (ODJB trombonist), Chink Martin (veteran bass player associated with the Reliance Brass Band, Papa Jack Laine, and later, the New Orleans Rhythm Kings), Monk Hazel, and most notably the clarinetist, Sidney Arodin. Bonano was one of the first auditioned to replace Bix Beiderbecke in the Wolverines orchestra but did not get the job. Did work with pianist Jimmy Durante and briefly (but did not record with) Jean Goldkette. Led own band on the S.S. Island Queen and co-led a band with trumpeter Leon Prima, Louis's brother
After a brief leave from music in the 1930's, Sharkey Bonano led bands in New Orleans. Worked with Ben Pollack in 1936, and from 1936-1939, led and recorded with his Sharks of Rhythm. During this period, replaced Nick Larocca on one ODJB recording session.
After serving in the Coast Guard, Bonano returned to New Orleans and began a long tenure as leader of the Kings of Dixieland, a group which featured veterans like Chink Martin, Monk Hazel, trombonist Santo Pecora, pianist Armand Hug. Appeared on Art Ford's Jazz Party in 1958. Despite occasional touring to New York and Chicago, Bonano performed regularly in New Orleans until illness forced his retirement shortly before his death in 1972.
Sources:
Chilton, John. Who's Who In Jazz. DaCapo Press. Revised 1985
Sudhalter, Richard M. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. Oxford University Press. 1999
Lord, Tom et al. The Jazz Discography. CD-Rom. Lord Music Reference, Inc. 1992-2002.
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