Guide to Jazz

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Biographies and selected discographies of greats with

all

critical

the jazz

commentary.

With an introduction by Louis rmstrong.

Valuable information on every aspect of jazz,

by HUGUES

PANASSIE, author of Le Jazz Hot, and MADELEINE GAUTIER. '

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Guide

to

JAZZ by

HUGUES PANASSIE and MADELEINE GAUTIER Introduction by

ARMSTRONG

LOUIS

"The musicians' Bible," is how Louis Armstrong describes the Guide to Jazz. In it Hugues Panassie provides a brief biography of the great and near-great among jazzmen, and with the aid of his vast information and years of study in the

field,

each.

He

evaluates the contributions of also identifies

and describes

the best jazz classics, explains the role of

every instrument in a band, defines sical terms,

and best of

all

frank, forthright opinion of

mu-

conveys his

some

of the

be encountered in presentday jazz. As every fan knows, Hugues Panassie was the first critic to take jazz seriously as an important musical form perhaps the most significant music of the

heresies to

—

twentieth century. His great early study,

Hot

Jazz,

dropped

like

a bombshell on

the musical world, and

prime forces

in the

was one of the growing recognition continued on back flap

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guide to

jazz

Books by Ungues Panassie

HOT JAZZ THE REAL JAZZ GUIDE TO JAZZ

guide to

jazz BY HUGUES PANASSIE AND MADELEINE GAUTIER

TRANSLATED BY DESMOND FLOWER EDITED BY

A. A.

GURWITCH

INTRODUCTION BY LOUIS ARMSTRONG

1956

HOUGHTON MIFFLIN COMPANY THE RIVERSIDE PRESS

•

•

BOSTON

CAMBRIDGE

COPYRIGHT

©

1956 BY

ROBERT LAFFONT, PARIS

All rights reserved including the right to

reproduce

this

book or parts thereof

in

any form

LIBRARY OF CONGRESS CATALOGUE CARD NUMBER: 56-10291 FIRST PRINTING

NOVEMBER

1956

Originally published in Paris, France, under the

The Riverside Press Cambridge

Massachusetts

PRINTED IN THE

U.S.A.

title

Dictionnaire

du Jazz

EDITOR'S

NOTE

was an honor to be asked by Hugues Panassie to work on the American edition of his Guide to Jazz, and it has been a pleasure to assist in the production of a book of such great value and distinction. The purpose of the Guide to Jazz is to provide, in alphabetical order, a ready reference source to all aspects of authentic jazz: history and background, musicians and bands, styles, instruments, the great standard tunes, It

and

definitions of technical terms.

selection of musicians has been made on the following basis: all those who can be regarded as true jazzmen are included, and in addition the most prominent among the "fringe" musicians, of whom Panassie's opinions are obviously valuable. Since many musicians are known by their nicknames rather than by their given names, that is how they are listed: Basie, "Count" (William); however, musicians better or equally well known by their first names are listed by first names with nicknames second, for example, Armstrong, Louis "Satchmo." The biographical data on musicians and bands are usually supplemented with an analysis and appreciation of their style and a list of the best records they have made. The year of recording is indicated after each record (rather than the label on which it was released, since most of the sides cited are more easily available on LP reissues rather than as single records) to provide the collector with a clear picture of the evolution of various musical styles and of individual musicians over the years. For those interested in a detailed discography the Jazz Directory by David Carey and Albert J.

The

McCarthy (Cassell & Co. Ltd., London, England) is recommended.* Another useful reference source is A Guide to Longplay Jazz Records by Frederic Ramsey, Jr. (Long Player Publications, Inc., New York). Labels have been indicated only in the few cases where records made in Europe and not easily available here are cited. A selection of the best jazz on LP appears in the Appendix; this list includes a large number of the records main section of the Guide. The Guide to Jazz was first published in Paris, May 1954, under the title Dictionnaire du Jazz. In its present form the book has been brought up to date and expanded for American publication. I wish to express my gratitude to Grace Pierce Forbes of Houghton

cited in the

Mifflin Co. for her untiring editorial co-operation

and her many valuable

suggestions.

Arnold 'This

work is

still

in course of publication.

A.

Gurwitch

Digitized by the Internet Archive in

2012 with funding from

The Archive

of

Contemporary Music

http://archive.org/details/guidetojazzOOpana

INTRODUCTION

Folks,

this

one of the

is

Louis Satchmo Armstrong. I'm getting ready to mention books on jazz I think was ever published. To me it's the

finest

what we live by. met Panassie was

musicians' Bible,

When

in 1932, when I went to Paris from London. He's not only an authority on jazz, but has done more for musicians than anyone I know of. You take every musician that ever left America: Panassie's right there to greet him and make him welcome to I

first

France. He's helped people to understand jazz better; I mean he explains it so beautifully. Over here we musicians already knew what was happening, because we were doing it, but Panassie explained it note for note to the French people and Europe in his books Hot Jazz and The Real Jazz. And quite naturally, when those books were translated and his ideas came over here, musicians agreed with him, so he must have felt it. The music, I mean. He couldn't write it if he didn't feel it. How many people have gotten to know real jazz and been converted through Panassie! Now they're straight.

Madeleine Gautier, who wrote the Guide to Jazz along with has a wonderful understanding of our world here, which is the important thing. Every musician that is important, his life is right in the book. And there are lots of important foreign jazz musicians in it too, like Humphrey Lyttleton from England and Claude Luter and Django Rheinhardt from France. And he got them all in whether or not he likes them. That's why I say this book is going to be wonderful to have, not only for musicians,

As

for

him— she

many fans, who want to know about their different players. Every fan who appreciates good jazz is indebted to Panassie because he has enlightened millions how to enjoy good jazz. And quite naturally I'm grateful, because I live jazz. This is ol' Satchmo saying— a bientot. but for so

Louis Armstrong

vn

.

.

;

ABRAMS- AFTER

A ABRAMS, RAY (ABRAMSON) Tenor saxophone,

b.

New York City,

Jan. 23, 1920. Played in Dizzy Gillespie's big band 1946; toured Eu-

rope with Don Redman the same year; played with Andy Kirk's band 1948-49, and afterwards with Lips Page and other small groups. Records: with Cousin Joe, Boogie woogie Hannah ( 1946 )

which

fill the phrases of jazz musicians with the astonishingly rhythmic vitality that is their great

characteristic

and gives them

their

swing.

ACCOMPANIMENT.

See Back-

ground

ADDISON, BERNARD

Guitar,

Md., 1905. Has played mainly with Louis Armstrong, Fletcher Henderson, the Mills Brothers, Stuff Smith. Records with Louis Armstrong, I cant believe that you're in love with me ( 1930 ) with Milton Mezzrow, Blues in disguise, The swing sessions called to order (1937); with the Gotham Stampers, Alabamy home ( 1937 )

b. Annapolis,

ACCENT

The

stressing of cer-

tain beats in the bar or of certain

notes

by various means, such

as at-

tack, crescendo, or inflection.

In four-four time, the weak beats are accented by the rhythm section. During the early periods of jazz ( until 1930 ) the rhythm section em-

phasized the weak beats, and sep-

:

arated them sharply from the strong

an accented off-beat, bouncing so to speak off the strong

beats. Later

beat ( instead of strongly separating the two), superseded the old style, although the latter is still practiced by New Orleans musicians and a

few

others.

In the playing of solos and ensembles, varying accents occur which contrast strongly with the metric regularity of the rhythm section. By a very strong or very sharp attack, a glissando or a diminuendo, certain notes are constantly "thrown into relief." It is these accentuations

AFTERBEAT.

See Offbeat

AFTER YOU'VE GONE Composed in 1918 by Turner Layton. Chorus of 20 bars in the phrase form A, B, A 2 C, A s A solo break of 2 bars is often played before the end of phrases B and A 3 When played in fast time the beat is doubled, so it sounds like a chorus of 40 bars instead of 20, with the rhythm section playing in long meter. The verse (16 bars) has an excellent melodic line and it's too bad that it isn't played much any ,

.

.

,

.

.

AIKEN - ALEXANDER more. The best recordings are: Bessie Smith (1927), Louis Armstrong (1929), Jimmie Noone, under the name of the Savannah Syncopaters (1929), Art Tatum, piano solo Bill Coleman, trumpet solo ( 1934 ) (1936), Stuff Smith (1936), James P. Johnson (1944), Art Tatum Trio

ano solo

(1944).

Played with A. J. bert, Sidney Desvignes, and Papa Celestin, but became well known only after 1954 when he joined Kid Ory's band. Plays good New Orleans-style trumpet. Records: with Kid Ory, Muskrat ramble, Yellow dog blues, Wolverine blues ( 1954 )

and with orchestwo versions (1929 and 1938); Sidney Bechet (1940); James P. Johnson, (1929),

tra (1943); Louis Armstrong,

piano solo

(

1944 )

,

AIKEN, GUS b. Charleston, S.

Trumpet,

C,

1906.

Accom-

panied the singer Ethel Waters and played with Charlie Johnson, the Blue Rhythm Band, Louis Armstrong, and Buddy Johnson; also headed a number of small bands. Was influenced by Louis Arm-

Records: with Sidney Bechet, Swing parade, Ain't gonna give nobody none of my jelly roll (1941). strong.

b.

ALCORN, ALVIN New Orleans, La.,

Trumpet,

Sept. 7, 1912. Piron, Don Al-

ALEXANDER, CHARLIE PiNew Orleans, La., ca. 1900.

ano, b.

Went

to Chicago and during the twenties played in a number of small bands, including Johnny Dodds'. Played with Louis Armstrong 1931-32. His style is very

AIN'T GONNA GIVE NOBODY much like Roll Morton's. RecNONE OF MY JELLY ROLL ords with Jelly Johnny Dodds, Blue clar:

Composed

in 1919

by Spencer Wil-

liams and Clarence Williams, often known by the short title of Jelly Roll. Chorus: 32 bars without release. Best recordings: Milton Mez-

zrow-Tommy Ladnier ( 1938 ) Milton Mezzrow-Sidney Bechet ( 1945 ) ,

EarlHines (1946).

AIN'T

MISBEHAVIN'

Com-

posed by Fats Waller, with words by Andy Razaf, which Louis Armstrong introduced in the revue "Connie's Inn Hot Chocolates" in 1929. Chorus: 32 bars with release. Best recordings: 2

Fats Waller, pi-

inet

stomp and Blue piano stomp

(1928).

ALEXANDER, "TEXAS" singer

and

Blues

guitar, b. Tex., ca. 1890,

Made a number of records between 1927 and 1934. With an exceptionally fine voice of warm and attractive tone, Texas Alexander sang the blues in a very pure style. Records: Corn bread blues, Long lonesome day blues (1927); Blue devil blues, Penitentiary moan d. ca. 1935.

blues,

Boe hog

blues,

blues, Frisco train blues,

Bell

cow

Work

ox

blues (1928, accompanied on the

;

.

ALLEN -ALLEN guitar

by Lonnie Johnson

[q.v.]).

France. Records: on tenor with Freddie Taylor, Blue drag on alto sax, with Benny Car( 1935 ) ter, Farewell blues ( 1938, F.A. takes

thirties in

sax,

EDDIE

ALLEN,

Trumpet,

Tenn., Dec. 15, 1897.

b. Nashville,

Moved

very young to St. Louis. Took up piano first, but changed to trumpet and started out professionally in St. Louis in 1916. Later

he played on the Mississippi

river-

boats with Charlie Creath's band,

and then headed

his

own group

which, in 1921, included Sidney Desvignes, Johnny St. Cyr, and Pops Foster. Afterwards went to Chicago where he played with Earl Hines at the Elite No. 2, then to New York where he made a number of records with Clarence Williams and played in Leroy Tibb's band at Connie's Inn. Is not very well known these days; plays in New York with small bands. He was much influenced by Louis Armstrong and Charlie Creath, but even more by Joe Smith whose smooth singing style he acquired to some degree.

An

leading

New

excellent trumpet for

Orleans-style improRecords: with Clarence Williams, Church Street sobbin blues, Yama Yama blues, Take your black bottom outside, Cushion foot stomp (1927); Log cabin blues, Sweet Emaline, I'm through ( 1928 ) with Bessie Smith, Nobody knows you when you're down and out (1929). visations.

ALLEN, FLETCHER

Tenor,

and baritone saxophone, arranger, b. ca. 1905. Played in Lloyd Scott's band, and spent most of the alto

;

the

first

solo )

ALLEN, Trumpet,

"RED"

b. Algiers,

(HENRY)

near

Came

leans, Jan. 7, 1908.

New Orto New

in 1929 to play in King Oliver's band. Was a member of the bands of Luis Russell 1929-31, Fats Waller 1932, Fletcher Henderson 1933-34, and of the Blue Rhythm Band 1934-36. Then played with Louis

York

until 1940. For some years afterward he led a small group

Armstrong

which included J. C. Higginbotham, Don Stovall, and Alvin Burroughs. Although he comes from Louisiana and in spite of the fact that he imitates Louis Armstrong in many ways, Henry Allen has never played in the pure New Orleans style. His phrasing tends to be overemphatic. His instrumental technique is first class; he has drive and can play excellent choruses, but his playing is sometimes erratic, and there is a lack of continuity in his melodic development. Records under his own name, It should be you (1929), with King Oliver, Stingaree blues (H.A. takes the last two choruses, 1930 ) under his own name, Rosetta (1935), Canal St. blues (1940). :

,

ALLEN, MOSES

Bass and tuba, Memphis, Tenn., 1907. Played in Jimmie Lunceford's band 1926-42. Has a good New Orleans style, and

b.

.

ALLEN- AMERES plays with a solid swing which is a real contribution to any band in which he appears. Records: with

Jimmie Lunceford, Avalon (1935); Organ grinders swing, Harlem shout (1936); I'll see you in my dreams (1937).

ALLEN, SAM

Piano, b.

Mid-

dleport, Ohio, Jan. 30, 1909. Played with Teddy Hill and Stuff Smith.

A

fine blues man. Records: with Dickie Wells, Nobody's blues but my own and Hot club blues ( 1937 )

ALTHEIMER JOSHUA b. Altheimer, Ark. (a city

by

Piano,

founded

his grandfather), 1910, d. Chi-

cago, Nov. 18, 1940. The greatest blues pianist on records. Between

1936 and 1940 he played wonderful

accompaniment for all the best blues singers: Big Bill, Sonny Boy Williamson, Jazz Gillum, Lonnie Johnson, Washboard Sam, the Yas Yas Girl. Playing the blues in a style without any affectation at all, typi-

cally

low-down and

full of drive,

Joshua Altheimer has had innumerable imitators, of

Memphis

whom

the best

is

Slim. Records: with Big

done got wise, goodbye to you, Just a dream No. 2, Down and lost in mind, Messed up in love Plow hand blues, Make my ( 1939 ) Bill

Broonzy, Baby,

Just a dream,

My

I

last

;

getaway, I've got to dig you, What is that she got, Midnight steppers, Looking up at down (1940); with Sonny Boy Williamson, I been dealing with the devil, War time blues, Decoration day blues No. 2; with

Washboard Sam, Booker-T blues, Good old easy street, This line is

my Yas

time (1939-40); with the Yas Girl, Black ghost blues (1940).

ALVIS, and tuba.

HAYES JULIAN

Bass Chicago, May 1, 1907. Played in Chicago with Earl Hines b.

and Jimmie Noone; moved to New York in 1931 and was a member of the Blue Rhythm Band from 1931 to 1934. Played in Duke Ellington's band from 1935 to 1938, with Benny Carter in 1939 and 1940, and Louis Armstrong in 1941; later on with a variety of bands. Hayes Alvis ranks

among the great bass players of jazz; is a powerful and versatile musician, who drew his inspiration

he

New Orleans style and is capable of producing tremendous accompaniments with plenty of swing. Records: with the Blue Rhythm Band, Doin the shake, White lightning, Rhythm spasm, Wild waves (1932); with Duke Ellington, Truckin cotton (1935);

from the

my baby good night, Oh baby maybe someday, Clarinet lament, Uptown downbeat (1936); with Ivie Anderson ( actually Duke Ellington's band), Old plantation (1937); with Rex Stewart, Sugar hill shim sham, Love in my heart (alias Swing baby swing), Tea and trumpets, The back room romp Kissin

(1937); can't

with

with Cootie Williams, I

believe

me

that you're

AMERES, ROGER. rez,

in

love

(1937).

"Ram"

See Rami-

;

AMMONS - ANDERSON AMMONS, ALBERT

few phrases from Charlie Parker;

Piano,

b.

Chicago, 1907, d. Dec. 5, 1949. Played mostly in Chicago where he led a variety of small bands and

he

appeared as a soloist in cabarets. Played on two pianos with Pete Johnson at Cafe Society in New York and other clubs. Ammons was one of the best boogie woogie men, but he could also play in a number

under

of

different

styles

including

the

"stride piano" of Fats Waller;

in

whatever he did, he displayed a powerful drive. Records: piano solo, Boogie woogie blues (1939); under his own name, Boogie woogie stomp ( 1936 ) Jammin the boo;

Bottom blues (1944); Hiroshima (1947); with Lionel Hampgie,

ton,

Beulah's sister boogie,

Ben-

son's boogie (1949).

AMMONS, GENE

Tenor saxo-

phone. Son of the pianist Albert Ammons, b. Chicago, April 14, 1924. First learned the clarinet and alto sax. Played in King Colax's

band 1942-44,

in

From 1944 member of Billy cago.

and around Chito 1947 was a Eckstine's band,

and in 1949 played with Woody Herman. From 1950 on headed his

own

small groups. One of the best of Lester Young, from whom he has picked up his hollow, restrained tone; but his simpler manner of playing, his strong

followers

beat,

and

his drive recall

something

Gene Ammons has sometimes been classed among the bop musicians, but that is only of Herschel Evans.

because he occasionally borrows a

is in fact a true jazz musician. Records: with Albert Ammons, Hiroshima, St. Louis blues ( 1947 )

his

own name, Shermanski

(1947); with Billy Eckstine, Blowing the blues away (1944, G.A. plays a duet with another tenor sax,

Dexter Gordon).

ANDERSON, "CAT" (WILLIAM) Trumpet,

b.

Greenville,

S.

C,

Played with Erskine Hawkins 1942, with Lionel Sept.

12,

Hampton

1916.

1943-44, and

Duke

El-

1944 to 1947. For a time had his own band, and then returned to Duke Ellington in 1951. lington late

He favors the upper register of the trumpet and blows some incredibly high notes with tremendous attack and accuracy. But he can't be considered merely as a musical acrobat;

his

high-register

more than mere phrases built up

solos

are

virtuosity, they are

into real jazz form.

Cat Anderson also plays well in the middle register, where he shows the influence of Louis Armstrong, and he can also play wonderfully with the "wa-wa" mute. Records: with Duke Ellington, A gatherin in a clearin (1945); Trumpets no end (1946, C.A. plays the except the release).

last chorus,

ANDERSON, EDWARD Trumpet, b. ca. 1906.

Played with Luis

Russell, Louis Armstrong, the Blue

Rhythm Band,

Fats Waller, CharJohnson, and Joe Sullivan. A good musician who plays in the

lie

ANDERSON - ARCHEY Louis Armstrong tradition, with a concise style and powerful attack, who has never been as widely appreciated as he deserves. Records: with the Blue Rhythm Band, Sugar blues, Futuristic jungleism,

Moanin

(1931); Doin the shake (1932).

ANDERSON, IVIE

Singer,

she stayed

six

months. In 1930 she star of the

Grand

Terrace Cafe in Chicago where she worked until February 1931, when Duke Ellington signed her up. She stayed with Ellington until 1943. Her simple, moving style never varied from the best tradition of classic blues singers. Records: with Duke Ellington, It don't mean a thing (1932); Troubled waters (1934); Cotton, Truckin (1935); Kissin my baby good night, Oh baby maybe someday ( 1936 ) Ala;

bamy home

(1937); Watermelon man (1938); Killin myself (1939); Rocks in my bed ( 1941 ) with Duke Ellington's band but under her own name, All God's chillun got rhythm, Old plantation ( 1937 ) She sang in the Marx Brothers' picture A Day at the Races in 1937. ;

.

APOLLO

A

large

movie house and music 6

combined hall in

New

Har-

York

City.

Every week

a famous jazz band appears on the stage; the rest of the pro-

gram is made up of dancers, singers, and comedians whose standard

is

generally remarkably high.

On Wednesdays at 11 p.m. is Amateur Night. A number of talented artists

Los Angeles, Dec. 28, 1949. Lived in Washington from the age of 13 to 15 and studied singing. Started singing professionally in Los Angeles, first in night clubs and then in various shows, one of which toured as far as Australia where

b. Gilroy, Calif., 1904, d.

was the singing

lem,

have made their early ap-

pearance at these amateur nights, notably Ella Fitzgerald.

ARCHEY, JIMMY

Trombone,

b. Norfolk, Va., Oct. 12, 1902.

Made

debut in Lilian with Jones' band, 1917; played King Oliver 1928-29; Louis Armstrong 1935-37; Willie Bryant 1938; Benny Carter 1939-42; Claude Hopkins 1944-45; Milton Mezzrow 1948 (at the International Festival of Jazz at Nice, French Riviera), his

professional

and in Bob Wilber's small band which in due course became his own and with which he toured Europe in 1952. He toured Europe again

with

Milton

1954-55. Archey

Mezzrow

in

one of the finest New Orleans trombone players. Powerful and hot, he plays with simplicity and straightforward swing, backed by a rich and full tone, strong attack, and superb inis

strumental technique. He is pargood in slow blues. Records: with King Oliver, You're just my type, Don't you think I love you, Shake it and break it, Stingaree blues ( 1930 ) with Mutt Carey and Baby Dodds, Fidgety feet, Slow drivin, Shim me sha wabble, Indiana (1946); with Sidney Bechet,

ticularly

;

.

ARMSTRONG - ARMSTRONG a plenty, Changes made,

That's

Ballin the jack

(LP

"S.B.

Twelve

Years on Blue Note"); with Milton Mezzrow, Moonglow, Serenade to Paris, Reverend blues ( 1955 )

ARMSTRONG, LILLIAN HARDIN Pianist and singer, b. MemTenn., 1898. Married Louis Armstrong in 1924 after having played with him for two years in King Oliver's band in Chicago. Also played in all the records made by Louis Armstrong's Hot Five and Hot Seven in 1925-28. Louis Armstrong and Lillian Hardin separated phis,

in 1931.

ARMSTRONG, LOUIS DANIEL, "SATCHMO" or "POPS"

called

Trumpet,

singer,

b.

New

From

his

leader,

composer, band Orleans,

July 4,

childhood he had a passion for music but, being too poor to buy an instrument, all he could do was sing. With three other children he organized a vocal quartet which sang in the streets and 1900.

and-bone man. In 1917 he joined Kid Ory's band to sit in for King Oliver this

who had

was

left for

his first big job.

Chicago;

From 1918

he spent some time on the Mississippi riverboats in Fate Marable's band, which included such wellknown musicians as Pops Foster, Baby Dodds, and Johnny St. Cyr. Around the same time he also played in New Orleans, notably in a small group headed by Zutty Singleton, then in

Tom

Anderson's

night club in Storyville, where the band included, among others, Albert Nicholas, Barney Bigard, and

Luis Russell. During 1922 King Oliver offered him a job as second trumpet in his Chicago band; Louis went along and stayed with King Oliver until 1924. It was when he was in the King Oliver band with the Dodds brothers, Johnny St. Cyr,

and

Lil

Hardin (who became

his

second wife in 1924) that he recorded for the first time. Other musicians began to recognize him as the greatest jazz trumpet of all

various night spots in his neigh-

time.

borhood. On New Year's Day, 1913, he took a pistol that he found in his home and added to the gen-

1924, Louis played for a while at

by firing it in the street. He wound up in a reform school as a result, and there he learned scales and played trumpet in the school band. When he was released he played in a number of eral celebrations

night spots around New Orleans while by day he worked at various jobs— was in turn a coalman, a

milkman,

newspaper

seller,

rag-

After

leaving

King

Oliver

in

the Dreamland ballroom in Chicago, and then went to New York in September 1924 to join Fletcher Henderson's band. He stayed with the band for nearly a year, astounding all the musicians who heard him, as he had in Chicago, with his tremendous talent for invention and his technique. During this period in New York he made a large number of records, not only with

ARMSTRONG Henderson's band but with Clarence Williams and

made the entire Okeh records with his famous Hot Five and Hot Seven— the finest jazz records ever made —first with Johnny Dodds and

Fletcher

period that he

also

series

a number of blues singers, including Bessie Smith. Toward the end of 1925 he re-

turned to Chicago where his wife had got him a high-paying job at Dreamland. At the same time he played in Erskine Tate's band at the Vendome Theater, which included as pianists first Teddy Weatherford, and later Fats WalBesides playing in the orcheshe appeared in a number on the stage, playing trumpet and singing, which was a tremendous success; this was the start of his career as an actor which has been scarcely less brilliant than his career as a musician. During the spring of 1926 he left Dreamland and joined Carroll Dickerson's band at the Sunset Cafe, while keeping on with his engagement at the Vendome. Early in 1927 Dickerson left the Sunset Cafe and Armstrong took over the assignment, organizing his first

ler.

tra pit

his own name. It included Earl Hines, Tubby Hall, Pete Biggs, Al Washington, and Honore Dutrey. All the Chicago musicians came to hear him, to study his style. In 1928 he rejoined Carroll Dickerson, this time at the Savoy ballroom; Zutty Singleton was on drums. He stayed at the Savoy about a year, then left for New York with the Dickerson band which from then on was billed under his name. It was during this

band under

8

of

Johnny St. Cyr, then with Earl Hines and Zutty Singleton. Soon after his arrival in New York he played at Connie's Inn and his appearance in "Connie's Hot Chocolates" revue made him more popular than ever. Then he changed bands, choosing the brilliant Luis Russell group to play behind him. In 1930 he changed again to the Coconut Grove Orchestra, then used Les Hite's band in California. Returning to Chicago in 1931, he got together a band made up of local musicians. In 1932 he went to England, where he made a terrific hit at the London Palladium.

Returning to New York, he took over Chick Webb's band but, early in the following year, moved back once more to Chicago and got together another group of local musicians. Then he made a second tour of England, went on to the Continent, and gave two concerts in the Salle Pleyel, Paris, in

vember

Nohe but

1934. In January 1935,

returned to the United States, a split lip forced him to rest for several months. As soon as it was better he made a nation-wide tour, using Luis Russell's band again. He was getting to be well known as

an actor and appeared in several movies: Pennies from Heaven, Artists and Models, Every Day's a Holiday. He had already made a

ARMSTRONG shorts in 1930 and 1931. In 1947 Armstrong gave up his big band to head a small group including Barney Bigard and Sidney Catlett; in January 1948 Earl Hines joined the band which played at the International Festival of Jazz at Nice, France. Armstrong made major tours of Europe in 1949, 1952, and 1955; in 1954 he

few

he heard King Oliver he resembled the other great trumpet

style

that

play,

so that superficially

players ell.

But

already

Louis Armstrong is, of course, not only the finest jazz trumpet player and singer, but is also the most important musician jazz has produced—a genius comparable with the greatest names in the history of music. His gift of creation seems to be limitless; his solos are full of the most beautiful and daring inventions; his innate sense of harmony enables him to improvise in a miraculous and completely original way on any piece he plays. His standing as an instrumentalist is no less exceptional. He plays the trumpet as no one has ever

school,

this

such

as

his strong personality

breaking

the

was

traditional

forms and some of his listeners recognized that here was a young player with greater inspiration than

any

visited Japan.

of

Tommy Ladnier and George Mitch-

of the others.

By 1928,

1927, and increasingly in Armstrong got away from the

time-honored New Orleans style and launched out into vast improvisations and amazingly subtle phrases. When he played the blues, his solos had a dramatic accent which often actually reduced audiences to tears. His imagination

grew

richer

and

richer.

it. He can make his instrument do anything he wants; for him it talks and sings like a human

This phase lasted until 1934. After a rest in Chicago in 1935 he reverted to a more sober style, closer to the usual New Orleans form. He embroidered less on the theme and was often content with nothing more than a series of ingenious paraphrases. His tone and intonation became even more beau-

voice. His tone has a perfect pu-

tiful

played

rity,

and

is

as rich

and ample

in the

lower register as it is in the upper, he can hit the highest notes with no trouble at all. The beauty of his

for

inflections, his attack,

and

his tight

vibrato are indescribable. He plays with a power and swing which are impossible to surpass.

During

his

early

years,

up

to

1926 or 1927, Louis Armstrong played in the classic New Orleans

and moving. His singing style is very much like his trumpet style, and has fol-

lowed the same evolution. The timand intense vibrato of his

bre

voice correspond to his trumpet tone. His diction is excellent, and he's never tied down by the words in improvising on any piece, but separates the syllables and accentuates them with a unique mastery, adding or modifying words throaty

;;

ARMSTRONG with extraordinary spirit. Like his trumpet playing, the poignant ac-

Heebie

jeebies,

Cornet chop suey,

singing

You're next, Big butter b- egg man, You made me love you (1926);

defy description. Armstrong has invented a new way of singing. His influence is greater than that

with his Hot Seven (Hot Five and Pete Biggs, tuba; and Baby Dodds, drums), Willie the weeper, Wild

of anyone else in the history of jazz. After having inspired a number of musicians in Chicago during his first years there, he transformed the style of soloists on other instruments: Earl Hines imitated him on

man

cent

the the the ing

and

drive

of

his

piano, Coleman Hawkins on tenor sax, Jack Teagarden on trombone, etc. Among the lead-

blues, Alligator crawl, Potato

head blues, 12th street rag, Gully low blues (1927); with his Hot Five, Put 'em down blues, Struttin with some barbecue, I'm not rough, Hotter than that, Savoy blues (1927); with his Hot Five (Fred Robinson,

trumpet players whose style was formed under his influence may be mentioned Muggsy Spanier,

piano;

Jonah Jones, Sidney de Paris, Cootie Williams, Edward Anderson, Buck Clayton, Bill Coleman, Lips Page, Bunny Berigan. He also changed

st.

the style of singing. Many of his solos have been copied note for note by a host of musicians, and even arranged and harmonized for large bands. From a few odd phrases in his solos innumerable melodies have been composed and orchestrated.

Records:

with

King

Oliver,

Froggic Moore (1923); with Fletcher Henderson, One of these days (1924); with Clarence Williams, Everybody loves my baby (1924); with Eva Taylor, Pickin on your baby (1924); with Bessie Smith, St. Louis blues, Sobbin hearted blues, Reckless blues (1925); with his Hot Five ( Ory, trombone; Dodds, clarinet; J. Lil Hardin, piano; J. St. Cyr, banjo ),

Chimes

10

blues,

trombone;

and tenor

clarinet

Mancy

J.

Strong,

sax; Earl Hines,

Cara, banjo; Zutty

Singleton, drums), Skip the gutter, West end blues, No papa no, Basin

Don Redman, alto No one else but you,

blues; (plus

and

clarinet )

St.

James

this

(

,

infirmary, Tight like 1928 ) trumpet solos, Weather bird, ace. Earl Hines (1928), Dear ;

old southland, ace. Buck Washington (1930); heading Luis Russell's band, I can't give you anything but love, Mahogany hall stomp ( 1929 ) heading Carroll Dickerson's band, Ain't misbehavin, Black and blue, Some of these days (1929); heading Luis Russell's band, Dallas Louis blues (1929); blues, St. Blue turning gray over you ( 1930 ) heading the Coconut Grove Orchestra, My sweet, I can't believe that you're in love with me, Dinah heading the New Sebastian ( 1930 ) Cotton Club Band (including Lionel Hampton on drums), I'm a ding dong daddy, Confessing If I could be with you, Sweethearts on parade (1930); Shine (1931); with ;

ARMSTRONG his

own orchestra, When it's sleepy down south, Blue again, You

time

When your lover has gone, Lazy river, Wrap your troubles

rascal you,

dreams (1931); All of me, New Lawd you made the night too long (1932); heading Chick Webb's Orchestra, That's my home in

tiger rag,

(1932); with his own orchestra, Some sweet day, Basin st. blues, Snow ball, Mahogany Hall stomp (1933); heading Luis Russell's Orchestra,

which became

own

his

it means to miss New Orleans? (1946); with another pick-up band, Some day (1947); with his own orchestra, Lovely weather we're having ( 1947 ) New Orleans function, Bugle call rag, That's for me ( 1950 ) with various pick-up bands, La vie en rose, C'est

know what

;

;

1950 ) I get ideas, A kiss to a dream on (1951); I'll walk alone (1952); with his own band, "Louis Armstrong plays

si

bon

(

;

build

W.

C.

Handy,"

LP composed

of

band, You are my lucky star, Thanks a million, Shoe shine boy (1935); Ev'n tide, Lyin to myself, Swing that music, Thankful, Red nose (1936); with the Mills Brothers, Darling Nelly Gray (1937); with his own orchestra, Yours and mine, I've got a heart full of rhythm, On

Louis blues, Yellow dog blues, Loveless love, Aunt Hagar's blues, Long gone, Memphis blues, Beale st. blues, Ole miss, Chantez-les bas, Hesitating blues, Atlanta blues

the sunny side of the street, Jubi-

ally in typically

with some barbecue When the saints go marchin ( 1937 ) in, As long as you live ( 1938 ) with the Lynn Murray Choir, Shadrack, lee,

Struttin ;

;

Nobody knows

the

trouble I've seen (1938); with his own orchestra, You're a lucky guy, You're fust a no account ( 1939 ) Harlem stomp, ;

Lazy

'Sippi steamer,

Cain and Abel

1940 ) with a small group including Sidney Bechet, 2:19 blues, Down in honky tonk town (1940); with (

;

his orchestra,

Now

do you

call that

a buddy, When it's sleepy time down south (1941); with a white studio

band, J wonder (1945); with his own big band, Back o' town blues with a small pick-up group ( 1946 ) including Kid Ory, Where the blues were born in New Orleans, Do you ;

St.

(1954).

Louis

number

Armstrong composed a good tunes, gener-

of very

New Orleans style, notably Weather bird rag, Sister Kate, Cornet chop suey, Yes I'm in the barrel, Dippermouth blues, Pohead blues, Put 'em down blues, jive me, Some day, and in collaboration with Jelly Roll Morton the famous Wild man blues. Armstrong has published the first volume of his autobiography, Satchmo (published in France tato

Don't

1952, U.S.A. 1954, Great Britain 1955), in which the origins of jazz in New Orleans are most vividly described. Previously an earlier autobiography was published in the U.S.A. under the title of Swing That Music, but this was so edited that there wasn't much left of the style or the views of Armstrong himself. He has also written a number of

11

.

a

ARNOLD - ARRANGEMENT articles,

notably in

Maker and the

The Melody du Hot

Bulletin

Club de France, which are very entertaining and written in a delightful conversational style.

Louis Armstrong appeared in a

number of films: Pennies from Heaven (1936), Artists and Mod(1937), Every Day's a Holiday (1937), Doctor Rhythm (1938), Goin Places (1938), Cabin in the

els

New

Sky (1943),

Orleans (1947), A Song Is Born (1948), The Strip (1951), Glory Alley (1952), The Glenn Miller Story (1953).

ARNOLD, and

singer

KOKOMO

guitar,

b.

ca.

Blues 1910 in

Mississippi. Made a number of records in Chicago between 1930

and 1940, then gave up music to enter the grocery business. Arnold is one of the greatest blues singers ever recorded. His singing

is

rough,

and tremendously sincere; playing is no less impressive.

strong, his

It is so rich that it gives the impression of coming from two guitars instead of one. He plays with a glass bottle neck stuck on the little

finger of his left

hand and

produces very beautiful sounds, with frequent glissandi and inflections of extraordinary subtlety. His records are typical of the most unadulterated form of blues; among them may be mentioned: Original

Kokomo blues, Sissy man blues, Milk cow blues No. 2, Biscuit roder

How

long blues, Chain gang money blues (1935); Back door blues, Bo weevil blues, blues,

blues, Black

12

Model T woman blues, The mule laid down and died, Desert blues Fool man blues, Long and ( 1936 tall, Cold winter blues, Laugh and grin blues, Wild water blues, Red beans and rice, Black Mattie, Buddy Brown blues, Rocky mountain blues (1937); Your ways and actions, Bad luck blues ( 1938 ) )

;

ARRANGEMENT

The

orches-

tration of a melody, comprising variations

based more or

less

on the

original theme. In the early days of

was oral— "head arrangement": the musicians of a band decided upon the order and manner of their playing in the course of a few rehearsals. These arrangements were very flexible and often varied spontaneously from one performance to another. Beginning in 1920 and developing by 1925, written arrangements became more customary. The groups of Fletcher Henderson, McKinney's Cotton Pickers, and Duke Ellington were the first jazz bands generally jazz the arrangement

to use written arrangements. It

is

a mistake to imagine that an ar-

ranged interpretation need be inferior to an improvised interpretation. If the arrangement is written in the proper style, that is to say, to blend with the style of the soloists, and has plenty of swing, jazz of the finest quality can result. Unfortunately some arrangers have been influenced by classical or modern European music and haven't been able to resist the temptation to drag in effects which have noth-

ARRANGER - ATTACK ing to do with jazz. The orchestrations found in the repertoire of Stan Kenton, for instance, are typical examples of this bastard music which has broken with the great traditions of jazz without acquiring any worthwhile merits from European music.

ARRANGER writes

Musician

who

arrangements. Not an appropriate word, since a jazz arranger is actually a orchestrations,

or

composer. In many cases he not only has to write a new orchestration of a work, like the arranger for other types of music, but often has nothing more to go on than a simple theme, on which he builds something subtle and often most original. In fact, he composes. He plays the same part as the soloist who, in improvising, creates new

music from a given theme. The most eminent arrangers in the history of jazz are

Duke

ords:

with Lionel Hampton,

Smart

ASMUSSEN, SVEND

ATKINS, violin,

(1925).

ATLANTA BLUES Composed by W. C. Handy. Chorus: 16 bars with release. This number

is

Durham,

let

Benny Carter, and the King Cole Trio. A good soloist, but more notable as a solid guitarist in a rhythm section. Recat the Philharmonic,"

1900.

on the Mississippi riverboats; went Chicago where he formed his own band in 1923; later played with Carroll Dickerson and Louis Armstrong. Composer of one famous number: Heebie jeebies

Sampson,

Dec. 29, 1920, Somerville, Mass. Played with Lionel Hampton, "Jazz

Saxophone, b. ca.

to

in 1916

b.

BOYD

and composer,

In 1922 played with Fate Marable

El-

Guitar.

Violin.

Feb. 28, 1916, Copenhagen, Denmark. Influenced by Stuff Smith, he is one of the best-known European jazz musicians. Has made a large number of records of which the first was a version of Tiger rag (1935). b.

Benny Carter, Sy Oliver, Jimmy Mundy, Alex Hill, Edgar

ASHBY, IRVING

alec

(1943).

lington,

Charlie Dixon, Eddie Buster Harding, Buck Clayton, Milton Buckner; but all great jazz musicians have at one time or another made "head arrangements" (see Arrangement).

Alti-

(1940); with Fats Waller, Moppin and boppiri

tude,

sometimes called Make me a palon the floor, but the original Make me a pallet on the floor ( composed by Brooks ) is a 32-bar number without release which was recorded by Ethel Waters (1926).

The best recordings of Atlanta blues are the ones by Louis Armstrong (in "Louis Armstrong Plays W. C. Handy," 1954), and by "Bubbles" with Eddie Condon's band (1946).

ATTACK

The

and

speed

strength with which a note

is

pro-

13

AULD - AUTREY A "good attack" is incisive and serves to give a solo much of its expressive strength and drive. In varying the strength and induced.

Goodman, 1940-41, then formed

own band. An imitator of Coleman Hawkins, he later turned to-

his

ward the

"progressive" style. Rec-

tensity of his attack, a jazz musi-

ord: with the

can give the same subtle nuances to his improvisation as he can by his phrasing. The first note of a phrase is always played with a sharp attack.

tet,

cian

If

the following notes are directly to the first, the effect is

joined

legato;

if

not,

it is

staccato.

Musicians with remarkable attack are, to take a few examples: Louis Armstrong, trumpet; Coleman Hawkins, tenor saxophone; Benny Carter, alto saxophone; James "Trummy" Young, trombone; Jimmie Noone, clarinet; Chick Webb, drums; Lionel Hampton, vibraphone. In the case of pianists one speaks of "touch" rather than "attack," but the idea is the same. Fats Waller, Arm Tatum, Earl Hines, Pine Top Smith, Willie "the Lion" Smith, and Count Basie are pianists with a particularly fine touch.

Ensemble attack. The precision and strength with which a number of musicians attack a note or the notes of a chord simultaneously.

The brass section of Count Basie's band is renowned for its ensemble

saxo-

phone, b. May 19, 1919, at Toronto, Canada. Played with Bunny Beri1935-37; Artie Shaw 1938, leading this orchestra in 1939 when Shaw retired for a while; Benny

AUNT HAGAR'S BLUES ComVendome made up of

Theater, Chicago. three themes, two of 12 bars and the third of 16 bars; the last has a very pretty melody. Best recordings: King Oliver (1928), Art Tatum, piano solo at the It is

(1949),

Louis Armstrong, "Louis

Armstrong plays

W.

C.

Handy"

(1954).

AUSTIN, "CUBA" Drums, 1900.

b. ca.

Remained almost constantly

McKinney's Cotton Pickers from 1924 to 1934. with

AUSTIN, LOVIE

Piano, b. ca.

1900, Nashville, Tenn. Real name,

Cora Calhoun. Moved to Chicago and formed a small group including herself, Tommy Ladnier, and Jimmy O'Bryant which made a lot of records, many of which were accompaniments of blues singers.

The

by

this small Orleans style, are: T ravelin blues, Steppin on the blues ( 1924 ) Heebie jeebies, Mojo blues, Peepin blues (1925).

best

records

New

;

AUTREY,

gan

14

sex-

posed in 1920 by W. C. Handy, first performed by Erskine Tate's band

band, in a pure

attack.

AULD, GEORGE Tenor

Benny Goodman

Benny's bugle (1940).

HERMAN

Trumpet,

Evergreen, Ala. Dec. 4, 1904. Played with Charlie Johnson 1934, b.

.

.

:

AVALON - BACKGROUND Fletcher Henderson 1935, Claude Hopkins 1938 and 1940, Stuff Smith 1941-43; during these same years he also played a great deal with Fats Waller, with whom he acquired a certain degree of fame. Subsequently headed his own small group. A somewhat erratic player, but often capable of considerable swing, and mainly inspired by Louis Armstrong. Records: with

Fats Waller, Let's pretend there's a moon (1934); 12th street rag Don't you know or don't ( 1935 ) you care ( 1937 ) Yacht club swing ;

;

(1938).

AVALON Composed in 1920 by Vincent Rose and Al Jolson. Chorus of 32 bars (A, A 2 A 3 A 4 ). Best recordings Luncef ord Jimmie (1935), Don Byas (1945). ,

,

:

B BABY WON'T YOU PLEASE

COME HOME

Composed by

Clarence Williams about 1920. 18bar chorus (16 bars without release, plus a "tag" of 2 bars). The 16-bar verse, which has an excellent melodic line, was used only during the twenties. The best recordings are: Bessie Smith, accompanied by Clarence Williams on piano (1923), Jimmie Luncef ord ( 1939 ), Louis Armstrong ( 1939 )

BACKGROUND The music played behind the solo. The background is provided by the rhythm section, but the word is also quite generally used for the music played by the melody section accompanying a

soloist. There are background music: Improvised background: one or

several kinds of

more musicians improvising

softly

behind the soloist. Example: When you and I were young Maggy by Tommy Ladnier ( 1938 ) Background of riffs: one or more musicians playing one or more

behind the soloist. Example: Feedin the bean, Count Basie

riffs

(1941).

Background

of "organ chords":

several musicians playing sustained

harmony behind the soloExample: the first of Louis Armstrong's three trumpet choruses in notes in ist.

Tight like this (1928). Purely rhythmic background musicians playing stop chords, for example two notes per bar on each strong beat, behind the soloist. Example: Louis Armstrong's second trumpet chorus in Tight like this (1928).

Background made up of one or more arranged counter-melodies Here there is a true melodic line (in unison or harmony as the case may be), which develops behind the solo. Example: the saxophone quartet during the vocal chorus of

Margie played by Jimmie Lunceford'sband (1938).

Background made up of several There are many

of the preceding.

examples among Duke Ellington's 15

;

.

BACON - BAILEY records,

(1940)

among which Ko-Ko may be mentioned.

BACON, LOUIS

Trumpet and

singer, b. Louisville, Ky.,

1904.

Played with

Duke

Nov.

Chick

1,

Webb

BAILEY, "BUSTER" (WILLIAM) Clarinet, soprano and alto saxophone, b. Memphis, Tenn., July 19, 1902. In 1924 played in Oliver's band November of

King in

Fletcher Henderson with he remained until 1929. Was a member of Noble Sissle's band from 1930 to 1933, and made several visits to Europe with that group. Played most of the time with Fletcher Henderson between 1934 and 1937; then played with Stuff Smith 1937; John Kirby 1938-47; subsequently with the de Paris brothers and various small groups.

Ellington 1934-35;

joined

Louis Armstrong 1935-38; Willie Lewis (with whom he visited Europe) 1939-41; Cootie Williams 1942-43. Style influenced by Louis Armstrong. Records: with Freddie Johnson, Jam with bacon, Big wig

whom

1929-33;

in the

wigwam

(

1939 )

BADIE, PETER Orleans,

May

New

Bass. b.

17, 1925.

Has played

with Lionel Hampton since 1954. Badie uses an electrically amplified bass; has a good, easy swing, influenced by Ray Brown. Records with Lionel Hampton, Flying home, Air mail special, Swingin on C (1955, :

Columbia version).

Gifted with sparkling instrumental virtuosity, Buster Bailey

influenced

Trumpet, b. ca. 1920. Played in Dizzy Gillespie's band 1947-48; with Lionel Hampton 1948-52, and in 1953 went to Italy.

An

extremely gifted musi-

cian both technically and in his im-

but he is sometimes drawn away from jazz by the influence of bop. Records: with Lionel

provisation,

Hampton,

Wee

Albert (1949).

BAILEY, BILL Dancer, b. ca. One of the greatest tap danc-

1906.

ers of all time.

Gave up dancing become a

for a while in order to

preacher, but recently successful comeback.

16

made

a very

Orleans

by Jimmie Noone and Johnny Dodds) without adopting solos,

BENNY

was much

New

by the

clarinet style (particularly

composed

phrases,

BAILEY,

in Chicago, and the same year

are

full

it

altogether. His

of

long

of

variety

legato

and

melodic richness. He is one of the foremost specialists on the clarinet. Records: (1) clarinet, with Fletcher Henderson, Jackass blues (1926), Fidgety feet, Sensation, St. Louis (1927), King Porter stomp 1928 ) Hocus pocus, Harlem madness ( 1934 ) Stealin apples ( 1936 ) with Clarence Williams, Church Yama Yama sobbin blues, st. blues (1927); with Bessie Smith, Brown from Memphis Jazzbo Town, The gin house blues, Young woman's blues ( 1926 ) with Henry blues (

,

,

;

"Red" Allen, Rug cutters swing (1934); with Lionel Hampton, Rhythm rhythm, I know that you

.

.

BAILEY - BAND (1937); with his own band, Shanghai shuffle (1934), Man with a horn goes beserk ( 1938 ) ( 2 ) soprano saxophone, with Clarence Williams and Louis Armstrong,

know

;

Everybody loves

my baby

(1924).

with Duke Ellington, Time's a wastin (1944); Trumpets no end ( 1946, H.B. takes 2d chorus except for the release); Beale st. blues (1946, H.B. takes the muted chorus); Three cents stomp (1947, H.B. takes the

BAILEY, b.

Seattle,

MILDRED

Singer.

Wash., Feb. 27, 1907,

Sang in the classic Ethel Waters and Bessie Smith. Was for some years the wife of Red Norvo, the xylophone d.

Dec.

12, 1951.

style of

Ranks among the best

player.

with

voice.

)

;

Stomp look and

muted

solo).

BALLARD, "BUTCH" (GEORGE) Dec

Drums,

b.

Camden,

Played with Cootie Williams 1942; Louis Arm-

N.J.,

26,

1918.

strong 1946; Count Basie 1947-49; Duke Ellington 1950 and again in

name.

BAKER, CHET Trumpet, singer, Dec. 23, 1929. Played with Gerry Mulligan and now heads his own group. A "cool" musician whose work has very little to do with jazz. Even by "cool" standards he is a poor trumpet, lacking both feeling and musicianship. b. Yale, Okla.,

BAKER,

solo

H.B. plays a dialogue chorus with Ray Nance); Jam with Sam (1951, H.B. takes the first solo); with Nelson Williams, Five horn groove (1950, H.B. plays the

jazz

a peculiarly pure, Someday Records: sweetheart (1935), Down hearted blues (1936), both under her own singers,

light

first

listen (1947,

Record:

1953.

Back

strong,

o'

with

Louis

town blues

(

Arm1946 )

BALLIN' THE JACK Composed by Chris Smith and James Rees Europe. Chorus of 16 bars without release. Best recordings: Jelly Roll Morton (1939), Sidney de Paris ( 1944 ), Kid Ory ( 1945 )

in 1913

HAROLD JONES

Trumpet, b. St. Louis, Mo., May 26, 1914. Played with Don Redman 1936-37, Teddy Wilson 1939, Andy Kirk 1940-41, and with Duke Ellington almost without interruption from 1942 to 1951. A melodious and sensitive musician, his style has an unusual elegance and his phrases flow with consummate ease. He plays a smooth trumpet, with a warm rich tone which at times reminds one of Joe Smith. Records:

BAND A

jazz band is divided two distinct groups: the rhythm section, made up of drums, into

bass (or tuba), guitar (or banjo) and piano, or a selection from these instruments; and the melody section which includes all the trumpets,

trombones, clarinets, and sax-

ophones

(q.q.v.

).

bands in New Orwere marching bands playing parades, funerals, picnics, and

The

first

jazz

leans for

17

BAND announce a party. These bands were often made up of one or two

and a four-piece rhythm section

( apart from the substitution of bass and guitar for tuba and banjo in the rhythm section); but others were made up of trumpet, clarinet, and alto saxophone; or trumpet with an alto and tenor sax; or two trumpets and one or two saxes with a classic rhythm section. About 1940 trios, quartets, and quintets, which up to then had been few and far between, became numerous; there were "sweet trios" made up of piano, guitar, and bass, and more full-bodied quartets com-

consisting of piano, banjo, tuba or

prising

and drums. "Big bands" began to appear in the twenties. They were made up

bass,

to

trumpets, a trombone, clarinet, tuba, and two drummers— one playing the big drum and the other the side drum.

When

jazz

moved

into

the night clubs a piano was added; the drums, traps, etc., were given to one musician, and the banjo, which previously had been optional, became a permanent feature. The typical New Orleans band be-

came: trumpet, trombone,

clarinet,

bass,

of a brass section of three

members

(two trumpets and a trombone), a saxophone section (two altos and a tenor, doubling when required on soprano sax and clarinet), and the same original rhythm section. Soon there were three trumpets instead of two, and two trombones instead of one. Soon after 1930 the bass and the guitar ousted the tuba and the banjo in the rhythm section; the number of trombones went up to three and the saxophones to four.

added

A

tenor

saxophone,

piano,

and drums— with a trumpet in the case of a quintet.

must be made between regular or permanent bands and studio or pick-up bands. The former are the ones that work regularly in dance halls or night clubs, or as special stage acts in movie theaters, or tour from city to city. The latter may be brought together distinction

for a dance, a broadcast or a re-

"big bands" has not increased since. After 1930 the make-up of small

cording date; or it may be permanently attached to a radio station or a recording company to accompany singers, etc., without ever appearing before the public. Many of the finest jazz records have been made by musicians who got together just for a recording session where they could do no more than quickly run over the tunes selected before starting to record. These bands are assembled in this way: a recording company will ask a

bands varied. Those few which went on playing in the New Orleans style remained unchanged

well-known musician to round up a group of his own choice. If arrangements are to be used, written

Around 1940

it

was possible

bands with four trumpets a

little later, five),

(

to find

or even,

four trombones,

and five saxophones while the rhythm section still remained unchanged. As a rule the size of the

18

BANJO - BAQUET either

there

by the leader or

may be

a rehearsal.

for him, If

the re-

cording company is satisfied with the first session, they may issue a whole series of records under the name of the musician who got the band together. This leader will try to bring the same musicians to each session, so that a homogeneous spirit begins to pervade their interpretations, as in the case of Louis Armstrong's Hot Five and Hot

Seven (1925-28); but if that isn't possible he may change the personnel partially or completely, result-

ing in the production of recordings which usually lack the same corporate spirit, but may be brilliant, as in the case of Jelly Roll Morton's

Hot Peppers (1926-28), Hampton's

sides

for

or Lionel

RCA

Victor

1937-40 ) before Hampton had his own regular big band. (

,

BANJO String instrument which performs a role similar to the guitar. It was not used as early as the guitar, the instrument played by most blues singers, but in time the banjo took the place of guitar in bands up to the early thirties. it was rapidly dropped by all bands, and was not heard again until about 1940 when it was reintroduced by certain young musicians who were trying to re-create the jazz

other hand, it carries better than the guitar, which justifies the preference some musicians have for a banjo accompaniment, principally

when

this

accompaniment

pro-

is

vided by the percussion in a strict four-four time number. There are

two main types

of banjo, the four-

string "tenor banjo"

and the

five-

string "plectrum banjo," the latter

having a longer neck. The chief banjos Scott, lie

are Johnny St. Cyr, Rud Christian, Papa Char-

Ruddy

Jackson,

Dixon, Johnson. lie

Elmer Snowden, Char-

Danny

Robby

Rarker,

BANKS, "BUDDY" (ALVIN) St. Thomas, Ont, Canada, Jan. 15, 1927. Has been living in Europe since 1948, playing with Rill Coleman and Sidney Rechet. A first-class musician with fine swing and a supple and varied style; is very good at accompanying solos and following

Bass and arranger, b.

every nuance. Records with Lionel :

Hampton, Elmer the stockbroker, Mr. Fedor, Blues for the hot club de France, Serenade for Nicole's mink coat (1953).

Then

New

Orleans style of the twenties. use was and is very limited. The banjo hasn't the singing quality of Its

a guitar, either in solos or in ac-

where contrasting accentuations are needed. On the companiment,

BAQUET, GEORGE the oldest jazz clarinets, b.

One

of

New Or-

Played Orleans with the Onward Brass Rand and the Imperial Orchestra about 1900; with John Robichaux, 1904; with the Superior Rand, 1906; with the Magnolia and Olympia Rands between 1908 and 1914. In 1914 he joined Rill Johnleans, 1883, d. Jan. 14, 1949. in

New

19

;

.

.

BAR - BAREFIELD son's Original Creole Band in Los Angeles and went to Chicago with it. After the break-up of the band

he went

to Philadelphia

remained.

Had

where he

the very great dis-

tinction of having Sidney Bechet as his pupil.

Never made any records

worthy of him.

BAR

In jazz the bar

in four-four time (q.v.

).

is

always

Most

jazz

numbers consist of 32, 16, or 12 bars and are subdivided into phrases of 8 or 4 bars. When it comes to phrasing the themes or improvisation by a soloist, the phrases themselves break

down

into secondary

phrases of 2 bars. Similarly, most riffs are 2 bars, and the brief punctuations of a jazz band take place at the same intervals.

b.

BARBARIN, PAUL Drums. New Orleans, May 5, 1901.

Played in Chicago in King Oliver's first in 1918, then again from 1925 to 1927. In 1928 he joined Luis Russell's band, which eventually became Louis Armstrong's, and he stayed with Louis until 1938. Played with Henry Allen 1942, with Sidney Bechet 1943, then

band

started his own band in 1951. Barbarin plays excellent New Orleansstyle drums, in a manner somewhat reminiscent of Zutty Singleton. Records: with Louis Armstrong, Blue turning grey over you On Treasure Island ( 1936 ) ( 1929 ) On the sunny side of the street, Jubilee (1937); When the saints go ;

marching 20

in

(

1938 )

BARBECUE BOB (ROBERT HICKS)

Singer and blues guitar.

b. St. Louis, Mo., ca. 1890. d. ca.

1930. ists

One

of the best blues special-

of the old school. His guitar

playing was in one of the most typical blues styles on records, and his singing was full of color. Records: Blind pig blues, Hurry and bring it back home, Yo Yo blues, Trouble done bore me down ( 1928-29 )

BAREFIELD, EDDIE

Clarinet,

alto saxophone, arranger, b. Scan-

Iowa, Dec. 12, 1909. Played in Bennie Moten's band in Kansas City 1932; with Cab Calloway 1933-34; then did studio work and dia,

led his own band in California 1935-37. Conducted Ella Fitzgerald's orchestra 1940-41. After that,

New

York where he and vari-

settled

in

worked

in radio studios

ous small bands. rector for the

Was

musical

di-

Broadway production

of Tennessee Williams'

A

Streetcar

Named

Desire 1947-48, and played again with Cab Calloway's band 1951. Has written arrangements for various big bands, including Lionel Hampton's and Charlie Barnet's. A capable but somewhat uneven musician who has rarely had an opportunity to make good records. His best clarinet solo is on Lionel

Hampton's Drum stomp (1937). Other records: on alto sax, with Cab Calloway, Moonglow (1934); with Don Redman, Milenberg joys (

1938, solo often mistakenly attribDon Redman himself).

uted to

.

BARKER -BARREL BARKER, BLUE LU

New

b.

Orleans

ca.

New

Singer.

1915.

Wife

guitarist Danny Barker. She sings blues with a drawling, cynical accent and great humor. Records: I got ways like the devil, New Orleans blues, He caught the B 6- O,

Don't make

me

high

(

shake 'em on

down

(1938).

of

1938 )

BARNET, CHARLIE saxophone,

tenor b.

New

band

Alto and leader,

York, Oct. 26, 1913. Disci-

Coleman Hawkins and Chu sax, Johnny Hodges on alto sax, and of Duke Ellington

ple of

Berry on tenor

for the style of his band. His repu-

BARKER, DANNY

Banjo and

New

Orleans, Jan. 13, 1909. Played in the Blue Rhythm Band, 1936-37; with Cab Calloway, 1938-46; then directed various small guitar,

b.

groups of his own.

One

solid guitar players in

most a rhythm secof the

Records: with Pleasant JoeMilton Mezzrow, Levee blues (1945); with Mutt Carey-Baby Dodds, Shim-me-sha-wabble, The entertainer (1947); on LP "Paul Barbarin and His New Orleans tion.

Jazz" (1955).

BARKSD ALE, EVERETT tar,

b.

Detroit,

April

28,

Gui1910.

Played for some years with Eddie South and went to Europe with him in 1937. Between 1949 and 1954 took part in a number of sessions with the Art Tatum trio. Records: with Sidney Bechet, Rose room (1941); with Louis Armstrong, Cold cold heart (1951).

BARNES, GEORGE

Guitar,

Chicago, 1921. Generally uses an electric guitar and plays the blues better than most white musicians. Records: with Big Bill Broonzy, Night time is the right time No. 2, b.

tation

has perhaps grown some-

what beyond

his merits.

BARON, EL (HORATIO McFERRIN)

Trumpet,

b.

Detroit,

With a style like Roy Eldridge and Harry Edison, he plays with great power and a remarkable drive. Has never reMich., ca. 1920.

corded.

BARREL HOUSE Southern term once used to describe small beer joints. Since the early years of the 20th century, a pianist or a small group usually playing unpretentious but excellent jazz in the barrel houses, so good that the word became a synonym for rough, spontaneous, uninhibited jazz. On piano, the style is harsh and strident, with plenty of swing. It is played with a hard touch so it can be heard above the bedlam going on around. Real barrel house jazz can't be found on records because the right atmosphere doesn't exist in a studio. But occasionally a few records—as diverse as Pine Top Smith's Pine Top's boogie woogie, the New Orleans Feetwarmers' Sweetie dear, and Lionel Hampton's Chicken

21

;

.

BASCOMB - BASIE shack boogie— give an approximation.

BASCOMB, "DUD" (WILBUR) Birmingham, Ala., Played with Erskine Hawkins 1936-43; with Duke ElTrumpet,

May

b.

16, 1916.

ing the band first in Chicago and then in New York, where they arrived at the end of 1936. Basie by then had raised the number of his musicians to 13. The band was an immediate success— as it deserved to

be—for

it

was

as

good

From 1937

as

any in 1947

lington 1947, and later directed his

the country.

own

Basie's band was always one of the three or four finest bands in jazz. In 1948-49 Basie decided to "modernize" his orchestral style, but the results were not very successful. In

band.

BASCOMB, PAUL

Tenor saxo-

phone, b. Birmingham, Ala., Feb 12, 1910. Played from 1936 to 1943 in the band of Erskine Hawkins. A disciple of Chu Berry. Record: Erskine Hawkins, Sweet with Georgia Brown ( 1940 )

BASIE,

"COUNT" (WILLIAM)

Piano, organ, b.

band

Red Bank,

leader, arranger.

N.J.,

Aug

He began on drums

21,

1906.

but later his mother taught him piano. From 1923 to 1926 he played at a number of Harlem night clubs in New York City, accompanying Bessie Smith and Clara Smith on several occasions; during this period Fats Waller and Willie "the Lion" Smith helped him to improve his style. In 1926 he went on the road with a variety show; this led him to Kansas City where he decided to stay for a while. There he joined Walter Page's Blue Devils, with whom he went on tour. After that he worked with Bennie Moten's band, also in Kansas City, until Moten's death in 1935. Count Basie then formed his own 10-piece band. The wellknown jazz critic, John Hammond, heard them and succeeded in book22

to

January, 1950, he broke up his band and formed a small group; but in 1951 he again formed a big band and, after a shaky start, got back once more to his old form and his previous success. Count Basie is numbered among the great jazz pianists. He was mainly influenced by Fats Waller and James P. Johnson and, to a certain extent, Earl Hines. Early in his career his playing sounded a lot like Fats Waller (1932, with

Bennie Moten, Lafayette and Toby; 1937, with his own band, Boo hoo ) producing the classic "stride," or playing alternately in the styles of Fats Waller and Earl Hines in the course of one number (1932, with Bennie Moten, Moten's swing; 1937, with his own band, Roseland shuffle). In 1937 he began to experiment with a new style which began in an odd way. Count Basie was in the habit of inserting in his interpretations choruses given entirely to the rhythm section: guitar, drums, and bass, without any melody, which Basie accented sim-

BASIE ply by a few isolated notes or chords on the piano. These choruses of the rhythm section were such a success that when the band played in New York Basie gave up the normal style of piano solo and concentrated on playing a series of short, sharp phrases with the right hand (with occasional interpolations from the left), leaving to the guitar and bass the task of supplying the rhythmic base normally provided by the pianist's left hand. This is the style which characterizes most of Basie's records ( Topsy, 1937; Doggin around, 1938; Jump forme, 1939; Bill's Mill, 1947). This new style didn't keep Basie from reverting from time to time to the Fats Waller manner, as for example in Cafe society blues (1942); and House rent boogie ( 1947 ) In these two records Basie also uses the boogie woogie style which he plays in a very personal and extremely pleasant way. Basie is also a remarkable interpreter of the blues— indeed one of the best— whether using a boogie woogie riff or his own concise style, with its inimitable firm, round, rich, penetrating tone. Basie has recorded a number of blues as piano solos (ace. .

rhythm

How

among

them: long blues, Boogie woogie, section),

this instrument in: Nobody knows (1939); Basie's baseParadise squat ment ( 1947 )

heard on

;

(1952).

The Basie band is one of the very best in existence. Its style is simple and direct. Ensemble riffs are liberally employed either behind the solos or in the foreground; in the latter case there are generally several

riffs

set against

one

by the trumpets, another by the trombones, and a third by the saxophones. These another, one played

are sometimes written, sometimes developed by the musicians in the course of a rehearsal, and sometimes improvised during a performance; the leader of a section enunciating the riff and the rest harmonizing behind him. Count Basie has been fortunate in having excellent arrangers for his "riff" riffs

style,

among them Jimmy Mundy,

Buster Harding, Buck Clayton, and Herschel Evans. Likewise following the Count's own example, the band can play the most remarkable blues.

Basie's

rhythm

made up

a long time

section, for

of Freddie

Green on guitar, Walter Page bass, and Jo Jones on drums, is among the finest in the history of jazz. Basie has also had a number of

dirty doz-

remarkable soloists, particularly Herschel Evans, Lester Young,

1937 ) and, with his full band, blues ( 1937 ) Basie boogie (1941); Red bank boogie (1944); The mad boogie (1945). Basie also plays remarkable blues on the organ, and he can be

Jacquet, and Paul Gonsalves on tenor saxophone; Buck Clayton, Harry Edison, Emmett Berry, and Joe Newman on trumpet; Bennie Moten, Dickie

Hey Lawdie mama, The ens

(

;

Good morning

;

Buddy

Tate,

Thompson,

Don

Byas,

Lucky

Illinois

23

;

BASIN - BEAN Wells, Vic Dickenson, and

Henry

Coker on trombone. Since 1937 Count Basie's band has had a great influence on jazz. His "riff" style has been partly or wholly imitated by a number of bands, including those of Jay

McShann,

Hampton,

Lionel

Er-

skine Hawkins, Jimmie Lunceford,

and Andy

A

Kirk.

selection of

Count

Basie's rec-

ords: Roseland shuffle, One o'clock jump, John's idea, Good morning

Time

Don't you miss your baby ( 1937 ) Every tub, Sent for you yesterday, Swinging the blues, Blue and sentimental, Doggin around, Stop beatin round the mulberry bush, London Bridge is fallin down, Texas shuffle, Panasblues,

out,

posed by Spencer Williams in 1923, named after a well-known street in

New

Orleans. It consists of a theme 16 bars and a classic blues theme of 12 bars. The 16-bar verse and the lyrics, "Won't you come along with me, Down the Mississippi," were added in 1931 by Glenn Miller and Jack Teagarden when they recorded the number under the name of the Charleston Chasers. The best recordings are by Louis of

Armstrong (1928, 1933, 1954), and Fats Waller, piano solo (1937).

;

sie

stomp

Jive

(1938);

at

five,

Rock-a-bye Basie, Baby don't tell on me, 12th Street rag, Miss thing, Nobody knows, Pound cake, I left my baby ( 1939 ) Let's make hey while the moon shines, Easy does it, Gone with "what" wind, Super chief, The world is mad, Love jumped out, Broadway, Rockin the blues ( 1940 ) Jump the blues away, Feedin the bean, 20 special, Goin to Chicago blues, Feather mer;

;

chant,

Harvard

blues,

Coming out

(1941); One o'clock jump, Rusty dusty blues (1942); Basie strides again ( 1944 ) Queer Street, The king Blue skies (1945); (1946)*; Bill's mill, House rent boogie (1947); New Basie blues, Paradise squat (1952). party

;

BASIN STREET BLUES 24

Com-

BASS.

Double-Bass

See

or

String-Bass

BAUDUC,RAY

Drums,

b.

New

Orleans, July 18, 1908. Style something like those of Zutty Singleton

and Baby Dodds. Between 1935 and 1945 played in the bands of Ben Pollack and Bob Crosby; subsequently formed his own group. His best-known record is Big noise from Winnetka ( 1938, a duo with Bob Haggart, bass and whistling).

BEALE STREET BLUES ComW.

posed by

named

C.

Handy

after a street in

in 1916,

Memphis,

Tenn. It is made up of three themes: two classic 12-bar blues,

and a third of 8 ords:

Jelly

The best recMorton (1927);

bars.

Roll

Benny Carter with Joe Turner voDuke Ellington ( 1946 ) cal 1940 (

)

;

Armstrong (1954, "Louis Armstrong plays W. C. Handy"). Louis

BEAN, HAWKINS. man Hawkins

See Cole-

BEASON-BECHET BEASON, BILL

Drums,

Played in Teddy Hill's band, with which he went to Europe in 1937; in 1939 joined Ella Fitzgerald, and later John Kirby.

b.

1908.

BEAT Word frequently used in synonym for swing: "a band with a fine beat"—an orchestra which swings. The "beat" is not merely the number of beats jazz as a

had already acquired, and, like most jazz musicians at the time, having learned to play everything by ear he never bothered to read music. About 1908 he began to play regularly with various bands in New Orleans: Freddie Keppard, Buddy Petit, and Jack Carey. In 1915 he spent some time in Texas, returned to New Orleans in 1916 to play with King Oliver, went on

to the bar, but the pulse created within and around those beats. Hence musicians sometimes speak of "pulse beat." The word also means tempo, and a musician who slows or hurries the tempo "has no

tour again the following year, and then settled down for some time, playing with various bands in Chicago. After a stay in New York, he left for Europe in 1919 with Marion

beat."

Orchestra; he played at the Philharmonic Hall in London, where he

BE BOP.

See Bop

BECHET, SIDNEY saxophone, b.

New

clarinet,

Orleans,

May

Soprano composer.

14, 1891,

the

youngest of seven children. At an early age he showed signs of his musical interest; when taken as a child to the circus he paid more attention to the orchestra than to what was going on in the ring. At the age of 6 he borrowed a clarinet

from

his brother

played

Leonard and

dis-

such

Cook and

his

caught the attention of the great Swiss conductor, Ernest Ansermet. Subsequently he played in Paris with Bennie Peyton's band. By the end of 1921 he was back in New York. From this period on, he played more and more soprano saxophone, an instrument he had picked up shortly before his visit to England, and which he prefers to the clarinet for

its

greater vol-

ume. In 1924 and 1925 he made a

number

of records with Clarence

Louis Armstrong was on several of them. For a few months he played with Duke El-

aptitude that his brother, discouraged, gave him the instrument. George Baquet (q.v. ), one of the most famous New Orleans clarinetists, heard him playing on a street corner, took an in-

Williams;

him and gave him lessons. But young Sidney had already got

ring.

along so far by himself that he retained the unorthodox fingering he

Russia and

terest in

Southern Syncopated

also

lington before leaving, in 1925, for Europe with the Revue Negre in

which Josephine Baker was and

He

played in

Berlin, after

countries.

star-

Paris, Brussels,

which he

visited

many other European From 1928 he played 25

;

BEE - BEIDERBECKE mostly with Noble Sissle's band, first in Paris and then in New York. In 1932 he and Tommy Ladnier formed the New Orleans Feetwarmers, and played at the New York Savoy. In 1933, tired of the ups and downs of a musician's life, he opened a tailor shop in Harlem, but the business lasted no more than a year. In 1934 he was back with Noble Sissle, and stayed with until 1938. Then he started to head a series of small groups, and it was only from that time on that his really great genius became appreciated. In 1949 he went to Europe, and since has played mostly with small bands in France where he now makes his home. Bechet is one of the most cele-

him

brated personalities to come out of

New

Orleans.

He

plays the clarinet

with a drive, a harshness and a vibrato, which has more in common with Johnny Dodds than, say, with Jimmie Noone. He plays the soprano saxophone in much the same style but the more "attractive" tone of this instrument softens the harshness of his playing. Bechet has had an enormous influence on other soprano sax players, particularly on Johnny Hodges. Whether he is playing a soprano sax or a clarinet, Bechet has an ample, rich tone, tremendous drive, and a remarkable melodic sense. Records: (1) clarinet: with Tommy Ladnier, Wearij blues ( 1938 ) under his own name, Blues in thirds (1940); Blue horizon, St. Louis blues ( 1944 ) Moulin d, cafe (1950); (2) soprano saxo;

;

26

phone:

Wild

with

Clarence

Williams,

man

cat blues, Kansas City

(1923); with Red Onion Jazz Babies, Cake walking babies (1924); with New Orleans Feetwarmers, Maple leaf rag (1932); with Tommy Ladnier, Really the blues ( 1938 ) with Milton Mezzrow, Old school, Out of the gallion, blues

;

Gone away Chicago

blues, Jelly roll

(

1945 )

Funky butt, want some,

function,

Tommy's blues, I Where am I, Delta mood (1947); with Claude Luter, Ce mossieu qui parle (1949).

Bechet

composed

a

number

of delightful tunes, notably: Pleas-

ure mad (also called Viper mad), Southern sunset (alias When the

sun sets down south), Blackstick, Delta mood, Where am I, I'm speaking my mind.

BEE, WILLIE b.

Yazoo

d.

ca.

City,

Blues guitar. Miss.,

Made

1942.

a

ca.

1900,

number

of

records as accompanist of various blues singers. Played the blues in a very pure style, quite a lot like Big Bill Broonzy's. Records: with

Bumble Bee

Slim,

Queen bee

blues,

&

O. blues (1932); I'll meet you at the bottom (1936); with Tampa Red, My gal is gone, When the one you love is gone, Delta B.

woman

blues, I

need you by

my

side (1935-36).

BEIDERBECKE,

"BIX" (LEON)

Trumpet and piano, b. Davenport, Iowa, March 10, 1903, d. New York, Aug.

7,

1931. Played in Chi-

.

..

BELLSON - BERIGAN cago and later in New York with Wolverines, then in Detroit with Jean Goldkette's band, and subsequently in Paul Whiteman's orchestra. He was one of the most distinguished white jazz musicians.

How

He was

b.

the

influenced at first by a trumpet player named Emmett Hardy. A very gifted musician, Bix had a masterful style on the trumpet and great invention; but he never quite achieved the style of the three great trumpet players whom he long studied: Louis Armstrong, Tommy Ladnier, and Joe Smith. His chorus on Singin the blues, recorded with Frankie Trumbauer in 1927, showed his ability for improvising on a theme. Bix composed a number of piano pieces, of which he himself recorded In a

high the moon, Charlie got rhythm; with the Coronets, Caravan (1951); with Duke Ellington, V.I.P.'s boogie, Fancy Dan ( 1951 )

BENFORD. BILL W.

Charleston,

Tuba,

Va.,

1905.

ca.

Played with Jelly Roll Morton and then led his own band. One of the best tuba players, with a very original "rocking" style. His attack is admirably firm and he has a great feeling for harmony. Records: with Jelly Roll Morton, Kansas City stomp, Georgia swing, Boogaboo, Shoe shiners drag (1928); Down my way, Try me out ( 1929 )

BENFORD, TOMMY b.

Charleston,

W.

Drums, Played

Va., 1908.

mist in 1927;

band of his brother, Bill Benford, and with Jelly Roll Mor-

influence of

ton; toured

all of them show the modern European music. Bix has had many imitators, including Jimmy McPartland and Bobby Hackett, and had some influence on Rex Stewart. Other rec-

Trumbauer, I'm coming Virginia (1927); under his own name, Jazz me blues, Sorry ords: with Frankie

in the

ber's

at his

with

arranger,

b.

Moline,

1924. Played with

111.,

July

6,

Benny Goodman,

Dorsey, and Harry James;

in 1951-52 played in

Duke

Elling-

band. His instrumental virtu-

is dazzling, partly owing to the fact that he's ambidextrous. Lou's playing is sometimes infected with "progressive" effects. Records:

osity

uneven performer,

best in his older records: Jelly Roll Morton, Kansas

BENSKIN,

BELLSON, LOUIS Drums and

ton's

A very

in

City stomp, Georgia swing

b.

thirties.

Bob Wilband, which became Jimmy

Archey's.

(1927).

Tommy

France in the

From 1948 he was

New

SAMMY

York,

Sept.

(

1928 )

Piano, 27,

1922.

Played with Stuff Smith, the Savoy Sultans,

Don Redman, and Benny

Morton. A good musician, influenced a little by Teddy Wilson. Records: with the Sammy Benskin Trio, Cherry (1945); with John Hardee, Idaho (1946).

BERIGAN, "BUNNY" (RONALD

BERNARD)

Trumpet,

b.

Fox Lake, 27

;

BERLIN -BERRY Wis., 1908, d. June 2, 1942. Played with Benny Goodman, Tommy Dorsey, and led his own band. Got his inspiration from Muggsy Spanier and Louis Armstrong. A good musician, but very uneven in his performances. Records: with Benny

Goodman,

King Porter Stomp (1937); with Tommy Dorsey, Marie, Song of India ( 1937 ) with his own band, I cant get started. ;

BERLIN, IRVING Temun,

b.

Russia,

Composer.

May

1888.

11,

Among

the vast number of his famous compositions are several "standards" such as: Alexander's

ragtime band, Easter parade, Always (originally a waltz), Blue skies, How deep is the ocean.

BERRY, "CHU" (LEON) saxophone, b. Wheeling,

Tenor

W.

Va.,

Sept. 13, 1910, d. as the result of

an automobile accident Oct. 31, 1941. Made his debut at the Lenox Club, Harlem, in Carl Jackson's band. Played with Cecil Scott around 1931; Benny Carter 193233;

Teddy

Hill

1933-35; Fletcher

Henderson 1936-37; Cab Calloway, 1937 to October 1941. Chu was one of the greatest tenor saxes to appear on the jazz scene. He was considerably influenced by Coleman Hawkins, and he is the only performer on this instrument who has ever had anything like the same big tone and powerful attack as Hawkins. His tone is certainly less rich and smooth than that of Hawkins, but his incisive 28

style has a most moving, dramatic beauty. Chu was one of the fastest players on his instrument, but even

in

medium-paced numbers he

ex-

pressed himself easily in simple phrases and built up choruses with perfect melodic logic. A concise style suited him because it enabled

him

to give particular weight and density to every note, owing to the great power of his attack. Although Chu must rank as the only tenor sax who challenges comparison with

Coleman Hawkins from this point of view, it must be admitted that his style of playing isn't as easy as

that of Herschel Evans, for exam-

or Ben Webster and Lucky Thompson. Chu has more or less influenced a number of tenor saxes,

ple,

notably Robert Crowder, Budd Johnson, Paul Bascomb, and Alix Combelle. Records: with the Chocolate Dandies, Krazy kapers, Once upon a time, I never knew ( 1933 ) with Henry Allen, I'll never say "never" again, Get rhythm in your feet (1935); with Teddy Wilson, Twenty-four hours a day (1935); Warmin up (1936); with Fletcher Henderson, Blue Lou, Christopher Columbus, Stealin apYou can depend on me ples, (1936); under his own name, Too marvelous for words, Indiana, Chuberry ]am (1937); Forty six west fiftytwo ( 1938 ) with Lionel Hampton, Sweethearts on parade, Denison swing, Wizzin the wizz, Shufflin at the Hollywood ( 1939 ) with Count Basie, Lady be good (1939); with Cab Calloway, Crescendo in ;

;

BERRY -BEST drums, Pluckin the bass (1939); Come on with the come on, Ghost of a chance, Boo wah boo wah, Lonesome night ( 1940 ) Special delivery, Take the "A" train, Tappin ;

off

EMMETT Trumpet, Macon, Ga., July 23, 1915. Played with Fletcher Henderson 1937-38; Horace Henderson 1939-40; Earl Hines 1940; Teddy Wilson 1941 and 1943; Lionel Hampton 1943; Don Redman 1943; John Kirby 1945; Count Basie 1945-50; Jimmy Rushing 1950; Johnny Hodges 1951-54. Influenced by Louis Armstrong, Roy Eldridge, and Harry BERRY,

Edison. His playing

is

remarkable

rounded tone, and firm, robust style. Very uneven when he its full,

Emmett Berry

has picked with the years. Records: with Cozy Cole and Coleman Hawkins, Stomping at the Savoy (1944); with Count Basie, started,

up increasing

Bill's

mill

(

skill

1947, E.B. plays the ;

May

Nichols,

influence on a number of drummers in Chicago between 1920 and 1930. Records: Washboard: The blues stampede, Easy come

name Cohen, 6,

1896, d.

easy go ( 1927, originally published under his own name but later reissued under the name of Louis Armstrong); with the Chicago Footwarmers (Johnny Dodds), Grandma's ball, Ballin the jack Get 'em again blues, Brush ( 1927 ) stomp (1928). Bertrand's drums hardly ever came over well on records, and the only record on which he can be properly heard is Oriental man by the Chicago Footwarmers (1927). Bertrand also played the xylophone and is said to have influenced the early style ;

of Lionel

Hampton.

BEST, DENZIL Drums,

DACOSTA

New

York, April 27, 1917. First learned trumpet, but lung trouble made him give up b.

generation.

He

plays

in

a calm,

by Sidney Catmarked contrast

b.

Chi-

solid style, inspired

1953.

Ran

lett,

which is in busy playing

many

band, recorded with Red

to the

and

his contemporaries. Records:

symphony

man on

excel-

consider-

this

BERTON, VIC Drums and xylophone. Real

own

An

who had

instrument, and he became one of the best drummers of his

blues, Globetrotter (1951).

cago,

Tate's Chicago orchestra. lent musician

Played

of years in Erskine

first

trumpet solo ) with Al Sears, Berry well, Marshall plans, Nell don't wear no button-up shoes (1951); with Johnny Hodges, A pound of

his

number

for a

Drums

b. ca. 1900.

able

(1941).

b.

for

BERTRAND, JIMMY and washboard,

finally

gravitated to

orchestras.

A

brilliant

kettledrums. Invented the "Charleston" pedal which later became the "high hat" cymbal.

of so

of

with

Don Byas, Little white lies, Them there eyes (1945); with Coleman Hawkins, A shanty in old shanty town, Stuffy (1945 and 1946).

29

BETWEEN - BIGARD BETWEEN THE DEVIL AND THE DEEP BLUE SEA Composed

in 1931

by Harold Arlen and

Ted

Koehler. Chorus: 32 bars with release. Best recordings: Louis Armstrong (1931); Dickie Wells

(1937); piano solo by Willie "the Lion" Smith (1938).

BIGARD, "BARNEY" (LEON ALBANY) Clarinet and tenor saxophone,

b.

New

Orleans,

March

3,

His family always wanted Barney to be a musician, but he preferred to try something else. He earned his living as a cigar maker, then as an engraver. Finally he took clarinet lessons from Lorenzo Tio, Jr., who was then considered the best performer on this instrument in New Orleans, and soon afterward started playing profession1906.

Discouraged by criticism, he gave up the clarinet for the tenor saxophone, an instrument which was not very popular at that time. He played in a night club in New Orleans with the Albert Nicholas band, then moved to Chicago to join King Oliver in 1925. One night when the clarinetist of the band, Darnell Howard, was away, Oliver remembered that Bigard used to play clarinet and persuaded him to take it up again. In 1927 Bigard left Chicago for New York where he played for Luis Russell, and ally.

same year joined Duke He remained in this band

later in the

Ellington.

until 1942, taking part in every tour

throughout America and Europe, collaborating with Ellington in the

30

composition and arrangement of numbers, and composing several himself— actually he became the right-hand man of the great

various

band

leader. After leaving Ellington he played in California for some years with various groups, then in 1947 joined Louis Armstrong, with whom he stayed until 1951 and again 1953-55. Bigard was an excellent tenor sax, but from the time he joined Duke Ellington in 1927 he seldom played anything but the clarinet— and despite his bad start he became one of the greatest clarinetists ever heard. His style is typical New Orleans. After Lorenzo Tio, Bigard was influenced mostly by Jimmie Noone, and a little by Albert Nicholas. But he has a strong personality and soon evolved a very individual style which can be easily recognized for its brilliant flashes and prolonged phrases. Barney's playing of slow blues is remarkable, and he excels in improcounterpoint against an vising ensemble chorus— in which he is a true son of New Orleans. His full, pure and glowing tone is perfectly suited to the suppleness and delicacy of his playing; this sonorous tone is particularly beautiful in the lower register which he has made use of more than most jazz clarinets. It's

during his time with

Duke

and particularly between 1927 and 1936, that Barney Bigard is found at his best with the clarinet on records by the ElEllington,

.

BIG - BISHOP lington

orchestra:

Take

it

version), lips,

convulsions,

Jazz

Syncopated

shuffle,

Street wail (1929);

Jazz

Wall

Sweet jazz

o'

Big house blues (1930); Lazy rhapsody ( alias Swanee rhapsody), Rose room, Ducky wucky, Lightnin (1932); Slippery horn, Bundle of blues (1933); Stompy Clarinet lament Jones (1934); (1936); Across the track blues (1940). Other good records: with Jelly Roll Morton, Turtle twist (1929); under his own name, Clouds in my heart, Stompy Jones, Frolic Sam, Caravan (1936); with mine,

Rex Stewart, Finesse, I knoiv that you know ( 1939 with Louis Armstrong, High society (1947, LP "Satchmo at Symphony Hall"). On tenor saxophone Bigard can be heard with King Oliver on Aunt )

BIG MACEO.

easy,

Black beauty, Tiger rag (1928); High life, Saturday night function, Harlem flat blues, Saratoga swing, Beggars blues, Jungle jamboree (the Okeh and British Parlophone

PETER Tuba. b. ca. During the twenties played in Chicago with Carroll Dickerson. In 1929 went to New York where he played for some time with Louis Armstrong and then disappeared from the jazz scene—probably beBIGGS,

1900.

cause of the replacement of the tuba by the string bass. Biggs was one of the finest tuba players known; he had a full, sweet tone and provided a solid base for any

band

in which he played— which can be heard in the records he made with Louis Armstrong, such

Alligator

as:

crawl,

;

BISHOP, "BISH" (WALLACE

HENRY) Drums, 17,

Les Hite,

Jelly Roll

Tate, and, for a of Earl Hines

blues, I'm watchin the (1928). Barney Bigard ap-

peared with Louis Armstrong in the film New Orleans (1946).

BIG BILL

See Broonzy

BIG BOY.

See Goodie, Frank

See

Moore

BIG EYE NELSON.

See Nel-

Eye"

b.

Chicago, Feb.

1906. Played in the

clock

son, "Big

Williams

See Joe McCoy, Joe

bands

of

Morton, Erskine

number

of years,

(1931-37). Subsequently played with Coleman Hawkins, John Kirby and Sy Oliver (1946-47). In 1949 he toured France with Buck Clayton and has remained in Europe since.

A

solid

drummer who was

influ-

enced first by Jimmy Bertrand then by Sidney Catlett. Records: with Earl Hines, Japanese sandman (1935); Pianology (1937); with

Buck Clayton, High

BIG JOE.

the

Willie

weeper, Potato head blues, Weary blues, 12th st. rag, Gully low blues (1927); Ain't Misbehavin, Some of these days (1929).

Hagar's

BIG CHIEF.

See Merry-

weather

now

tide,

Who's

1949 ) with Earl Hines, Snappy rhythm ( 1949 ) sorry

(

;

31

BLACK - BLAIR BLACK AND BLUE Composed by Fats Waller in 1929 for the "Connie's Hot Chocolates" revue, and has always been a piece de resistance of Louis Armstrong's repertoire.

lease

Chorus: 32 bars with reBest recordings: Armstrong's two versions

passage.

BLACK BENNY drummer

who was an

extremely popular figure in New Orleans, about whom Louis Armstrong tells a number of

good

My

Louis (1929 and 1947, the latter in his

"Satchmo

at

Symphony

Hall" con-

cert in Boston), and a clarinet solo by Mezz Mezzrow accompanied by Claude Luter's band (1951).

BLACK AND TAN FANTASY Composed in 1926 by Duke Ellington and Bubber Miley; comprises two themes: one based on the classic 12-bar blues, the other— an extremely melodious one— of 16 bars; the last chorus ends with a brief quotation from Chopin's Funeral March, which jazz musicians often use as a symbol of death. Duke Ellington recorded this piece a number of times. The best recording is the one issued originally by RCA Victor in 1927, containing very fine solos by Bubber Miley on trumpet and Tricky Sam on trombone using a "wa-wa" mute. In 1938 Ellington made a longer version, but by mistake the two sides were issued separately— the first under the title of Prologue to a black and tan fantasy, and the second as The new black and tan fantasy. Besides Ellington, several bands

have

re-

corded the piece; the only really

good record is that made by Jimmy Lunceford (1934). 32

Celebrated

in the early days of jazz

stories in his

book Satchmo—

New

Orleans.

BLACK BOB

Piano,

Life in

b.

very

Accompanied a numblues singers on records. A

early 1900's.

ber of musician with a sensitive, melodious style. Records: with Big Bill Broonzy, Pneumonia blues, Big Bill Blues, Matchbox blues (1936); with Casey Bill, Front door blues, Big Katie Adam (1936).

BLACK, FRANKIE.

See Scrap-

per Blackwell

BLACKSTICK

Old-time slang

for a clarinet. Title of a

number by

Sidney Bechet recorded in 1938.

BLACKWELL, SCRAPPER (FRANKIE BLACK) b.

Tenn.

ca.

1900.

Guitar,

An

excellent

who accompanied

Leroy Carr on almost all his records. Also sings the blues and has made some fine records accompanying himself on the guitar: Down South blues, Back door blues, Hard time blues (1931). blues player

BLAIR,

LEE

Banjo and guitar.

Brooklyn, N. Y., ca. 1905. Played in Luis Russell's band, and, from 1935 to 1940, with Louis Armstrong. A good ensemble musician. Recb.

.

BLAKE -BLANTON ord: with Jelly Roll Morton, sas City

Kan-

stomp (1928).

BLAKE,

called

in

"Blind Blake"

Guitar and blues singer, b. in the

South

while Blake remained York composing for revues and playing piano; shows for which he alone wrote the music include

went to

ca. 1885, d. ca. 1930.

Made

number of records for the Paramount Company between 1920 and

Paris,

New

Blackbirds of 1930, starring Ethel Waters.

a

1930.

A

good

singer,

but above

all

a great guitarist with extraordinary drive,

whose phenomenally

rich in-

strumental style influenced a number of blues guitar players, notably Big Bill Broonzy. Blind Blake did not confine himself to the blues; he played other styles, including rag. Southern rag (guitar Records: solo), Brown-skin mania, C.C. pill blues (1927).

BLAKE, JERRY

Millinder, Don Redman, Fletcher Henderson, Cab Calloway. Has toured in Europe on

Webb, Lucky

several occasions. His clarinet style is marked by its simple, very rhythmic phrases and frequent use of

the "growl." Also has written a number of good arrangements. Records: with Benny Morton, Fare thee well to

Piano and composer, b. Baltimore, Md., Feb. 7, 1883. An eminent ragtime pianist. He taught himself piano and by the time he was 15 was playing in the red-light district of his

Harlem (1934); with Cab

Calloway,

BLAKE, EUBIE

home

Wrote a large number of rags of which the first to be published were Chevy Chase and Fizz water in 1914. In 1915 he teamed up with Noble Sissle (q.v. ) and town.

together they wrote the music for Shuffle Along, a revue starring Florence Mills which opened in 1921, ran eighteen months on Broadway, and toured until 1924; several of its numbers enjoyed great success, such as Memories of you, You're lucky to me. They followed with Chocolate Dandies in 1924. In 1927 Sissle organized a band and

Clarinet, alto

saxophone, arranger, b. Gary, Ind., Jan. 23, 1908. Played with Chick

A

smooth one

(

1941

BLAKEY, ART Drums,

)

b. Pitts-

burgh, Pa., Oct. 11, 1919. Played in Billy Eckstine's band, 1944-47; also with Lucky Millinder and a number of small groups. Blakey has a lot of drive, but he has been frequently associated with bop players, and there are no records which do justice to his value as a jazz musician.

BLANTON, JIMMY

Bass. b. St.

Louis, Mo., 1921; died of tuberculosis

Monrovia,

Made

Calif.,

July

30,

appearance in Fate Marable's band. In 1939 Duke Ellington heard him play and, astonished by his remarkable gifts, engaged him. Blanton played for 1942.

his first

33

.

BLIND - BLOW two years with

Ellington,

becom-

ing at the age of 19 one of the most celebrated bass players in jazz,

much admired

particularly among musicians, until in 1941 illness forced him to enter a sanatorium.

Jimmy Blanton had an ing

instrumental

played

really

astonish-

virtuosity.

exciting

He

ther patter

(

1940 )

pizzicato

Duke Ellington got him make several solo records, with the Duke as accompanist on piano. Jimmy Blanton played with great originality and swing. The volume bass solos. to

of sound he could produce was remarkable, and he executed the most difficult phrases with suppleness and power; he gave the same incomparable strength and musical

intelligence to the

Johnny Hodges, Squatty roo, Things ain't what they used to be, Going out the back way (1941); with Barney Bigard, C-jam blues ( 1941 ). Bass solos accompanied by Ellington on piano: Plucked again (1939); Mr. J.B. Blues, Fitter pan-

accompaniment

both of solo and ensembles. His playing changed the entire style of the bass as used in jazz. Among the bass players who followed his lead are: Oscar Pettiford, Charley Mingus, John Levy, George Duvivier, Lloyd Trottman, Ray Brown, Curly Russell, Al McKibbon, Arvell Shaw, and Wendell Marshall. Records: Blanton played remarkably well on a number of Ellington records, among them: Jack the bear,

Morning glory, Koko, Concerto for cootie, Never no lament, Bo jangles, Harlem air shaft, All too soon, In a mellotone, Across the track bines, Chloe, Sidewalks of New York (1940); Take the "A" train, John Hardy's wife, Just a-settin and (1941). Other excellent records: with Rex Stewart, Subtle slough (1941); with

BLIND BLAKE. called "Blind

See Blake,

Blake"

BLIND BOY FULLER.

See

Fuller, "Blind Boy"

BLOCK CHORDS

A

style of

piano playing brought into prominence by Milton Buckner in 1941 which consists of chords played by both hands placed together simultaneously on the keyboard as though handcuffed ( this manner of playing is sometimes called the style). Milton hands" "locked Buckner started to play in this way because the extreme shortness of his fingers

him

made

to play normally.

made something

it

difficult for

He has

really

of blocked chords,

but

it is a very limited style, since the two hands moving constantly together cut out the polyrhythm which is one of the beauties of

jazz.

Besides Milton Buckner, the best exponent of this style is Jimmy Jones. Since 1944 many pianists have used it occasionally as an alternative to other styles of playing.

a-rockin, Blip-blip

34

BLOW A synonym for "play," and often applied as an exhorta-

BLUE - BLUES tion to a musician about to impro-

"Blow

Kid Ory; Kid," says Louis Armstrong

vise a chorus:

it,

blow it, on his record of Gut bucket blues. The most frequently used expres-

sion is "Blow, blow, blow!"— sometimes drawn spontaneously from musicians when someone is improvising particularly well. This exhortation can also be addressed to someone not playing a wind instrument, such as a pianist or

drummer.

BLUE NOTE

Unlike most folk

laments, blues are usually pitched in the major. However, the jazz

from the classical in and seventh notes are flatted by a tone never heard in other Western styles of scale differs

that the third, fifth

music, the quarter tone, or blue note. Naturally it can't be played on the piano, where it's approximated by the frequent appearance of a minor second joined to the top note of a triad, but is perfectly easy to play

on

string or

wind

instru-

ments, or to sing. When it appears in the melody, it produces a dissonance against the "organ chord" q.v. ) played underneath, and this ( is the characteristic sound of jazz.

BLUE RHYTHM BAND

Band

New

Rhythm Band. In

1932, directed by Baron Lee, it became Baron Lee and the Blue Rhythm Band. In 1934 Lucky Millinder became the leader and in 1937 the name Blue Rhythm disappeared and it was known simply under Lucky Millinder's name. (Groups under Millinder's name prior to 1934 have no connection with the Blue Rhythm Band). This band was extremely good during 1931-32 when they had the benefit of Harry White's arrangements, together with Edward Anderson on trumpet, Harry White on trombone, Hayes Alvis on bass, and O'Neil Spencer on drums. They enjoyed a revival in 1937 when Chappie Willet was their arranger and they had Harry Edison and Charlie Shavers on trumpets, Billy Kyle on piano, and Danny Barker on guitar.

They never made a

ful

passages

in

many

their

BLUES The blues is a short piece of 12 bars divided into three sections of 4 bars each: 4 bars in the tonic (with a semitone fall of a seventh in the second half of the bar ) 2 bars in the subdominant, 2 bars in the tonic, 2 bars in the dominant seventh, 2 bars in the

last

,

tonic.

That

mony

of the real blues,

Louis Armstrong. In 1931 Irving Mills became its manager and the name was changed to Mills' Blue

gard to the

in

of

recordings.

York in 1930 and known first as the Coconut Grove Orchestra, and for some months in that year was the band used by

formed

really star-

but there are wonder-

tling record,

is

the fundamental harwhich has

become standardized

into a classic

form both musically and with

re-

lyrics.

Most of the older blues do not have a "chorus" but consist of a 35

BLUES series of verses. But sometimes the verse and chorus are formed within 12-bar structure— the the same

words

of the first 4 bars changing each time while the words of the last 8 bars remain the same; for example, Big Bill blues, Somebody's

gotta go.

The original blues singer usually composed his own words as he went along, but by now there is a stockpile of standards from which most of the blues you hear are drawn.

The istic of

principal musical character-

the blues

is

the alteration

of three notes: the third, fifth,

and

seventh degrees of the scale which are lowered a quarter tone. The notes thus flatted are called the "blue notes" (q.v. ); they are one of the identifying elements of jazz melodic style. In most blues, each sung phrase occupies two and a half bars; then there is a one-and-a-half-bar pause in which the accompaniment plays an instrumental break. The great majority of old-time blues singers accompanied themselves on the guitar, without any other instrumental accompaniment. Later they sometimes used a piano, or a second guitar or even a whole rhythm section. Blues played by bands are not always as simple as those produced by the old singers. Sometimes they are compositions embodying several themes. The celebrated St. Louis blues has three distinct themes: two in the classic 12-bar form, while the third is 16 bars

36

long, in the minor. Beale

st. blues has three themes, of which two are 12 bars and the other 8. Royal Garden blues contains two quite different 12-bar themes, one in the key of F, the other in B flat. In New Orleans the musicians would begin with a given blues theme, like those quoted above, and then often improvise on the harmonic sequence of the 12-bar blues without playing any set melody. This is called "playing the blues," and each 12-bar group is called a chorus. "Take four choruses of the blues" means to improvise four times in succession on the harmonic sequence of the 12-bar blues. There are some 8-bar blues but they are less common than the 12bar form; for example, How long

blues.

The name of "blues" is sometimes given to pieces which have a quite different structure ( 16 bars with or without a 2-bar "tag") because they are played in the same style. Examples are Baby won't you please come home and Baby doll sung by Bessie Smith. The word "blues" often appears in the titles of numbers which aren't blues at all; for example:

Wang wang blues, Wabash On the other hand the word

blues. is

fre-

quently missing from the titles of a number of classic 12-bar blues.

Examples are: Dippermouth blues, Hey ba ba re bop, Time's a wastin ( originally called Things ain't what they used to be). The words of the blues are often

.

BLUES poetry— colorful folk poetry, sometimes abounding in humor; a poetry created by people without a literary culture but gifted with great verbal imagery. The most frequent themes are the woman deceived and abandoned by her man (or vice versa), poverty and misfull of

ery which often constitute a biting satire

Thanks

on

the

social

structure.

double meanings or to slang expressions which most white Americans aren't familiar with, the blues have become an almost open to

the

or

sung phrase to

his

own

fancy. In spite of that, the 12-bar

was already strong, was this form which gradually came to be accepted and sung. The blues recorded between 1924 and 1928 by Blind Lemon Jefferson with his own guitar accompaniment give a very good idea of the early shape of the blues, for by then he had been singing for thirty years and never changed his style. Further, the records made by Barbecue Bob, Big Bill Broonzy, and blues tradition

and

it

protest against racial prejudice. It

Sleepy John Estes are the nearest

happens that there are blues which take their subject from ac-

to the original blues, retaining the

tual events, such as Inflation blues

how

or Draftin blues. History. It's impossible to give

who have

any indication, even approximate,

sing in a very pure

also

of the birth of the blues. It

is

cer-

however, that they were sung in the United States long before Emancipation. At the end of the 19th and the beginning of the 20th

tain,

to

was common for blues wander from town to

town and

village to village, stop-

centuries singers

it

ping at street corners to sing their songs to their own guitar accompaniment and collecting the alms of those who paused to listen to them. Such blues singers had no musical training and all that they

knew had come

to

them by

ear.

In those days the blues didn't always conform to the 12-bar form. Accompanying himself and with no dependence on other musicians, the singer had complete liberty, prolonging or shortening the pauses

and giving an exact idea of the blues should be sung and accompanied. Other blues singers

flavor

arrived later but

who

manner are Kokomo Arnold, Sonny Boy Williamson, Casey Bill, Blind Boy Fuller, Muddy Waters, John Lee Hooker, and Huddie Ledbetter (

Leadbelly )

Even

after jazz

bands came

in,

blues singers retained the inflections, the holding notes, and all the essential features of the vocal technique. The genuine orchestral blues

should remain very similar to the

sung style; some of the quite legitimate quick tempo virtuoso effects used by jazz musicians seem out of place

when

introduced into blues.

The most renowned blues

instru-

mentalists are, or were, Louis

Arm-

Tommy

Lad-

strong,

King

Oliver,

(trumpets); Charlie Green, Tricky Sam (trombones); Jimmie Noone, Johnny Dodds, Milton

nier

37

BLUE

SKIES

Mezzrow

(

-BODY

clarinets

)

;

Sammy

Pete Johnson, Count Basie (pianos); Lonnie Johnson (guitar); Pops Foster (bass). Sixty-odd years after the beginnings of jazz, the blues still occupy a large place in the repertoire of all bands. Since 1937 the success of two groups specializing in blues, those of Count Basie and Louis Jordan, brought fresh respect for this Price,

form of music which for some years before had been somewhat in eclipse. Singers of a new type appeared, singing the blues within the jazz framework: Jimmy Rushing, Joe Turner, Lips Page, T-Bone Walker, Cousin Joe, Eddie Vinson, Wynonie Harris, Sonnie Parker. These are no longer the blues with the rustic flavor of singers from the country districts of Mississippi and Texas like Big Bill or Blind Lemon Jefferson; they are "city blues," influenced by the instrumental style of jazz— but they are still blues. The blues today, then, lead a double life: the songs of the pure singers from the rural South, of which

Muddy Waters

and John Lee Hooker are the most recent examples; and those, instrumental and vocal, which take their place within the main structure of jazz.

BLUE SKIES Composed in 1927 by Irving Berlin. Chorus of 32 bars with release. Best records are those of Count Basie's band, arranged by Jimmy Mundy (1945), and Art Tatum's piano solo (1949).

38

BLYTHE, JIMMY the South ca. 1900,

Piano, b. in

probably ca. 1936. Played in Chicago between 1920 and 1930, making numerous records with small bands playing in the New Orleans style and acd.

companying various blues

singers.

A remarkable blues performer.

RecFreddie blues, Lovins been here and gone to Mecca flats; with Ma Rainey, Don't fish in my sea. ords:

piano

solos,

BLYTHE, JIMMY

Mr.

(Junior)

Pseudonym used by Sammy Price for some

the

pianist

records.

BOARD, JOHNNY Alto and tenor saxophone, b. ca. 1922. Played with Lionel Hampton from 1948 to 1952, then joined Al Grey's small group. Has a dynamic style and plays with plenty of swing. Records: alto sax, with Lionel Hampton, Chicken shack boogie, Beulah's sister boogie (1949); tenor sax, with Lionel Hampton, Turkey hop (1950); Samsons boogie, Gate steps out (1951); with Al Grey, Over and under (1952).

BODY AND SOUL

Composed

by Johnny Green. 32-bar chorus with release. The first good recorded version is that made by Louis Armstrong in 1931. Body and in 1930

soul got a

new

lease

on

life

when

Coleman Hawkins played it in 1939 —a record which was tremendously popular

all

over the world. Hawwith variations

kins' interpretation,

;

.

BOJANGLES - BOOGIE on the theme which are full of harmonic subtleties and display striking originality, has left its mark on

him

almost everyone who's recorded the song since. Other good records; piano solo by Earl Hines ( 1940 ) another Coleman Hawkins issued under the title Rainbow mist ( 1944 ) Don Byas ( 1947 ) and three by Art Tatum, with band ( 1937 ) with his trio (1944); and piano solo (1954).

jazz tunes perpetuate his

;

;

;

BOJANGLES.

See Robinson,

Bill

BOLDEN, ARNOLD b.

ca.

1912. Played

Drums, and recorded

with Fats Waller. He swings pleasantly in 12th st. rag, Truckin, sweet Sue, Christopher Columbus, recorded in 1935-36 with Waller.

often, says that

he

sacrificed

his tone in a constant striving for

greater volume.

thought

I

Several standard

heard

name (I Buddy Bolden

say).

BOLLING, CLAUDE French,

arranger.

b.

Piano and Cannes,

France, April 10, 1930. Interested in jazz from the age of 13, led his

own band at 16. Toured France with Milton Mezzrow in 1952 and 1954-55. One of the most gifted of the European pianists, he sounds a great deal like Earl Hines; also influenced by Duke Ellington. Records: with Milton Mezzrow during a concert at the Salle Pleyel, Paris, Monday date, Frankie and Johnny, Sweet Georgia Brown with Lionel Hampton, Real ( 1952 ) crazy, Free press oui ( 1953 ) ;

BOLDEN, BUDDY

Trumpet,

Louisiana ca. 1870, d. 1931. A barber by profession, editor and publisher of a scandal sheet, and a well-known character throughout New Orleans. Generally considered one of the earliest of jazz musicians. Founded Bolden's Ragtime Band, and with the 16-year-old Bunk Johnson as second cornet established the style two-cornet which reached its apogee in King Oliver and Louis Armstrong. His b.

health collapsed in 1907, and he was committed to an insane asy-

BONANO, "SHARKEY" Trumpet, b. New

(JOSEPH) leans,

April

9,

with small groups in

most of Johnny

his

Or-

Has played his home town

1904.

life.

with

Records:

Panama, Dipper mouth blues ( 1928 ) under his own name, Everybody loves my baby Miller,

;

(1936).

BOOGIE WOOGIE

A

primi-

manner of playing the blues on piano. The left hand executes tive

lum in 1910. His band was carried on as the Eagle Band. He was a

of 8 to a bar, while the right

performer of exceptional power, but Louis Armstrong, who heard

improvises and repeats a series of riffs which are often in opposition

a steady ostinato figure in the bass

hand

39

BOONE - BOP the powerful, regular rhythm produced by the left hand. Considerable swing can be created by this contrast in a good performance. Boogie woogie piano solos must be executed with great swing, otherwise they become monotonous through the constant repetition of the same riffs. On the other hand, to

if

the

riffs

are played with feeling

and punch, an extraordinary swing develops. The boogie woogie style is

excellent not only in solos but

an accompaniment to singers and can also sometimes be used effectively as a background by bands. The best-known riffs have been borrowed by arrangers for band ensembles. The bass rhythms of boogie woogie can be used in various as

types of compositions, modifying the notes each time as the har-

monic sequence demands; but

for

remains essentially one of the ways of playing blues on the

all that, it

piano.

The

origin of the expression

"boogie woogie" is obscure; the only certain thing is that it came into use a good many years after the creation of the style to which it refers. Others say that the pian-

?:

nj_

J

j

n

I

Pine

ist

the

to

he made

use

it;

at

any rate

widely known with his record called Pine Top's boogie woogie (1928). This and Big Maceo Merry weather's Chicago break down ( 1945 ) are among the best piano solos recorded in this it

style.

The

greatest specialists

in this

Pine Top Smith, Big Maceo Merryweather, Joshua Altheimer, Jimmy Yancey, Sammy Price, Pete Johnson, Albert Amnions. Numerous pianists play in this style occasionally with considerable success, such as Fats Waller, James P. Johnson, Art Tatum, Count Basie, Earl Hines (the last having made the celebrated Boogie woogie on St. Louis blues, 1939). There is a dance called the boogie woogie, but it is not necessarily done to the rhythm of the same style

are

name.

BOONE, LESTER phone and

clarinet,

Alto saxob.

ca.

1905.

Played with Earl Hines and Louis Armstrong.

BOP

j^S

Typical Boogie Bass

40

Top Smith was probably

first

Originally meaningless syl-

etc

.

;

'

•:

Louis Armstrong

Louis Armstrong Photo Bengt Halmquist

— Max Jones Collection

Herman Autrey

Tyree Glenn, Charlie Barnet and Benny Carter Photo Paul Popper

^^^

— Max Jones Collection

y *•» m

sJEv *V ^^

i

ju

^^4

m*

•P

1

Bk8

^$th

Count Basie

Photo Carl Henniger

— Max Jones

Sidney Bechet Photo Charles Peterson

Collection

— Max Jones Collection

Jfar-

|^—^^-^^^

I

Bix Beiderbecke

Photo Pefourque Billy

Claude Boiling

Brooks

Big

Bill

Broonzy

Photo Louis Panassie

Scoville

Browne Photo Louis Panassie

Don

Byas

Photo Robert Doisneau

Photo Bruno

Harry Carney

Photo

M

Benny Carter

Sid Catlett Photo Chadel

— Max Jones Collection

Photo

%liȣjw*

J.

Wolfsohn

,

— Max Jones Collection Buck Clayton

Photo John Steiner

— Max Jones Collection

Arnett

Cobb

Cozy Cole

Bill

Coleman

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BOP which spring from pseudofigures introduced from Cuba and certain Latin American

lables in scat singing (as, for ex-

figures

ample, in the piece Hey ba ba re bop). Since about 1945 the name be bop (re bop or today more frequently just bop ) has been applied by certain critics to a type of music which has wrongly been described as jazz. The confusion arises from the fact that bop was created by musicians who earlier had played jazz, who played in jazz bands, made use of the same instruments as jazzmen, and used the same tunes as a basis for their improvisations. Furthermore, bop didn't break away from jazz immediately but only after three or four years of development. Bop is a form of music distinct from jazz because: (1) its players

Spanish

have abandoned the classic instrumental jazz tradition. Instead of making their instruments sing like

human

voice with inflections, and phrases full of contrast, the boppers play the

vibrato, sustained notes

according to the European instrumental tradition; (2) because the

bop rhythm tinuity

section breaks the con-

swing, the drums introducing rhythmic

of the

constantly

Typical

countries

(there

is

an

affinity

in

many ways between bop bands and the players of Cuban bongos); in bop music the drums no longer supply the steady beat which gives rhythmic life to the whole band, but,

on the contrary, play a kind

of solo part, "throwing

and

bombs" here

there, while the piano does the

same; (3) because boppers systematically use chords and intervals

adopted from modern European music and destroy the harmonic atmosphere of jazz. The difference between the two types of music may also be expressed this way. Jazz musicians have not allowed themselves to be

moved by

"white" influence except adapting the musical instruments and the themes to the genius of the colored music; but boppers have been influenced by the very substance of the music associated with the white race, and from jazz have retained nothing more than a superficial gloss. The style originated in the early for

externals,

Bop melodic

line

41

BOSTIC - BRAFF Minton's and some other Harlem clubs under the influence of die pianist Thelonious Monk and was developed by Dizzy Gillespie and Charlie Parker who became die leading bop musicians. Both Gillespie and Parker had forties at

played good jazz before they evolved their new style and therefore their playing more or less retains a jazz imprint, and this can sometimes still be felt, as when Charlie Parker plays his Parkers

Harlem. In 1943 and 1944 played with Lips Page and Lionel Hampton, then once again formed his own band. A musician with a fiery temperament, full of power and virtuosity, with tremendous drive; one of the best alto sax players. Records: with Lips Page, You need coachin (1944); under his own name, That's the groovy thing, Let's ball tonight (1946); Seven steps (1950); Sleep, Flamingo (1951); Steamwhistle jump (1952).

mood. Several other bop players of importance, such as Bud Powell and Fats Navarro, were likewise brought up in jazz. But the break between the two types of music became complete with the arrival of a new generation of younger musicians whose inspiration was Parker

and

Gillespie,

but

who had no

roots

in real jazz. Their disciples reject this last liaison

with jazz and affect

a style of playing or

light

which

and

which

shade,

lacks vigor

and

from

instrumental expression is This is what is called "cool" or "progressive" music, a logical development of bop, and almost totally unrelated to jazz. Louis Armstrong's comment on these two styles is: "That be-bop went down the road, and this 'music of the future' ain't going to last long enough to get a peek at the all

strictly

banned.

future."

BOSTIC, EARL Alto saxophone and arranger, b. Tulsa, Okla., April 25, 1913. For some years (1939-42) headed a band at Small's Paradise, 42

BOYD, EDDIE singer,

b.

Piano and blues

Memphis,

1920; half-brother of

Tenn.,

ca.

Memphis Slim number of rec-

Has made a accompanying blues singers and some under his own name. His (

q.v.

)

.

ords

style bears a resemblance to the robust piano of Big Maceo. Records: with Jazz Gillum, Gonna take my rap (1947); with Sonny Boy Williamson, Willow tree blues,

blues (1947); with Big Maceo, It's all over now, If you ever change your ways ( 1947 ) piano solo, Eddie's blues (1947).

Alcohol

;

BRADSHAW, TINY and band

Drums,

Youngstown, Ohio, 1914. Played with Baron Lee, Luis Russell, and Horace Henderson, then formed his own band. Sings with a breathless swing, developing a violent afterbeat. Recsinger,

leader, b.

The train kept a-rollin booMailman's sack boogie, Well oh well boogie, T-99, The gravy

ords: gie,

train (1950).

BRAFF,

"RUBY"

(REUBEN)

BRAUD - BREAK Trumpet, b. Boston, Mass., 1927. Played for some years in his home town. Came to New York in 1954

on the strong beat of the bar, in four-four time, he swings with

where he made a number of records and was hired by Benny Goodman. A good technician who has

than most bass players

assimilated the musical feeling of traditional jazz, Braff is one of the

made

most promising young white musi-

wobble

cians.

son,

Records :' With Vic Dickenout of mischief, Keepin

Jeepers creepers, Russian lullaby with Jack Teagarden, Stars ( 1954 ) ;

fell

on Alabama, Blue and

esoteric

BRAUD, WELLMAN (Originally name was Breaux)

Bass. b. St.

James, La., Jan. 25, 1891. Started by playing the violin. Joined various bands in New Orleans and went on a number of long tours, one of

which brought him a

member

to

England

to

join

Duke

he was

Ellington's

band, and he stayed with 1935.

as

of Will Vodery's Plan-

tation Orchestra. In 1926

invited

it

until

They made a spectacular Eu-

ropean tour in 1933. Later on he played with Jimmie Noone, the Spirits of Rhythm, Lips Page, Sid-

ney Bechet, and various other small groups, taking part meanwhile in

many

also better

is

when he

uses the bow.

was with Ellington that he

It

Blues

(RCA

his best recordings, notably: I

love to sing,

Washington

stomp Jubilee Victor-HMV version), Hot (1927);

and bothered

(

Okeh—Parlophone

version), Blues with a feelin,

Got

but you, Move over, Goin to town (1928); Doin the voom voom (RCA Victor— version), Flaming youth (RCA Victor— version), The dicty glide, Stevedore stomp, Hot feet, Saratoga swing, Jungle jamboree version), Jazz ( Okeh— Parlophone lips, Saturday night function (Columbia— Vocalion version), Beggars blues ( 1929 ) Double check stomp everything

HMV

(1954).

the

dynamic power and

pick-up recordings. Wellman Braud is one of the greatest bass players in the business. He plays a strong, dependable New Orleans style, without any fancy tricks or elaborations; just provides a good solid beat and a swing so dynamic he can set a whole band rocking. With his accompaniment accented

HMV

;

(RCA When iot

Victor-HMV

version),

you're smiling, Sweet char(1930); It's a glory (1931);

Bugle

call

rag,

Creole

love

call

Harlem speaks (1933). Other good records: with Mezzrow(1932);

Bechet, Groovin the minor, Really the blues (1946).

BREAK A short rhythmic or melodic cadenza which an instrumentalist or a singer executes during a pause in the melody. Originally the break was almost indispensable, for it appeared in

the 12-bar blues at the point where the interpreter stopped after singing 1\ bars and paused for a bar and a half; to fill the gap the ac-

43

BRIGGS-BROONZY companist improvised a "break." the sung blues this procedure passed into other types of music played in jazz, into pieces containing much shorter pauses but utilized in the same way. The break is optional: sometimes the drummer or some other musician improvises, sometimes the pause is filled by regular beats from the rhythm

From

section.

When

stops entirely

the rhythm section and leaves one instru-

mentalist to improvise alone,

it is

called a "break solo."

Georges, Canada, April 9, Brought up in Charleston, S. C. Visited Europe in 1919 with the band of Will Marion Cook, which included Sidney Bechet. Deciding to stay in Europe, he toured various countries, was for a time a member of the Noble Sissle Band, and finally settled in Paris where he frequently formed bands of his own. A good technician of the Louis Armstrong school. Records: with Coleman Hawkins, Blue moon, What a difference a day made

b. Saint

1901.

In a wider sense, it has become customary to describe as a break any phrase played without the ac-

(1935).

companiment of the rhythm section —such as the first 4 bars of the celebrated Bugle call rag which

LIAM LEE CONLEY)

are almost always played in that

kansas.

way. In the twenties and the early a whole chorus was taken as a break solo, the

which he made himself out of a box. Arrived in Chicago in 1920 where he worked for the Pullman Car Company. Learned the guitar from Papa Charlie Jackson and slowly acquired some reputation as

thirties quite often

rhythm section only coming in to mark the time (usually every 2 bars, on the first beat in the bar)— for example as in Louis Armstrong's Potato head blues (see Stop Time). In 32-bar themes the principal breaks occur at the end of the release (if there is one) and at the end of the chorus. If there is no release the breaks will be just before the middle of the piece, around the 15th or 16th bar, and at the end of the chorus. Equally, breaks may be played toward the end of each 8-bar group in a theme composed in an A, A, B, A, form.

BROONZY, "BIG BILL" (WILsinger

June

and

Blues

guitar, b. Scott, Miss.,

Brought up in ArBegan by playing a violin

26, 1893.

a blues singer.

Made

his first rec-

ord in 1926 for the Paramount Record Co., for which he adopted the name "Big Bill" when he found that his full name was too long to be printed on the labels. Began to record regularly without making enough from his music for a living. In 1939 appeared at the second great jazz concert at Carnegie Hall. His success there brought him to the attention of a wide public and solidly established his musical career.

BRIGGS, 44

ARTHUR

Trumpet.

In 1951 visited France and has

BROWN -BROWN toured Europe regularly since. Big Bill is one of the great blues singers. He sings with a spontaneity, a purity and a variety of inflection

which

seldom

have

been

equaled. Unlike others who sing a in the same manner, Big Bill builds up his song with subtle gradations, culminating in

whole blues

a

and moving

tremendous

final

chorus. He is also a great guitar player of unusual talent and gets a magnificent tone from his instrument. His style is a model of purity in blues playing. Records Bull cow :

blues,

How

want it done blues, Pneumonia

you

(1932); Big Bill

Lowland blues (1936); It's now ( 1938 ) Baby I done got wise, My last goodbye to you, Just a dream No. 2, Oh yes (1939); Plow hand blues, I've got blues,

your time

to dig you,

Blues singer. d.

same

Was

very

Kansas City, Mo., 1891.

place,

March

31,

1950.

popular in Kansas Louis.

Visited

City

England

and

St.

1939

in

when

she sang at the London Palladium and toured. Played in film Stormy Weather with Fats Waller (1943). Record: That ain't right (from the sound track of the film).

BROWN, BOYCE

Alto saxoChicago, 111., April 16, 1910. Has played almost always in his home town. An excellent technician but has not quite assimilated the musical idiom of the traditional New Orleans musicians.

phone,

b.

;

What

that she got?,

is

Looking up at down, Bed time blues, Serenade blues, I'll never dream again, Rockin chair blues (1940); Shine on shine on, When I been drinking, Keep your hand on your heart, Night watchman blues (1941); When I get to thinkin ( 1945 ) San Antonio blues, Summertime blues (1947); Make my getaway, Blues in 1890, Hollerin and cryin blues ( in Vogue LP "Big Bill Vol. I" ) Backwater blues, ;

,

Hey hey baby

blues,

Stump blues

The moppin

1951 ) Louise Louise blues (1952); and guitar solo House rent stomp (1951). He has told the story of his life and his songs in his autobiography, Big Bill Blues (1955).

blues,

BROWN, ADA b.

(

;

BROWN, CLIFFORD ("BROWNIE")

Trumpet, b. Wilmington, Del., Oct. 30, 1930. Played with Todd Dameron, and in 1953 went to Europe with Lionel Hampton's band. A gifted musician but plays bop rather than jazz. Unlike most bopsters, he's an accomplished musician and has a good tone on his instrument.

BROWN, LAWRENCE

Trom-

bone, b. Lawrence, Kan., Aug.

3,

Howard

in

1908. Played with Paul

California, 1927-30; with Les Hite

and Louis Armstrong

Duke

in 1931; then

and remained with him from 1932 to 1951; was subsequently a member of Johnny Hodges' band. Brilliant joined

Ellington

virtuoso, but too often allows himself to slip into a

overemphatic

sentimental and

style;

for

all

that,

45

.

BROWN - BRUNIES Hampton. Influenced by Noone and Louis Arm-

capable of improvising excellent solos. Records: with Duke Elling-

Lionel

Ducky wucky (1932); Rose of the Rio Grande (1938).

Brown plays clarinet with a fluent and melodious style, full of sensitivity and swing. There are few records which do him justice; the best are with Buck Clayton, Dawn dance, Rasie's morning bluesicale (1946).

ton,

BROWN, "PETE" (JAMES OSTEND)

Alto saxophone, b. Bal-

timore, Md., Nov. 9, 1906. Played for many years in small night clubs in

and

Brooklyn

Harlem,

New

York.

A

fine

jazz player with an abrupt, forceful style.

Records with Frank Newton, Rompin ( 1939 ) under his name, Mound bayou ( 1942 ) :

Rosetta,

own

strong, Scoville

then

joined Frank Newton's band at the Onyx Club, New York, in 1937. Has never played in the big bands and scarcely ever left

Jimmie

;

BRUBECK, DAVE

Piano and Concord, Calif., Dec. 6, 1920. Studied with the French composer Darius Milhaud. Brubeck is one of the main repre-

band

leader,

sentatives of the so-called "progressive jazz." His style, influenced classical music,

surface; his

BROWN, RAY

Bass. b. Pitts-

burgh, Pa., Oct. 13, 1926. Came to New York in 1945 and played with Dizzie Gillespie 1946-47, then with Ella Fitzgerald (to whom he was married for some years) and "Jazz at the Philharmonic." A follower of Jimmy Blanton, with something of the same suppleness and virtuosity. Record: with Gillespie, One bass hit (1946).

BROWN, ROBERT. board

See

Wash-

b.

jazz only

by

on the

music has none of the

"feeling" of jazz.

BRUN, PHILIPPE

Trumpet,

France, April 29, 1908. Played with Gregor, Jack Hylton and Ray Ventura, and has often organized bands of his own. A follower of Bix Beiderbecke and Louis Armstrong. Gifted but somewhat erratic. Records: under his own name, College stomp, It had to be you, Doin the new low down Paris,

b.

(1937).

Sam

GEORGE

BRUNIES,

BROWN, SCOVILLE

Clarinet and alto saxophone, b. Atlanta, Ga., Oct. 10, 1909. Played with Louis

Armstrong

(1933),

Fats

Don Redman, Claude

Waller, Hopkins,

Teddy Wilson, Eddie Heywood, Lucky Millinder, Buddy Johnson, Buck Clayton. In 1956 he joined 46

is

bone, b.

New

Trom-

Orleans, La., Feb.

became known with Orleans Rhythm Kings in Chicago 1919-23. Played with Ted Lewis 1923-35, then with small groups such as Eddie Condon's. Plays in a blustering and often 6,

1900. First

the

New

ostentatious

style.

Has

wrongly

;

BRUNNER - BUCKNER been named the best white trombone player, a title which belongs by right to Floyd O'Brien.

BRUNNER, EDDIE phone

and

clarinet,

Tenor saxob.

Zurich,

Switzerland, July 19, 1912. Played Paris during the thirties and

in

ranks as one of the best European tenor saxes.

BRYANT, WILLIE

b. New OrAug. 8, 1908. Band leader, singer, emcee, actor, brilliant promoter, one of the most popular figures in Harlem. Also a

leans,

La.,

fine tap dancer.

one of the leading

figures

and

ar-

own Hampton

rangers. In 1949 organized his

band, returned to Lionel in 1950, then left again two years

form

later to

his

own

trio.

Milton Buckner created a new style of piano playing in jazz: "block" chords (q.v. ), which has

been imitated by numerous other

He invented this style simply because the very small size of his hands did not allow him to play easily in the normal way. However for all blues, boogie woogie and a few other numbers he can pianists.

revert to the classic style of playing.

In a band, he frequently sup-

ports a soloist with chords repeat-

"BUBBLES" (JOHN SUBLETT) b. ca. 1900. One of the

Dancer,

greatest tap dancers, possibly the

With the pianist Buck Washington he formed the famous team of "Buck & Bubbles" which was very popular in the mid-twenties. "Buck & Bubbles" appeared in several movies, notably Cabin in the Sky (1943) and A Song Is Born (1948). greatest.

BUCK.

See Washington, Ford

Lee

BUCKNER, MILTON

Piano,

ing riffs similar to those played by a saxophone or trumpet section behind an improvising musician. Rec-

Dinah Washington, Evil blues (1943); with Wynonie Harris, In the evening blues ( 1945 ) with Lionel Hampton, Vibe boogie Chord a-rebop (1945— V-disc), ords: with

gal

(1946); with the Beale St. Gang, Lights out (1948); under his own name, M.B. blues (1949). Milton Buckner is a very good arranger. Arrangements written by him for Lionel Hampton include: Million dollar smile, Overtime, The lamplighter (1944); Slide Hamp

vibraphone, arranger, band leader, b. St. Louis, Mo., July 10, 1915, brother of the saxophone player Ted Buckner. Played for some time in Detroit, chiefly with McKinney's Cotton Pickers and Cab Calloway. From 1941 to 1947 was in Lionel

(1945); Rockin in rhythm (1946); Hawk's nest, Goldwyn stomp (1947).

Hampton's band of which he was

in the

slide

BUCKNER, TED

Alto

saxo-

phone, b. St. Louis, Mo., 1913. Brother of Milton Buckner. Played

band

of

Jimmie Lunceford 47

)

.

BUCKNER - BURROUGHS from 1938 to 1943. Has an

easy,

the

title

of Ole miss (1945).

flowing, melodious style. Records:

Jimmie Lunceford, Margie, by the old mill stream. By the river Sainte Marie (1938); Ain't she sweet (1939); I wanna hear swing songs (1940).

BUNCH, WILLIAM.

with

Down

BUCKNER, "TEDDY" (JOHN

EDWARD)

Trumpet,

b.

Sherman,

Tex., July 16, 1909. Brought up in California. Spent a year playing in

Shanghai and was twice a member Hampton's band ( 1935 and 1947); also played with Benny Carter and Horace Henderson. Joined

of Lionel

Kid Ory's band in July 1949. A robust trumpet player with a pure, New Orleans tone, influenced particularly by the Louis Armstrong of 1930-34. Records: with Kid Ory, Yaaka hula hickey dula, Go back where you stayed last night, Ma-

hogany

hall

stomp (1950).

BUGLE CALL RAG in 1916

Composed

by W. C. Handy under the

Ole Miss, which, credited Myers, and Schoebel, became famous as the Bugle call rag ( sometimes known as Bugle blues There are two themes, the first being a 12-bar blues opening with a 4-bar break solo, the second 16 bars without release. An excellent structure which forms an admirable base title

of

See

Wheatstraw, Peette

BUNN, TEDDY

Guitar.

N. Y., 1909. Played for a long time with the "Spirits of Rhythm" ( q.v. ), then moved to California where he played with the Edgar Hayes Trio and other small groups. Having an exceptional ear, he learned to play extremely well without any musical training. He b. Freeport,

is

numbered among the greatest and is outstandingly

jazz guitarists,

good

slow blues. His solos are melodic invention. After 1940 he turned to the electric guitar. Records: with Jimmie Noone, Four or jive times (1937); with Johnny Dodds, Wild man blues, Melancholy (1938); with Milton Mezzrow, Comin on with the come on (1938); with Tommy Ladnier rich

in

in

and Mezz Mezzrow, If you see me comin (1938); guitar solos: King Porter stomp, Guitar in high

(

1939 )

to Petis,

.

The best recordby Louis Armstrong (in

for improvisation.

ings are

the

LP "New

Duke first

Orleans Days," 1950); who uses only the (1932); and Sidney

Ellington,

theme

Bechet and Mezz Mezzrow under

48

BURROUGHS, ALVIN, called "MOUSE" Drums, b. probably Kansas City, Mo., Nov. 21, 1911, d. Chicago, Aug. 1, 1950. Played with Walter Page's Blue Devils, with Horace Henderson, with Earl Hines from 1938 to 1941, with Henry ("Red") Allen from 1943 to 1946, then led his own band, and also played with George Dixon. One of the great jazz drummers. Extraordinarily sharp in his beat, Al-

vin Burroughs possessed to

some

;

BURTON - BUTTS extent the driving swing of Chick

Webb, from whom he picked up his early style. Few drummers have ever played with such intense drive on the cymbals, and sometimes Burroughs would concentrate on them from the beginning to the end of a piece, expressing with extreme sensitivity a breathing pulse. Records: with Lionel Hampton, Rock hill special,

Down home jump

(1938);

with Earl Hines, Indiana, Father steps in, G.T. stomp, Piano man, Grand terrace shuffle ( 1939 ) Number 19, Tantalizing a Cuban, Call me happy, Comin in home, In ;

swamplands, Easy rhythm (1940).

BUTLER,

JACK

(JACQUES)

Washington, D. C, April 29, 1909. Learned trumpet at the age of 17. Played with Willie Bryant and Horace Henderson, then went to Europe with Willie

Trumpet,

b.

Lewis' band shortly before World II. Returning to the United States in 1940, he played with various small groups around New York, including that of Milton Mezzrow.

War

Returned to Europe in 1950.

A

very uneven musician but capable of playing fine jazz. Records: with Big Boy Goodie, You in my arms and sweet music, You and I baby (1939).

BUTTERFIELD, BILLY

BURTON, BUDDY singer, b. ca.

in

Piano and 1900. Has lived mostly

Chicago where he made numer-

ous records with blues musicians and small New Orleans groups. An excellent pianist both for blues and "stride" style. Records: with Bumble Bee Slim, New Orleans stop time,

When somebody loses

(

1936 )

with the Blue Chips, Chippin the rock of blues (on which Burton

Trumpet,

Middletown, Ohio, Played with Bob Crosby, Artie Shaw, and various

Jan.

14,

b.

1917.

small bands. Headed his own big bands in 1945 and 1947. A sensitive and "poised" musician who has been much influenced by Louis

Armstrong. Record: Improvised accompaniment behind Louis Armstrong's vocal in Blueberry hill (1949).

sings as well as plays piano, 1936).

BUTTS, JIMMY York Sept.

BUSHKIN, JOE York,

Nov.

with

Bunny

7,

Piano, b.

New

Has played Berigan, Muggsy 1916.

Tommy Dorsey, Louis Armstrong, and led several small groups of his own. Records: piano solos, I cant get started (1940); Spanier,

Oh! look

LP

I

at

me now

love a piano).

(in "Atlantic"

24,

Bass. b.

New

1917. Played with

Chris Columbus 1940 and 1942; Les Hite 1941; Al Sears 1942; Wilbur de Paris 1943; Don Redman 1943-44; Lucky Millinder 1944; Tiny Grimes 1945-46; and various small groups in Harlem. A performer with fine swing. Records: with Tiny Grimes, C jam blues, Flying home, Tiny's boogie woogie (1946).

49

BYAS BYAS, "DON" (CHARLES WESLEY) Tenor saxophone,

manner and an outstanding virtuoso of his instrument. The purity

Muskogee, Okla., Oct. 21, 1913. he was quite small his parents had him learn the violin and clarinet; then he played the saxophone (first alto, then tenor) and b.

of his smooth,

When

mirable.

was the leader In 1932 went

of his college band. to

California

and

played first with Bert Johnson, then with Lionel Hampton (1935-36), at that time little known. Subsequently joined Eddie Barefield, and then Eddie Mallory (1937), with whose band he accompanied Ethel Waters on tour and at the Cotton Club, New York. Later played with Lucky Millinder, Edgar Hayes, and Andy Kirk. In January 1941 he replaced Lester Young in the band of Count Basie, with whom he re-

mained for two years. From the end of 1943 he became the center of various small groups playing on 52d Street, New York. From 1944 he made a number of records with studio bands. After his trip to Europe with Don Redman in 1946, he

did not return to the United States in France. Don Byas is influenced somewhat by Louis Armstrong, Coleman Hawkins, and to a lesser extent by Herschel Evans. He is one of the most brilliant sax players in the Hawkins

and now plays mostly

50

in

Byas

round tone

is adunusually gifted

is

both melody and harmony; his

rich musicianship

reminiscent of has to the highest degree the knack of "pointing up" a melody while swinging it, and of lightly paraphrasing it with

Benny

Carter's.

is

He

real artistry.

Records: with Count Basie, Something new, Harvard blues (1941); Sugar blues, Royal garden blues (1942); with Lips Page, Lafayette

(1940); You need coachin, Dance the tambourine (1944); with Coleman Hawkins and his Sax Ensemble, Three little words (1944, Byas takes first chorus); under his own name, What do you want with my heart? ( 1944 ) You call it madness, Jamboree jump, Pennies from heaven, Little white lies, Wrap your troubles in dreams (sometimes issued under Erroll Garner's name), Melody in swing, Once in a while, My melancholy baby, Blue and sentimental ( 1945 ) Fruit salad, Don't you know I care, Living my life, of

;

;

own

1946 ) Body and (1947); The man I love ( 1951 ) I'm in the mood for love, Nice work if you can get it

To each

soul,

I

his

;

(

can't explain ;

(1952).

C JAM - CALLOWAY

C C JAM BLUES Composed 1941 by

Duke

in

Ellington. It has the

form of a 12-bar blues, but for solo improvisations 4 bars are added at the beginning of each chorus to be played as a solo break (like the Bugle call rag break ) Best recordings: Barney Bigard (1941, origi.

nally

titled

C

Duke

Blues),

Ellington (1942).

CABIN IN THE SKY

Title of

MGM

a movie made by in 1943 with an all-Negro cast, which included a number of jazz singers and dancers such as Ethel Waters, Louis Armstrong, Duke Ellington and his band, the Buck & Bubbles team, with stage stars Lena Home, Eddie "Rochester" Anderson, Rex Ingram.

with Erroll

Mesner's (1946); Garner, Trio (1947).

at

CALLOWAY, "CAB" (CABELL) Singer, tap dancer

and band

leader,

N. Y., Dec. 24, 1907. Toured in vaudeville with a band

b. Rochester,

run by his sister, Blanche Calloway, then organized his own band, first under the name of "The Missourians," later under his own. His success began in 1931 when he fol-

lowed

Duke

Ellington

York's Cotton Club.

at

He had

New a big

band until 1948; since that time has been heading a small band or working in shows. Cab was called the "Hi-de-ho man" because of his scat singing. He has one of the most beautiful voices ever recorded: a high tenor that can slip into a lovely falsetto

CALHOUN, CORA.

See

Austin, Lovie

with a

flexibility

are really unique.

and control that Even when Cab

"gagging it up," the listener is impressed by the bell-like purity of his tone. As a matter of fact he goes in for humorous effects a great deal, but is never corny. His band, which never lost its characis

CALLENDER, "RED" (GEORGE)

Bass. b. Richmond, Has played mostly with small bands in California, and made a number of records with studio bands. Appeared in the movies Jammin the Blues and New Va., 1918.

Orleans. A good, supple, swinging bass player, but somewhat uneven. Records: with Lester Young, D. B. blues, Lester blows again, Jumping

teristic

furious

drive,

was among

the very best playing in the years 1939-41, when it included Cozy

Chu Berry on tenor Hilton Jefferson on alto sax, Milton Hilton on bass, Danny

Cole on drums, sax,

51

CARA- CAREY Barker on guitar, and (from 1941 on) Jonah Jones on trumpet. Many of the records this

band made

fea-

long vocal choruses by the leader winch have little to do with jazz, but at the same time they ture

made a number of first-class jazz records between 1939 and 1941, notably: Ratamacue, Crescendo in drums, A ghost of a chance, Jonah Take Hey doc, Tappin off,

joins the cab, Special delivery,

A train, A smooth one. the

Cab Calloway and

his band have appeared in some movies Stormy Weather, 1943; Swing Cir(

also

cus, 1944). In recent years Callo-

way

has toured the world as "SportLife" in George Gershwin's opera Porgy and Bess.

ing

CARA, tar,

b.

MANCY

ca.

Banjo and guiIn the twenties

1900.

played with Louis Armstrong and Carroll Dickerson. A good musician to have in a band. Records: with Louis Armstrong, Squeeze me, Fireworks, drops,

Two

A Monday

Knee

deuces, date,

No one

else

but you (1928).

CARELESS LOVE down Handy who heard

written Ala.,

in

One

of the melodies, in 1921 by W. C.

Southern

oldest

1892,

folk

it

at Bessemer,

under the

title

of

Loveless love. It was reissued in 1925 under its original title of Careless love. The chorus is long— 16 bars, set up A, A 2 B, A. Best records: Bessie Smith (1925); ,

Johnny 52

Dodds,

clarinet

solo

(1926); Fats Waller, organ solo (1927); Joe Turner, vocal accompanied by Willie "the Lion" Smith on piano (1940); Kid Ory (1945); Louis Armstrong in "Louis Armstrong plays W. C. Handy" (1954). Innumerable tunes have the same melody, and only their words and the title differ; for instance, Ma

Rainey sang this number as Blues, oh blues, and Bill Broonzy recorded it as I want you by my side.

CAREY, "MUTT" (THOMAS) Trumpet,

b. Horneville, La., 1902.

Began by playing drums, but, finding the equipment too cumbersome, applied himself to the cornet. Played in New Orleans first with his brother Jack Carey in the Crescent Band, then in the Eagle Band, then with Kid Ory. Left New Orleans in 1917 to go on tour. King Oliver invited him to Chicago to play at the Dreamland Cafe. Returned to New Orleans in 1918; the following year he d. Sept. 3, 1948.

Kid Ory's band in Los and made his home in California. Hard hit by the slump in the thirties, he had to earn a living as a postman and porter, but he continued to play whenever he could. He again played with Kid Ory from 1943 until a few months before death. Carey was a good

went

to join

Angeles

New Orleans not a soloist in the same class as Armstrong, Oliver, or Ladnier, nor had he the same beautiful vibrato as these great performers, but he was a good leader trumpet style.

in typically

He was

;

CAREY -CARR of

ensemble

improvisations

and

played fine blues. He had a particular fondness for playing in the lower register. Records: with Kid Ory, Blues for Jimmie (1944); Under the bamboo tree, Careless love, Do what Ory say, Maple leaf rag Bucket got a hole in it, Bill ( 1945 ) Bailey won't you please come home ;

(1946).

CAREY, "SCOOPS" phone,

b.

ca.

1915.

Alto saxo-

Played with

Fletcher Henderson Roy 1936; Eldridge 1936-37; Earl Hines 194043 and again in 1946; Dizzie Gillespie 1946. A brilliant musician with a gift for particularly sinuous phrasing and frequent contrasts.

with Mildred Bailey, Records: You're laughin at me (1937); with Earl Hines, Yellow fire (1941).

CARMICHAEL, HOAGY Composer, b. Bloomington, Ind., Nov. 22, 1899. Wrote a number which became standards

of pieces for jazz

notably Star dust, Rockin chair, Georgia on my mind, Lazy river, Riverboat shuffle, Lazybones.

interpretations,

CARNEY, HARRY

HOWELL

Baritone and alto saxophone, clarinet, b. Boston, Mass., April 1, 1910.

Played first with Walter Johnson, then with Joseph Steele. In 1926 joined Duke Ellington and has remained with him ever since. Although with the Ellington band Carney often played both alto sax and clarinet in ensembles, most of his solo

work

is

on baritone sax and

he has no equal on

this

somewhat

instrument. His splendid tone and perfect mastery of his inlimited

who

strument make everyone else

sound heavy and awkward.

tries it

Carney was influenced first by Otto Hardwick, then by Johnny Hodges and Ben Webster who for so long played side by side with him in the Ellington band. Carney plays in a direct and melodious style, full of vigor and fire, and without any tricks at all. His splendid tone has always been a major contribution to the volume and richness of the saxophone section in Ellington's band. Records: with Duke Ellington, Goin to town (1928); Tiger rag, Breakfast dance (1929); Old

man sion,

blues

(

RCA

Victor-HM V

ver-

1930); Lightnin, Swing low

(1932); Jive stomp (1933); Margie New black and tan fantasy, ( 1935 ) Slap happy (1938); Way low, Country gal (1939); Jack the bear (1940); Jumpin punkins, Chocolate shake ( 1941 ) Perdido ( 1942 ); Prelude to a kiss (1945); with Barney Bigard, Frolic Sam, Stompy Jones ( 1936 ) Jazz a la carte ( 1937 ) with Cootie Williams, J can't believe that you're in love with me, ;

;

;

Blue reverie (1937); with Johnny Hodges, Good gal blues (1939); with Barney Bigard, C blues with Coleman Hawkins, ( 1941 ) Three little words (1944). ;

CARR, LEROY singer, d.

b.

Piano and blues

Nashville,

Indianapolis, Ind.,

Tenn.,

1905.

1935.

Com-

posed a number of famous blues, 53

CARROLL - CARTER including How long how long blues and In the evenin (also known as When the sun goes down). Leroy Carr was one of the best-known blues singers. His style is halfway between the old blues of the deep South and the "City blues." His influence has been great, and some blues singers (such as Bumble Bee Slim and Bill Gaither) copied him closely while others (James Rushing, Cecil Gant) were considerably but more freely inspired by his style. He also influenced a number of pianists, notably Big Maceo and Cecil Gant. Both his singing and piano playing are generally tender,

melancholy and restful he could on occasion bring a sharp emphasis into

full

of

serenity, although

his vocal phrasing. Records:

long

How

how

long blues (several versions, 1928-29); Love cryin blues, Papas got your water on (1931); Mean mistreatin Mama, Shady lane blues, Blues before sunrise, George Street blues (1934); Big

four blues, Going back home, Six cold feet in the ground (1935).

CARROLL, BOB

Tenor saxo-

phone, b. Louisville, Ken., ca. 1905, d. 1952. Played mainly with Horace Henderson, Don Redman, Teddy Hill. His style was sober but full of swing. Records: with Willie "the Lion" Smith, I can see you all over the place, The ing me (1937).

swampland

is

call-

CARTER, "BENNY" (BENNETT LESTER) Alto saxophone, trumpet,

54

clarinet,

arranger,

composer,

band

leader, b.

New

York, Aug.

1907. His mother, hoping that

would take holy

orders, sent

8,

he

him

to Wilberforce University, but, al-

ways

musically inclined, Benny Carter gave up his studies and took to jazz. Played first with Horace Henderson, then with June Clark. In 1926 joined Duke Ellington for a few weeks, then went to Billy Fowler's band which also contained Tommy Ladnier and Jimmy Harrison. Next, after a spell with Charlie Johnson, in 1929 joined Fletcher Henderson's band, where he became one of the principal soloists and arrangers. At the beginning of 1931 left Henderson to join Chick Webb. He then took over the leadership of McKinney's

Cotton Pickers, and

own band

finally started

(1932-33), which was highly thought of by musicians but failed commercially. He then joined Willie Bryant as a trumpet. In 1935 went to France and played with Willie Lewis in Paris; the following year went to England. 1937 found him first in Holland, then back in Paris. In 1938 returned to the United States where he assembled several big bands. Mostly these bands were excellent but once again they failed commercially and he was often forced to disband them and earn his living as an arranger for the Hollywood studios, together with brief appearances in a number of movies. In 1954 he toured with "Jazz at the Philharmonic" and went to Europe with that group.

his

;

CARTER Benny Carter

one of the greatHe is a wonderful alto sax man, with splendid instrumental technique and extraordinarily powerful and beautiful tone. The richness of his melodic is

est figures in jazz.

invention solos

unbelievable;

is

his

in

he comes up with the most

brilliant

and

delightful

phrases,

astonishing his audience with the variety

and

originality of his ideas.

No one

else

sing the

way he

can make an alto sax can; it's almost as though the instrument were invented for him. He is also a master of the clarinet although he seldom plays it. Trumpet he learned from Bubber Miley in 1925, but he never studied seriously until 1930; he then made constant progress, and with inspiration from Louis Armstrong, he mastered the instrument and was able to play choruses as supple as those he produces on the alto sax.

Records:

alto

saxophone,

with

the Chocolate Dandies, Six or seven

how

today (1929), Krazy kapers (1933); with McKinney's Cotton Pickers, I'd love it, Gee ain't I good to you ( 1929 ) with Milton Mezzrow, Apologies, Sendin the vipers, 35th and Calumet (1934); with Coleman Hawkins, Crazy rhythm (1937, Carter plays the 4th chorus); with Lionel Hampton, I'm in the mood for swing, Shoe shiner's drag (1938); with Teddy Wilson, A tisket a tasket, Now it can be told ( 1938 ) under his own name, Blues in my heart Farewell blues (1937), (1938, times,

That's

I

feel

;

Carter takes the 6th and 7th choMelancholy lullaby, Scandal in A flat (1939), Among my souvenirs, Cocktails for two, Takin my time (1940), Sunday (1941), I can't get started (1944), Prelude to a kiss (1945), Street scene (1953); clarinet: with McKinney's Pickers, Cotton Miss Hannah (1929); with the Chocolate Dandies, Dee blues, Bugle call rag with his own band, Dream ( 1930 ) lullaby ( 1934 ) with Lionel Hampton, Shoe shiners drag (1938); trumpet: with the Chocolate Dandies, Once upon a time (1933); with Milton Mezzrow, Swingin with Mezz (1933); with Willie Lewis, All of me (1935); with his own band, My buddy, Lazy afternoon (1937), More than you know (1939), Fish fry, Among my sou-

ruses),

;

;

venirs (1940).

Benny Carter

is

no

less

remark-

able as an arranger than as a soloist, and is among the four or five greatest.

of the

His arrangements are

same musical

flavors so

many

full

subtlety that

of his solos.

He

can

write trios and quartets for saxophones in which the melodic line

and spontaneous as an solo, and his style in writing for saxophones has been imitated by innumerable other aris

as fresh

improvised

rangers.

His orchestral ensembles

are always full of melody, written in a

manner which

gives the great-

opportunity for swing and for improvisation in the playing. He est

composes interludes and modulations which integrate his numbers 55

;

CARVER -CASEY beautifully.

Benny Carter's music is marked by a carefree simplicity and a spontaneous drive equaled by no other arranger. Only a few of his best orchestrations

of his playing sets

generally

else

have been recorded: Fletcher Henderson, Keep a song in your

what the

Somebody Chick Webb,

soul,

me

loves

Heebie

1930 )

(

jeebies

and produces

formances. led

fire

to everyone

vital,

driving per-

Any saxophone

section

by Benny Carter always sounds

like the best in the world,

no matter

caliber of the other musi-

cians. There are several notable examples of this on record, particularly

Symphony

in

riffs,

Everybody shuf-

(1931); Lionel Hampton, Shoe shiners drag ( 1938 ) his own bands playing Symphony in riffs ( 1933 ) Shoot the works, Everybody shuf(1934); I'm coming Virginia fle

romp, Sunday, I can't escape from you, and, above all, Sleep, all recorded by different bands under Benny Carter's name. He is also an excellent composer,

(1938); Riff romp (1939); Sleep, Fish fry, Takin my time ( 1940 ) Sunday ( 1941 ) I cant escape from

and has

;

;

you (1944); Jump call (1946). Benny Carter is also an ideal band leader; could probably be bracketed with

Duke

down and producing a body work comparable with Elling-

settling

In a back-handed way this very fact has enabled him to demonstrate, once again, his extraordinary ton's.

gifts:

in constantly fronting differ-

ent bands, he has shown that it needs only his presence to transform

an insignificant handful of musicians into a group playing with good attack,

precision,

and

rich

tone.

Carter doesn't throw his spell over a band just by virtue of his arrange-

ments or

his rehearsals;

him

all

56

is

for

to his credit a

number

of

delightful tunes including Blues in

my

heart, Once upon a time, Symphony in riffs, Free love, Everybody shuffle, Pom-pom, Okay for

baby, Night hop.

CARVER, WAYMAN

Alto saxo-

phone, flute, arranger, b. Portsmouth, Va., Dec. 25, 1905. Played with Benny Carter, Chick Webb, and Ella Fitzgerald. Played a flute chorus in Chick Webb's Sweet Sue Arranged Down home rag, ( 1937 ) Swinging on the reservation, Taint what you do, My heart belongs to daddy, all recorded by Chick Webb. .

LOMA

CASA Orchestra directed by Glen Gray, which enjoyed a considerable reputation in the early thirties but always played with more precision than swing.

that's

be playing first alto sax or first trumpet for the whole interpretation to change electrically. The energy and punch necessary

Riff

Ellington as

the best in jazz; but the fact that his big bands have never been a commercial success prevents him from of

fle,

CASEY, ALBERT

to

b.

Guitar,

Louisville, Ky., Sept. 15,

1915.

Played with Fats Waller from 1934 to 1943, except for a

few months

in

.

CASEY -CATLETT 1939 and 1940 when he was in Teddy Wilson's band. Later he took up the electric guitar and

formed

his

own

trio

and played

in

various small groups. An eminent guitarist, with a supple, intense and sensitive

way

of

and an admirable

style

making

his phrases, built

up

harmonies, "ring." During his years with Fats Waller he developed a distinctive manner of accompanying vocal choruses with chords that formed a beautiful counterpoint. Records: with Fats Waller, Do me a favor, Let's pretend there's a moon, Dream man (1934); Baby Brown, I ain't got of

succeeding

nobody (1935); Boo hoo (1937); Yacht club swing (1938); Buck jumpin (1941). with

Earl

On

electric guitar:

Hines,

me

Squeeze

(1944).

self,

Streamline

woman, Someone

changed the lock on my door (the well-known number he composed himself, 1936-37).

CASEY,

FLOYD

the

Plays

washboard, and is one of the best performers on this instrument. Has made numerous records with studio bands led by Clarence Williams. Records: with Clarence Williams, Cushion foot stomp, Take your black bottom outside (1927); Sweet Emaline (1928); High society,

Whoop

CATLETT, (SIDNEY)

it

up

(

1929 )

"SID," "BIG

Drums,

SID"

b. Evansville,

Ind., Jan. 17, 1910, d. Chicago,

March

25, 1951.

Began

111.,

his career

and went York with Sammy Stewart's band in 1930. Played with Elmer as a musician in Chicago, to

New

Snowden

"CASEY BILL" (WILLIAM

WELDON)

Guitar

and

blues

singer, b. Pine Bluff, Ark., July 10,

1909. in

Made

a

number

of records

Chicago between 1930 and 1940.

Now

lives in California.

His voice

and he sings in the tart, rough, intense manner of the great singers from Arkansas and Mississippi, with tremendously moving warmth. He is the only is

ideal for the blues,

blues singer who accompanies himself with the Hawaiian guitar, on which he plays the purest imaginable blues. Records: Vse just a bad luck man, Casey blues, Lady doctor blues, Big Katy Adam, Christmas time blues, Let me be your butcher, We gonna move, Talkin to my-

1931-32, Benny Carter 1932-33, McKinney's Cotton Pickers 1934-35, Fletcher Henderson 1936, Don Redman 1936-37. At the

end of 1938 he entered Louis Armstrong's band and stayed until 1943, apart from a few months with

Benny Goodman

in

1942.

From

1944 to 1947 he led a quartet and played with a number of small groups with which he made a large

number

of records. Returned to Armstrong in 1947, but, seriously ill, he was forced to retire in 1949. He never regained his health, and when trying to make a comeback, he died suddenly backstage in a Chicago theater. Catlett was one of the great jazz drummers. He was influenced first

57

CAULDWELL - CELESTE by

Zutty

Dodds,

and Baby by Chick Webb. An

Singleton

later

he played bouncing swing. He had something of the mastery of Chick Webb in his touch on the bass drum and he developed a kind of fantasy within the regular beat which made his playing most attractive. He had considerable influence on a number of drummers: James Crawford, Kansas Fields, Wilbur Kirk, Denzil Best, and Buford Oliver among astonishing technician,

with a powerful,

elastic,

them. Records: with Louis Armstrong, Shanty boat on the Mississippi, You're a lucky guy, Bye and bye (1939); Harlem stomp, Wolverine blues,

Hep

cats' ball,

Cain and Abel

(1940); I cover the waterfront Cash for your trash, I never ( 1941 ) knew (1942); A song is born, Muskrat ramble, Royal garden blues (1947, the last two are parts ;

of "Satchmo at

Symphony

Hall");

net,

band

leader, b. Chicago,

111.,

July 25, 1903. Began by playing the clarinet in his school band, and then took lessons from Buster Bailey. In 1922 played in Bernie Young's Creole Jazz Band; later, having heard Davey Jones playing with Fate arable, decided to take up sax. Toured in 1924 with Mamie Smith and her Jazz Hounds, then

M

settled

in

New

York where he

played and recorded with Thomas Morris, Fletcher Henderson, Vernon Andrade, Charlie Johnson,

Elmer Snowden, Cliff Jackson, Fats Waller, Tiny Bradshaw, Lips Page, and Luis Metcalfe. Since 1950 has often led his own band at Small's Paradise in Harlem. Happy Cauldwell is one of the rare tenor saxes whose style really has something of New Orleans in it. He was also influenced by Coleman Hawkins. His playing in ensemble improvisations is remarkable. Records: with Louis Armstrong, Knockin a jug

with Lester Young, Afternoon of a Basie-ite, Sometimes I'm happy with Albert Ammons, (1943);

(1929); with Billy Banks (also issued as Chicago Rhythm Kings),

Jammin

Who

the boogie, Bottom blues

(1944); with Lips Page, Rockin at Ryan's, Dance of the tambourine,

Mr. Page (1944); with Johnson, Victory stride (1944); Rose room (1944, V-Disc "Metropolitan Opera House Jam Session"); under his own name, Just a riff, Linger awhile (1944); with John Hardee, Idaho (1946).

Paging James

P.

CAULDWELL, "HAPPY" (ALBERT) Tenor saxophone, clari58

Somebody

stole

horn,

Gabriel's

(1932); with Tiny Bradshaw, The sheik of Araby (1934); with Milton Mezzrow, Blues in disgtdse, Hot club stomp, stole the lock?

The way Jelly Roll

today ( 1937 ) with Morton, Winin boy blues

I feel

;

(1939).

CELESTE An instrument in the piano family with a high and thin tone, the celeste has not too frequently been used in jazz. Earl Hines played it in Louis Arm-

.

CELESTIN - CHEATHAM strong's

band, then in 1955 joined Lionel

version); Fats Waller used

Hampton. He is a vigorous and dynamic player, his style very

Basin Street blues (1928 it on a number of records, notably Sugar rose (1936); John Guarnieri accompanied Louis Armstrong on the celeste in Some day ( 1947 ) it was used by Meade "Lux" Lewis in ;

similar to that of Illinois Jacquet

and Arnett Cobb. Records: with Lionel Hampton, Baby don't love me no more, Swingin on C ( 1955 )

Celeste blues (1936).

CELESTIN, "PAPA" (OSCAR) Trumpet, Jan.

1,

b.

Lafourche Parish, La., New Orleans, Dec. Directed the famous

1884, d.

1954. 15, Original Tuxedo

Orchestra,

sup-

posed to have been one of the best bands in New Orleans between 1910 and 1925, and which in 1924 recorded Original tuxedo rag, Careless love, and Black rag in New Orleans; also a little later, in 1927, jam up, on which Papa Celestin

It's

plays a solo (the one using a "wa-

wa" mute).

CHAMBERS, HENDERSON Trombone,

b.

CHAMBLEE, EDDIE 1920.

called Charleston, South Carolina

and this was the first piece be based on the "Charleston" rhythm. This syncopated rhythm is based on two notes, one falling on the first beat of the bar and the other between the weak second beat and the strong third beat of the bar. An example of this rhythm is the coda before the final trumpet break on Louis Armstrong's record of Cornet chop suey (1926). in 1923

to

Alexandria, La., 1908.

Played with Al Sears, Tiny Bradshaw, Louis Armstrong 1941-43, Don Redman, Edmund Hall, Sy Oliver, Andy Kirk, and Milton Buckner. A powerful musician, in the line of Trummy Young. Has made few good records, but is excellent with Buck Clayton in The huckle buck ( 1953 ) where he plays the second trombone solo.

saxophone,

CHARLESTON A dance introduced by Cecil Mack and Johnny Johnston in the revue Runnin Wild in 1923, and which became widely popular between 1924 and 1927. James P. Johnson composed a piece

b. Atlanta, Ga.,

Was brought up

Tenor Feb. 24,

in Chicago.

For some years he headed

his

own

CHARLESTON CYMBALS. Generally called High bals (q.v.)

Hat Cym-

CHEATHAM, "DOC" (ADOLPHUS)

Trumpet, b. Nashville, Tenn., June 13, 1905. Played with Chick Webb, then in 1929 toured

Europe with Sam Wooding's band. in Cab Calloway's band from

Was

1932 to 1939, then joined Teddy Wilson, and in 1943-44 played with Eddie Heywood. One of the best first trumpets; a good soloist with a smooth, melodious style, with in-

59

.

CHICAGO - CHITTISON tonations reminiscent of Joe Smith.

Records: with Cab Calloway, I've got the world on a string (1932); with Eddie Heywood, Taint me, Carry me hack to old Virginny (1944).

sweetheart, Liza, Sugar, China boy (1927); Chicago Rhythm Kings, There'll be some changes made, I found a new baby ( 1928). The balance on these recordings is different from that usually employed in

New

CHICAGO STYLE

Chicago was the great center of jazz between 1919 and 1929, when most of the best New Orleans musicians moved north to play there: King Oliver, Freddy Keppard, Tommy Ladnier, Louis Armstrong, Jimmie Noone, Roll Morton, the Dodds Jelly brothers, and so on. In the course of time Chicago has been eclipsed by New York. The younger generation of musicians, impressed by the great oldtimers who came up from New Orleans, tried to imitate their music. A few— such as Milton Mezzrow,

Floyd O'Brien, Dave Tough, and Muggsy Spanier— succeeded. A number of others succeeded in part, being at the same time largely under the influence of the white trumpet, Bix Beiderbecke. It is the this latter group, bastard child of New Orleans jazz, which became known as the "Chicago

music of

Frank Teschemacher, Jimmy MacPartland, Bud Freeman, Pee

style."

Wee Stacy,

Russell,

Joe

Sullivan,

Jess

and Eddie Condon are the

Orleans

bands,

since

the

melody ensembles are executed by a tenor sax (instead of a trombone), trumpet, and clarinet. The presence of Muggsy Spanier (cornet) and Milton Mezzrow (tenor sax) on the two last-named records results in their being nearer in style to genuine New Orleans than the other four, on which the trumpet is

Jimmy MacPartland

(a disciple of Bix Beiderbecke) and the tenor sax Bud Freeman. The other musicians in both cases are Frank Tesche-

macher

(clarinet), Joe Sullivan (piano), Eddie Condon (banjo), Jim Lannigan (bass), Gene Krupa (

drums )

CHIMES A set of bells which some drummers employ to obtain colorful effects. Sonny Greer used them in the last chorus of Duke Ellington's High life.

CHINATOWN, MY CHINA-

TOWN

Composed in 1906 by Schwartz and Jerome. Chorus of 32 bars without release. The best recording by far is Louis Armstrong's (1931).

chief representatives of this style,

CHITTISON,

the importance of which has been

somewhat exaggerated. The best records representing the Chicago style are: McKenzie and Condon's 60

Chicagoans,

Nobody's

HERMAN

Piano,

Flemingsburg, Ken., 1909. Went to Europe in 1932 and played there for many years, notably with Louis Armstrong in 1934. Since 1943 has b.

.

CHRISTIAN - CHRISTIAN either played solo or led his trio,

mostly around

style

own

York. His

stemmed from Fats Waller

and Earl Hines, of Art

New

until the influence

Tatum became predominant.

His musicianship and the speed of fingering are remarkable, but

his

hand hasn't got much lift. Records: piano solo, My melancholy baby (1938); with his trio, Serenade by Schubert ( 1944 ) his left

CHRISTIAN, "BUDDY" and banjo,

Went

Guitar

b. Louisiana, ca.

1900.

New

York about 1920 and was a member of Willie "the Lion" Smith's band which toured with a show through Canada and the MidWest. Played in Chicago again in 1924 with Louis Armstrong in King Oliver's band. Returned to New York and played with Armstrong on the famous series of records made by the Clarence Williams Blue Five (1924-25). Later on played with June Clark and then disappeared from the jazz scene. Buddy Christian was a remarkable rhythm-section guitarist with a style somewhat like John St. Cyr's, with great harmonic sureness and intense swing derived from the to

subtlety

of

his

accentuations.

Records: with Clarence Williams, Everybody loves my baby, Of all the wrongs you've done to me (1924); Cakewalking babies, Wait you see my baby (1925); with

till

his

own band, Sugar house stomp

(1926).

musician at the age of about 15, when he was a member of Alphonse Trent's band with which he toured several times in the Mid-Western States. In 1937 took up the electric guitar. In July 1939 the American jazz critic John Hammond heard him playing in fessional

Oklahoma City and recommended him to Benny Goodman, who hired him immediately. Charlie Christian was much admired by all musicians and was considered by most of them to be the greatest guitar player around, but tuberculosis left little time in which to enjoy the fame he richly deserved. Charlie Christian's instrumental

him

technique was excellent, but

Gui-

Dallas, Tex., 1919, d.

March

it

was

extraordinary swing, his creative imagination and his moving accent which really placed him in the front rank and made him the model for almost all players of the electric guitar. It has been said of him that he was one of the forerunners of bop. This ridiculous suggestion was based on the fact that for a few weeks he played at Minton's Playhouse in Harlem at a time when there were also a number of musicians playing there who later became leaders of the bop brigade. Actually Charlie Christian's style is pure jazz. Records: his

under choice,

CHRISTIAN, CHARLIE tar, b.

2, 1942. Grew up in Oklahoma City where he learned guitar from his father. Began his career as a pro-

his

own name,

Stomping

at

Charlie's

the

Savoy

with Lionel Hampton, sweet letter from you, Haven't

(1941);

One

61

.. ;

CHRISTOPHER - CLARINET named

with the Rose room,

"sections"—particularly a saxophone section— the clarinet ceased to have

The Boy meets girl, Gone with what wind ( 1940 ) I found a new baby, Good enough

a permanent place in jazz bands. Nevertheless for many years the instrument was still used, and sometimes three of the sax players would take up clarinets and play a trio, one of their number playing a solo and also probably some contrapuntal fireworks in the final ensemble; thus the clarinet still retained some position even in the big bands such as Fletcher Hender-

yet

it

(1939);

Benny Goodman Shivers,

Sextet,

dust

Star

(1939);

sheik, I surrender dear,

keep (1941); with the Bennyband, Solo flight ( 1941 )

to

Goodman

CHRISTOPHER COLUMBUS Composed in 1936 by Chu Berry and Andy Razaf. Chorus of 32 bars and release. The principal phrase two riffs, one intended be played by the saxophones, the other by the trumpets. The first of these riffs is borrowed from a piece by Sy Oliver called For dancers

Duke

consists of

son's,

to

Cotton Pickers. But

only.

Best

recordings:

Fletcher

Henderson (1936),

(1936), Fats Waller Milton Mezzrow with

Claude Luter's band (1951, under title of Christophers a-rockin ) Sy Oliver's For dancers only wasn't recorded until 1937, by Jimmie Lunceford, but it was written and performed in public before Christopher Columbus.

the

CLARINET The B was one

of

flat

clarinet

the principal instru-

bands from about 1895 to 1925. Since it provided an active counterpoint to the trumpet lead and took most of the solos, the clarinet player was one of the most prominent members of the band. Shortly after 1920 when bands began to grow and the melody sec-

ments

in

jazz

tion, instead of comprising just trumpet, clarinet, and trombone, became made up of instrumental

62

Ellington's,

McKinney's

this

use of the

became more and more and the instrument now re-

clarinet rare,

tains a position of in small groups.

eminence only

The

result

is

that

fewer and fewer young musicians take up clarinet. In the big bands it was usually the alto or tenor sax who doubled on the instrument and used it like a saxophone, a very inappropriate style for the purpose. It's not surprising therefore that all the best clarinets are musicians playing in the New Orleans style—

Jimmie Noone, Johnny Dodds, Sidney Bechet, Omer Simeon, Barney Bigard,

Albert

Darnell

Nicholas,

Howard, Milton Mezzrow— or musicians strongly influenced by that style, such as Buster Bailey, Benny Carter, Cecil Scott,

Edward

Inge,

or Jerry Blake. The bass clarinet is seldom used, although Harry Car-

ney occasionally played

it

in

Duke

Ellington's band.

CLARINET MARMALADE Composed

in 1918

by Larry

Shields

.

CLARK - CLAYTON and Henry Ragas. It consists of two one 32 bars long (usually played only once ) the other one 16 strains,

,

both without release; a 4-bar interlude is played after the first bars,

theme and a 12-bar interlude between the choruses of the 16-bar recordings: Fletcher (1926), Fats Waller (1941), Milton Mezzrow (1951), Kid Ory (1954). strain.

Best

Henderson

Sugar Ray Robinson. There are no records that include a solo by him.

According to musicians who heard him he was a great soloist in the twenties, one of the closest to Louis Armstrong, whom he heard in King Oliver's band when he was on a visit to Chicago in 1922. It was Clark who, with Jimmy Harrison, introduced the Oliver-Armstrong

New Orleans style New York.

to the musicians

of

CLARK, GARNET b.

Washington,

D.

Piano,

C,

1917,

CLARKE, KENNY Drums,

d.

Very precocious; at the age of 12 he was pianist and arranger in a band run by Tom Miles in his home town. Went to New York and by 1933 was attracting the attention of musicians. After he went to 1938.

France in 1935 to join Willie Lewis' band, he went insane and was committed to a lunatic asylum outside Paris where he died three years

He was inspired chiefly by Earl Hines, had much of the same punch and mordant touch, and also to some extent by Fats Waller. Records: Rosetta, Object of my af-

In 1937 toured Scandinavia with the Edgar Hayes band. Played with Claude Hopkins, Sidney Bechet, Teddy Hill, Louis Armstrong, and Benny Carter before turning to bop

b. Pittsburgh, Pa., Jan. 2, 1914.

in 1942.

CLARK, JUNE b.

Trumpet,

Long Branch, N.

J.,

March

24,

Played in New York with Willie "the Lion" Smith, James P. Johnson, Perry Bradford, then led a small group which included 1900.

Jimmy

Harrison.

He had

trouble

with his lip and after 1932 only played occasionally. In 1938 he finally gave up the profession and later became secretary to the boxer

gifted musician, full of

part of his musical career.

CLAY, SHIRLEY

later.

fections (1935).

A

temperament, Kenny Clarke was a true jazz musician only for the first

b.

probably

New

Trumpet.

New

Orleans, 1902, d. York, Feb. 7, 1951. Spent his

early years in Chicago. Played with

Earl Hines,

Don Redman

(beside

Sidney de Paris), Claude Hopkins, Horace Henderson. Recorded with Richard M. Jones 1926-33, and accompanied Bertha "Chippie" Hill. A follower of Armstrong, he played with simplicity and sensitivity. Records: with Earl Hines, Have you ever felt that way, Chicago rhythm ( 1929 ) with Lil Armstrong, When I went back home ( 1937 ) ;

CLAYTON, "BUCK" (WILBER) Trumpet and

arranger, b. Parsons,

63

CLAYTON -COBB Kan., Nov. 12, 1911. Went to California in 1929 where he was taught

trumpet by Papa Mutt Carey; played for several years in Earl Dancers' band, then formed a group which the pianist Teddy Weatherford brought over to China. After playing in Shanghai from 1934 to 1936, Buck Clayton returned to the United States where he was immediately hired by Count Basie, with whom he remained until 1943 when he was drafted. After his discharge in 1946, he played for eighteen months with "Jazz at the Philharmonic," then settled in New York. In 1949 he took a small band to France for a tour, in 1950 he played with Jimmy Rushing, and in 1953 he toured Europe again in the band of Milton Mezzrow. Buck Clayton is one of the most inventive trumpets who ever played. His beautiful melodious phrases,

well constructed,

so

Chicago blues, Fiesta in blue ( 1941 ) Sugar blues, Royal garden blues ( 1942 ) with Coleman Hawkins, A shanty in an old shanty to

;

;

town 64

(

1944 ) with ;

Don

Byas,

;

;

tunity really to swing.

Among

his

Count Basie's What's your number, Love jumped out, H and J, Down for double, It's sand man, Taps Miller, Seventh Avenue express, and Duke Ellington's Hollywood hangover (Vorchestrations

are

Disc).

are

reminiscent of Louis Armstrong's; and he has something of Joe Smith in the smooth, moving delicacy with which he handles a melody. Every note he blows has the warmth and sensitivity that is the mark of a great musician. Records: with Count Basie, Swinging on the daisy chain, Smarty, Topsy, Don't you miss your baby (1938); Easy does it (1940, B.C. plays the first trumpet solo),

Goin

with Earl Hines, ( 1945 ) Chicago, Rhythm business (1949); trumpet solos, Rlues in first, Blues in second ( 1949 ) with Willie "the Lion" Smith, Nagasaki (1949); with Milton Mezzrow, Wrap your troubles in dreams, Rose room, I cant give you anything but love (1953); under his own name, Lazy river, She's funny that way, Sweethearts on parade, Patricia's blues, West end blues (1953). As an arranger Buck Clayton's style is simple and direct, and he knows how to write in a way that gives a band the greatest opporthere eyes

Them

PETER

CLAYTON, TOR")

Blues

d. 1946.

when St.

Came

singer,

to the

("DOCb.

Africa,

United States

very young and studied in

Louis,

Mo. Went

to

Chicago in

1937 and recorded a number of blues. His voice was good but he sang in a rather pompous manner which seems to have in it little of the real spirit of the blues.

COBB, ARNETT

Tenor saxo-

Houston, Tex., Aug. 10, 1918. First picked up piano, then violin, before turning to the tenor phone,

sax.

b.

Became a

professional

musician in 1933,

when he

jazz

joined

COBB-COKER the

band of Frank Davis

in

his

town. From 1934 to 1936 he played with Chester Boon, and from 1936 to 1942 in the band of Milton Larkins which also included Illinois Jacquet on alto sax and the singer and saxophone-player Eddie Vinson. In 1942 he joined Lionel Hampton's band and it was here that he became well known. In 1947 he left to form a band of his own which was an immediate success. He was seriously ill in 1948 and for two years had to give up playing altogether. In 1950 he returned and formed a new band.

home

Extraordinarily

powerful,

Arnett

and

dynamic

Cobb

has

tre-

mendous attack, a rich tone, and a drive few musicians can equal. His direct style puts him in the tradiEvans and Illinois Jacquet. He has had a great influence on younger tenor sax players tion of Herschel

since 1945.

Records: with Lionel Hampton, Flying home No. 2, Overtime (1944); Blow top blues (1945); Air mail special (second part), Rockiri in rhythm ( 1946 ) with his own band, Cobb's idea, Still flying, Cobb's boogie, When I grow too old to dream, Cobb's corner, Arnett blows for 1300, Dutch kitchen bounce, Go Red go ( 1947 ) Smooth

Noone, Anything for you, A porter's love song to a chambermaid, Shine (1934).

COHN, AL

Tenor saxophone, Nov. 24, 1925. Played with Buddy Rich 1947, Woody Herman

b.

1948-49, Elliott Lawrence 1952, and thereafter freelanced in New York. Influenced by Lester Young but often too "cool" to be a real jazzman, although he has proved from time to time that he could be one.

COHN, ZINKY

Piano, b. 1909,

Chicago, 1952. Played in Chicago during the twenties, notably with Carroll Dickerson and Jimmie Noone, and visited Europe for a d.

few months

in 1931. After his re-

turn to the U. occasionally.

S.

A. he played only

Was much

inspired

by Earl Hines and Louis Armstrong. Records: with Jimmie Noone, Apex blues (1929, version with trumpet and trombone), So sweet, Bring it on home to your

grandma (1930).

;

;

sailing (1950).

COBB, JIMMY Trumpet, 1905. Played in

b. ca.

Chicago with Jim-

mie Noone during the 1930's and was somewhat influenced by Louis Armstrong. Records: with Jimmie

COKER, HENRY Trombone. Dec. 1919. Played with Benny Carter, Illinois Jacquet,

b. Dallas, Tex.,

Lucky Thompson. Has been in Count Basie's band since 1951. A powerful and inventive player, one of the best in the Trummy Young tradition. Has so far had little opportunity of making good records. He can be heard on Illinois Jacquet's Flying home and Uptown boogie (1945).

65

COLE - COLE COLE, "COZY" (WILLIAM) Drums,

East Orange, N. J., Oct. 1909. Played with Blanche 17, Calloway 1931-32, Benny Carter 1933-34, Willie Bryant 1935-36, b.

(1944); under his own name, Thru for the night, Stomping at the Savoy ( 1944 ) with Little Jazz and his Trumpet Ensemble, St. Louis

self

;

with

Armstrong's band. He is universally considered to be one of the most perfect drummers jazz has produced. His tempo is completely solid, never slows or hurries and has enormous power. His unrivaled virtuosity, the extraordinary precision with which he performs the most difficult rolls and the cleanness of his playing make him a joy to hear. He is a performer of great evenness who always maintains his own high standard. Cozy Cole has made a large number of records both with studio groups and with regular bands. Among the best are: with Teddy Wilson, Twenty-four hours a day ; (1935); with Stuff Smith, Old }oe s hittin the jug (1936); with Lionel Hampton, Whoa babe, Stompology, around with the bee, Buzzin

b.

Rhythm rhythm

(1937); High soEarly session hop, Sweethearts on parade ( 1939 ) with Cab Calloway, Ratamacue, Crescendo ciety,

;

in

drums (1939); Jonah

cab,

Special

delivery,

A

joins the

smooth

one (1941); with Coleman Hawkins, I only have eyes for you, Flamethrower, Every man for him66

way

blues, Don't be that

Smith 1936-39, Cab Calloway 1939-42. Acted in Carmen Jones on Broadway. Founded a drums school with Gene Krupa, and has played with numerous small groups. From 1949 to 1953 he was in Louis Stuff

Don

(1945);

Bugle

Byas,

with

call

Louis Armstrong, rag (1950, in the "New

Orleans Days" L.P.

COLE, JUNE with

).

Tuba and Ohio,

Springfield,

Played

(1944);

Jamboree jump

ca.

bass,

1900.

McKinney's Cotton and with Fletcher

Pickers 1924-26,

Henderson 1926-29. He then went Europe where he made several tours with Sam Wooding's band and played in Paris with Willie to

Lewis. Returned to U.S.A. in 1941 and disappeared from the scene. Rumors of his death have circulated several times but have always been denied. June Cole was one of the great tuba men. He had an astonishing mastery of the instrument which enabled him in fast tempos to play four beats in the bar with just as much agility as swing. His fine musicianship brought out the best in

any rhythm section was playing and he

in

which he

an unpower. Records: with Fletcher Henderson, The chant, The Henderson stomp,

common

lightness

lent

it

and

marmalade (1926); Fidgety feet, Sensation, St. Louis shuf(RCA Victor version), Tozo, fle P.D.Q. blues, Livery stable blues with Bessie Smith, Foolish ( 1927 ) man blues, Dyin by the hour Clarinet

;

(1927).

;

.

COLE -COLEMAN COLE, "KING," "NAT KING" (NATHANIEL) Piano and singer. b.

Montgomery,

1917. Played

achieved fame well

March

17,

in Chicago,

but

Ala.,

first

when he formed

his

known

Trio in California in 1939. It was Cole's vocal choruses which brought the Trio its phe-

nomenal commercial success, and King Cole was forced to sing more than he wanted to, so much so that

become a singer accompany himself

to the public he's

who happens

to

on piano. In

reality

he

some of his piano solos, such as Poor butterfly, Cole capers ( 1947 ) Penthouse serenade, Somebody loves me, Down by the old mill stream (1952). As a singer King Cole owes much to Louis Armstrong, but his real work is only to be found on his non-"commercial" vocal choruses, such as Sweet Lorraine

(

1940,

Decca version )

COLEMAN, BILL (WILLIAM

COLEMAN JOHNSON) Paris, Ken.,

a great

pet, b.

jazz pianist, with a style originally

Played

reminiscent of Earl Hines, but now modified by his own personality— which in turn has founded a school of its own. He has great invention and swing, a great sense of humor, and the phrases produced by his left hand are often tremendously powerful. Although he often played extremely well with his own Trio (notably on Honeysuckle rose, This side up [1940]; and I know that

Russell,

Charlie

Carter,

Lucky Teddy

you know [1945] best appreciated

),

is

he can

when he

really is

be

heard

Waller,

with

Aug.

Cecil

Trum4,

Scott,

Johnson, Millinder, Hill.

1904.

Luis

Benny Fats

Made two

Europe before the second World War and has since returned to make his home there. With some tours in

inspiration Bill

from Louis Armstrong,

Coleman has created a very

personal style of his own. His tone is not very powerful, but vibrant and sensitive. His solos are often remarkable for the subtlety of their phrasing and the elegance of their

playing in different surroundings, such as: with Lionel Hampton, Jack the bellboy, Blue because of you (1940); with the Herbie Hay-

melodic line. He is a fine, delicate trumpet player with tremendous warmth and feeling. Records: with

mer-King Cole Quintet, Nat's kick

Dream man,

(1945); with "Jazz at the Philharmonic," Lester leaps in, Blues, Tea for two, Body and soul (ca. 1946); with International Capitol Jazzmen, Riffamarole, You can depend on me (1945); with Lester

Young, Peg d my heart, Somebody loves me, I want to be happy, I found a new baby (1946), and in

Fats

Waller,

Believe it beloved, I'm growing fonder of you (1934); Baby Brown, I'm a hundred per cent for you ( 1935 ) with Dicky Wells, Between the Devil and the deep blue sea, Hanging around Boudon, Sweet Sue, Japanese sandman (1937); Linger awhile ( 1943 ) trumpet solos, After you've gone, I'm in the mood for love (1936); Indiana (1937). ;

67

.

COLLINS - COMBELLE COLLINS, JOHN b.

Montgomery,

Benny

Guitar,

Ala., Sept. 20, 1913.

Played with Roy Eldridge, Slam Stewart, Billy Taylor, Art Tatum,

and other small groups. Went Paris for the "Semaine du Jazz"

to

in

1948 at the Theatre Marigny. Since 1952 has played with King Cole.

A

good

electric

guitar

Basie,

Carter, Teddy Hill, Count Cab Calloway. Often played

with strong atHis inspiration is very uneven. Records: with Dickie Wells, Nobody's blues but my own, I got rhythm ( 1937 in the second Collins plays the chorus before last).

in a staccato style, tack.

player.

Records: with Ike Quebec, Zig billion; with Slam Stewart, Dr. Foo, Coppin out blues, Blues Collins (1946).

COLUMBUS, "CHRIS" CHRISTOPHER (JOSEPH C. MORRIS) Drums and band leader, b. ca. 1912. Headed his own group 1940Al Sears in 1943. Since 1946 has played almost constantly with Louis Jordan with occasional interludes of organizing

42, then joined

COLLINS, LEE b.

New

Trumpet.

Orleans, La., Oct. 17, 1901.

Played in his home town with the Eagle Band, Lorenzo Tio, and

Buddy

Petit.

dent

of

Later became a Chicago, where

resi-

he

eventually headed his own small band. In 1951-52 and in 1954 made

European tours with Milton Mezzrow. One of the greatest trumpets ever to come out of New Orleans,

much above

by King Oliver, and by Louis Armstrong to

inspired all

whom

he sometimes bears an uncanny resemblance. He plays with a real drive that can inspire a whole band. Records: with Milton Mezzrow, Struttin with some barbecue, Blues no one dug, Mezzerola blues, Blues jam up, If I could be with you, Clarinet marmalade, Blues des annees 20, Boogie Parisien, The sheik of Araby (1951).

COLLINS, "SHAD" (LESTER) Trumpet, 27, 1910.

68

b. Elizabeth, N. J., June Played with Chick Webb,

groups of his own. A good soloist. Records: with Louis Jordan, Beet petite and gone (1946); Three handed woman, Never trust a woman (1951); with Louis Armstrong-Louis Jordan, You rascal you, Life is so peculiar ( 1950 )

COMBELLE, ALIX

Tenor saxo-

phone, clarinet, band leader, b. Paris, France, June 15, 1912. Son of a sax soloist in the band of the "Garde Republicaine." In 1933 was acclaimed as one of the most gifted French musicians, playing and recording with the great American jazz musicians who visited Paris. A musician of pronounced temperament, Combelle plays with power and exceptional swing; he has a beautiful voluminous tone and great invention. In his early days he was much inspired by

Coleman Hawkins and Chu

Berry,

but later he developed a distinctive

.

COMPOSER - CONFESSIN' own.

style of his

number

small

He

of

is

one of the

European

jazz

men who can be considered in comparison with the great American musicians. Records: with Coleman Hawkins, Crazy rhythm ( 1937, A.C. plays the 3d chorus ) with Philippe ;

be you ( 1937 ) with Benny Carter, Farewell blues, I'm with coming Virginia (1938); Freddy Johnson, The blue room with Lionel Hampton, Free ( 1939 ) press oui, Blue Panassie, Walkin at the Trocadero (1953); with Jonah Jones, Coquette (1954). Rrun,

It

had

to

;

;

COMPOSER

As

far as jazz is

theme which is used of these numbers are indeed excellent and considerawrites a

as a basis.

Some

bly inspire musicians improvising on them. There are some good "jazz composers" (almost all of them performers as well), such as Jelly Roll Morton, James P. Johnson,

Richard M. Jones, King Oliver, Louis Armstrong, Willie "the Lion" Fats Waller, Earl Hines, Clarence Williams, Spencer WilSmith,

W. C. Handy, Jimmy McHugh, and Duke Ellington. Ellington is the only one who ap-

liams,

proaches composition in the manner of a classical musician: often

themes,

variations and form an extremely

their

orchestrations

coherent whole.

CONDON, EDDIE

Banjo and Goodland, Ind., Nov. 16, 1905. Went to Chicago in 1922 where he played and recorded with all the leading white musicians of that city in the Friar's Inn band, Chicago Rhythm Kings, and McKenzie and Condon's Chicagoans. Moved to New York in 1928 where he headed a number of small Dixieland groups; since 1946 he guitar, b.

has had his

own

night club in that

A

good instrumentalist, Condon is one of the best known exponents of the Chicago style. Records: with Fats Waller, The minor drag, Harlem fuss ( 1929 )

city.

concerned, the composer's role is a secondary one. It is the soloists and arrangers who ensure the essential musical nature of an interpretation by a rich embroidery upon the harmony of a theme; these are the real composers, but the title "composer" is customarily given to the man

who

his

CONFESSIN' Supposed been composed

to

have

1929 by Nesburg, Dougherty, and Reynolds. Chorus of 32 bars with release. Louis Armstrong has assured the fame of this piece by his brilliant interpretations; he has made two remarkable recordings of it, in 1930 in

and 1939. Other good recordings: Lionel Hampton (1937), Lil Armstrong with Jonah Jones and Higginbotham (1945), Lester Young (1947). Before being known as Confessin this piece was recorded in 1929 by Fats Waller under the title of Lookin for another sweetie and attributed to the pianist Chick Smith. Probably Smith was the actual composer of the piece, and sold

Nesburg, Daugherty and Reynolds who added new words.

his rights to

COOK - COUNTERPOINT COOK, "DOC" (CHARLES) Band

leader,

b.

Louisville,

Ken.,

Organized a band in Chicago which included notably Freddy Keppard, Jimmie Noone, Joe Poston, John St. Cyr, and Andrew Hilaire. Between 1920 and 1927 this band was reputed to be the best in Chicago next to that of King Oliver's, but its few records Sept. 3, 1891.

give

little

COOL.

idea of

value.

its

See Bop

COOPER, HARRY

Trumpet, Played in Kansas City with Bennie Moten in 1924-25, then in New York with b.

Lake Charles,

La., 1903.

Duke Ellington in 1926. Then moved to Europe and settled in France. pet,

A

who

good

New

Orleans trum-

plays with a "growl" like

Bubber Miley's, but handicapped by a weak embouchure.

COOTIE.

See Williams,

Cootie

COQUETTE Composed in 1928 by Johnny Green and Carmen Lombardo. Chorus: 32 bars with release. It is a good piece for various styles of interpretation. The best recorded

version

is

that of

Louis Armstrong (1942).

are

still

ney de plays

faithful to the cornet (SidParis,

it);

Instrument used in the early years of jazz until about 1925 in place of the trumpet. It's somewhat smaller, and has a rather flatter and less powerful tone than the trumpet. A very few musicians

70

often

cornet-

trumpet, a hybrid halfway between the two in length, of whom the best

known

is Rex Stewart. The role of the cornet is exactly the same as that of the trumpet and the difference between the two instruments is very small. In this volume all those who play both cornet and trumpet— and there are few who haven't played both in their timeare referred to as "trumpets."

COTTREL, LOUIS ("OLD MAN")

Drums,

b. Louisiana, ca.

the best-known bands of the early period of jazz in New Orleans, notably the Olympia Band, the Original Tuxedo Orchestra, and Armand Piron's group. He is reputed to have been one of the great drummers of the early generation, and is said to have had a great influence on Zutty Singleton. He made very few records, and even from these, little impression of his drumming can be

Played

1875.

in

gathered.

COUNTERPOINT tion

of

several

Juxtaposi-

independent me-

lodic lines. In jazz, counterpoint

made up

chiefly of

two

to five

is

me-

lodic parts in a collective improvi-

Examples of counterpoint of Mezz Mezzrow and Sidney Bechet (clarinet and soprano saxophone) in Gone away blues, Jelly roll by their band. Examples of three parts: Louis Armstrong, Kid Ory, and Johnny Dodds sation.

CORNET

for example,

some play the

two

parts are

COX - CRAWFORD trombone, clarinet) in with some barbecue, Put 'em down blues by Louis Arm(trumpet,

Struttin

Hot

Five. Examples of George Mitchell, Kid Ory, Johnny Dodds and Joe Walker

strong's

four parts:

(trumpet, trombone, clarinet, alto saxophone) in Gate mouth, Too tight by the New Orleans Wanderers. Examples of five parts: Sidney de Paris, Claude Jones, Albert Nicholas, Sidney Bechet, Happy trombone, Cauldwell ( trumpet, clarinet, soprano and tenor saxophones ) in Oh didn't he ramble by Jelly Roll Morton. Examples of clarinet and an arranged ensemble: Barney Bigard in the last chorus of Stompy Jones by Duke Ellington. Counterpoint is used only occasionally

by

orchestral

arrangers,

but is of course freely employed in piano solos by such performers as Willie the "Lion" Smith and Fats Waller.

COX, IDA

Blues singer.

b. Knoxville, Tenn., ca. 1900.

Had

a big success in Chicago during the and made a number of records, often accompanied by Tommy Ladnier. Subsequently toured. In 1939 and 1940 she sang early twenties

Cafe Society in New York and appeared at a Carnegie Hall concert. Afterwards she went back on the Graveyard road. Records: dream blues, Worried mama blues, Kentucky man blues, Death letter at

blues (1923-24).

Memphis, Tenn.,

to 1943 he played with Jimmie Lunceford. After a twoyear stretch in the army he joined Ed Hall's small group with which he remained from 1945 to 1947. Since then he has played mostly with studio bands. Crawford is a

drummer

of

the

highest

order

whose inspiration arises originally from the fountainhead of New Orleans, in addition to which he has learned from Sidney Catlett and Chick Webb. His playing is remarkable for its great clarity and his tidy, precise power which can make a whole band swing. He likes a strongly

marked

was

afterbeat;

responsible for bringing this way of playing into fashion, and directly inspired the "beat" of Lionel

Hampton's band and

its

imitators.

Records: with Jimmie Lunceford,

Harlem

shout,

I'll

see you in

my

dreams, For dancers only, Pigeon walk, Annie Laurie (1937); Margie, Down by the old mill

Down by the river Sainte Marie (1938); Taint what you do, Baby won't you please come home (1939); / got it, Okay for baby (1940); Hi spook, Yard dog mazurka (1941); with Milton Mezzrow, Hot club stomp, The swing stream,

session's called to order, Blues in

disguise,

The way

I

feel

today

(1938).

CRAWFORD, ROSETTA Has made a few accompanied by a remarkable small band including James P. Johnson, Milton MezzSinger, b. ca. 1900.

excellent records

CRAWFORD, JAMES b.

From 1927

Drums,

Jan. 14, 1910.

71

.

CRAZY -CRUDUP row, and Tommy Ladnier: Double crossing papa, I'm tired of fattening frogs for snakes, Stop it Joe, My man jumped salty on me (1939).

CRAZY RHYTHM Meyer

by

Composed and

Kahn. Chorus of 32 bars with release. The rhythmic motif of this tune is patin

1928

terned after Duke Ellington's Birmingham breakdown. Best record:

Coleman Hawkins' Sax Quartet, with Benny Carter (1937).

CREATH, CHARLIE CYRIL Trumpet,

b. Ironton, Mo., Dec. 30, Chicago, Oct. 23, 1951. Headed a band in St. Louis and on the Mississippi riverboats from 1916 to 1940. In this band a number of important musicians used to play from time to time, including Pops Foster, Zutty Singleton, Lonnie Johnson, and Eddie Allen. An ex-

1890.

d.

New

cellent

Orleans-style trumpet

who

played very fine blues. Records: Pleasure mad (1924); Won't

Market street stomp by his band.

don't blues,

(1925),

all

CROSBY, "BOB" (GEORGE

ROBERT)

Singer and band leader. Spokane, Wash., Aug. 25, 1913; brother of Bing Crosby. In 1935 took over the old Ben Pollack group; this band, which for many years included Eddie Miller on

b.

Ray Bauduc on drums and Bob Haggart on bass, was a mixture of typical thirties big band style and Dixieland. Records: a tenor sax,

selection can be Dixieland Jazz, Vol. 1.

representative

found 72

in

LP

CROSBY, ISRAEL cago,

111.,

Bass

Jan. 19, 1919.

b.

Was

Chivery

precocious and by 1935 was playing in Albert Amnions' band. He also played with Fletcher Henderson, Horace Henderson, Teddy Wilson, and was in several pick-up bands. He plays with rare speed and precision, and improvises very rich counter-melodies behind the soloists. Records: with Jimmie

Way down

yonder in New Georgia Brown (1935); with Coleman Hawkins, Flamethrower, Night and day (1944); with Gene Krupa, Blues of

Noone,

Orleans,

Sweet

Israel (1935).

CROWDER, ROBERT HENRY ("BOB" or "LITTLE SAX") saxophone and arranger, 1912. In 1938 played with

Tenor b.

ca.

Horace

Henderson, and 1939-40 with Earl Hines. He is a solid and concise sax player whose phrasing is reminiscent of Chu Berry's. Records: with Hampton, Down home Lionel

jump, Rock hill special (1938); with Earl Hines, Father steps in (1939). He is the arranger of an excellent version of Stormy Monday blues recorded in 1942 by Earl Hines' band.

CRUDUP, ARTHUR

("BIG

Guitar and blues singer. b. Forest, Miss., early in the century. He is much indebted to Big Bill Broonzy. Records: Black pony

BOY")

blues (1941 or -42), me, Star bootlegger

Nobody wants (

1950 )

CULLEY- DANIELS CULLEY, WENDELL PHILIPS Trumpet,

Worcester, Mass., Jan. 8, 1906. From 1931 to 1937 played with Noble Sissle, from 1944 to 1949 with Lionel Hampton; since 1952 has been with Count Basie. A remarkable first trumpet and a good soloist. Records: with Lionel Hampton, Air mail special (1946, first

b.

trumpet solo); Midnight sun

(1947); with Count Basie, Small hotel (1953, W.C. plays lead but has no solo).

CURRY, TED N.

Drums,

b.

At-

July 30, 1926. First studied singing and dancing, lantic

City,

J.,

but took up drums in 1944. Toured Europe with Rex Stewart in 194748. A disciple of James Crawford and Jo Jones. Curry is a drummer with a lot of swing when he doesn't degenerate into bop. Records: with

Rex Stewart, At the Barclay club (1947).

CUTTING CONTEST

A

form

of musical competition joined

by

bands, individual musicians or dancers opposed in direct competition. The applause from the audience determines the winner. In the early days of jazz various great musicians and bands used to "cut" one another in the streets of New Orleans, and the same form of competition survived in the larger dance halls of Harlem where there was room for two bands. This intense form of rivalry may also be found in small night spots when "jam sessions" are organized. Such competition is also sometimes referred to as a "bucking" or "carving" contest.

D DAMERON, "TADD" (TADLEY)

Piano,

composer and

DANIELS, DOUGLAS

Trum-

ar-

pet, ukulele, "tipple," singer, b. ca.

ranger, b. Cleveland, Ohio, Feb. 21, 1917. Since 1940 has written the

Brother of Wilbur Daniels (below). For many years played with the Spirits of Rhythm. An excellent musician with an easy style full of swing. Records: with the Spirits of Rhythm, Junk man, Dr. Watson and Mr. Holmes (1934); with Lionel Hampton, Pigfoot so-

arrangements for a number of well-known bands such as Jimmie

Count Basie's and Dizzy Gillespie's. A good arranger, but his work often strays away from true jazz into the field of modern European music. Lunceford's,

1910.

nata (1940).

73

.

DANIELS - DAVIS DANIELS, WILBUR

DAVENPORT, "COW COW"

Bass, "tip-

ple," singer, b. near St. Louis, Mo.,

(CHARLES)

Brother of Douglas Daniels (above). For many years played with the Spirits of Rhythm.

Ala., 1894. d. Cleveland, Ohio,

ca. 1915.

DARENSBOURG, JOE

Clari-

net, b. Baton Rouge, La., 1907. In 1924 played with Buddy Petit's band, then on the Mississippi riverboats and in St. Louis with Fate Marable and Charlie Creath. After a long interval when he was playing very little, he joined Kid Ory in 1945 and has been with him

more

A

(1945).

DARKTOWN STRUTTERS BALL, AT

THE

Composed by

Shelton Brooks in 1915. Chorus of 20 bars. Best records: Ella Fitzgerald (19.36), Fats Waller (1939), Willie "the Lion" Smith (1949).

Dec.

Wrote quite a few blues, among them Cow cow boogie which is a delighftul tune, but was never 2,

1955.

popular

until

years

later

when

words were added and it was recorded by Ella Fitzgerald. Cow Cow Davenport's piano is somewhat uneven, but he's capable of playing very fine boogie woogie. Records: piano solos, Cow cow blues, State street jive

own

or less constantly since that

good musician, but does not have the fluidity and inventiveness of such musicians as Jimmie Noone, Barney Bigard, Albert Nicholas or Darnell Howard. Records: with Kid Ory, Dippermouth blues, Ballin the jack, High society time.

Piano, b. Anniston,

(1928, his

compositions).

DAVENPORT, WALLACE Trumpet, b. New Orleans, La., June 30, 1925. Played in various bands in New Orleans including that of Paul Barbarin. Joined Lionel

Hampton's band in 1953. Inspired by Armstrong, Davenport is one of the young musicians who have not forgotten the best traditions of the jazz of the twenties and thirties. He has exceptional technique and plays with great power as well as a sing-

ing and melodious delicacy; he is one of the great jazzmen of his generation. Records: with Milton

Mezzrow, Serenade to Paris, MoonCoquette, Beverend blues

glow,

DASH, JULIAN phone,

Tenor saxo-

b. Charleston, S.

C,

April

9,

1916. In 1938 joined the band of Erskine Hawkins and has stayed with it ever since. A good, unpretentious player with plenty of swing. Records: with Erskine Hawkins, Bicycle bounce (1942); Big fat

Sam

74

(1947).

(1955, in the last named W.D. plays the muted solo and the final

chorus

)

DAVIS, "BLIND"

JOHN

Piano,

Chicago, 111., Dec. 7, 1913. Blinded when he was about 10 years old in an accident. Best known as a blues accompanist, and b.

; .

.

.

DAVIS -DAVISON since 1936 has recorded with almost

DAVIS, "LOCKJAW" (EDDIE)

the great singers (Big Bill Broonzy, Sonny Boy Williamson, Lonnie Johnson, etc. ) Davis doesn't play such lowdown blues as, for example, Joshua Altheimer, Mem-

Tenor saxophone, b. New York, March 2, 1921. Played with Cootie

all

.

phis Slim, or Big Maceo; but his style is melodious and sensitive, his phrasing clear, and his embellishments often very inventive. Records: with the Yas Yas Girl, I'd rather drink muddy water No. 2 (1937); with Tampa Red, Anna Lou blues (1940); with Big Bill Broonzy, Bed-time blues, Serenade blues, Merry-go-round blues ( 1940 )

Keep your hand on your heart with Lonnie Johnson, (1941); Blues in my soul, Blues for everybody, I'm in love with love, Tell

me why

Lucky Millinder, Andy Count Basie. Musician with a lot of temperament and fine swing. Record: with Count Basie,

Williams, Kirk,

Paradise squat

DAVIS, "HAM" (LEONARD) Trumpet, b. ca. 1905. Played in St. Louis with Charlie Creath in 1924, then in New York with Charlie Johnson for some years beginning in 1928, with Louis Armstrong 1935-36, with Edgar Hayes in 1937. His style owes much to Louis Armstrong. Records: with Eddie Condon, I'm gonna stomp Mr. Henry Lee, That's a serious thing ( 1929 )

111.,

LEM

Alto saxophone.

May

Trumpet, 25, 1925. Since

played

with

Billy Eckstine, Charlie Parker,

Tadd

the

mid-forties

has

Dameron (with whom he went

to

and on and off led a band of his own. A gifted musician but one who by now has entirely deviated from jazz to "cool" Paris in 1949),

music.

WALTER

Piano and

blues singer, b. Grenada, Miss., early 1900's. A most uneven musician, particularly in his piano playing,

now

but was very popular. He has given up music and is in busi-

ness in

St.

Louis.

DAVIS, "WILD BILL" (WIL-

LIAM)

Organ and piano,

b. Glas-

gow, Mo., 1918. Played piano in Louis Jordan's band 1945-47; made a big hit playing the electric organ in various

DAVIS,

1952 )

DAVIS, MILES b. Alton,

DAVIS,

(1946).

(

1949.

Has

Harlem night spots from a fine beat and a lot of

Tampa, Fla., June 22, 1914. Played with Coleman Hawkins, Eddie Heywood, John Kirby, and various small groups. A capable but somewhat uneven performer. Record: with Eddie Heywood, Taint

drive. Records: under his own name, Things ain't what they used to be, Make no mistake ( 1950 )

me

ance, Ohio,

b.

(1944).

DAVISON, "WILD BILL" (WILLIAM) Trumpet, b.

Defi-

1906. Played in Chi-

75

DEAR -de PARIS cago in the

moved played

then about 1940 York where he

thirties,

New

to

"Dixieland" has played mainly in Eddie Condon's band. While technically competent, Wild Bill plays in a loud, flamboyant style that's lacking in the subtlety and real feeling of authentic New Orleans music. various Since 1946

in

groups.

DEAR OLD SOUTHLAND Composed

of

which the

of

by Turner Laytwo 16-bar themes,

in 1921

Made up

ton.

first

in the

major

identical with the spiritual river,

and the

sounds

is

Deep

other, in the minor,

like the spiritual

Sometimes

motherless child. Best recordings: Louis Armstrong (1930), Duke Ellington (1933), Sidney Bechet (1940), and a piano solo by Ellington (1941). I

a

like

feel

DEEMS, BARRETT b. Springfield,

Ohio,

Drums,

March

1,

1913.

Played with Joe Venuti 1938-44, Red Norvo 1948, Charlie Barnet 1951, Muggsy Spanier 1952. Joined Louis Armstrong's group in 1954.

A

good technician. Is featured in LP "Louis Armstrong plays

the

W.

C.

Handy" (1954).

Carter 1940-41. In 1943 formed with Wilbur the de Paris brothers' band which was dissolved in 1945 and finally reformed in 1947; from 1950 they have played almost without a break at Jimmy Ryan's, New York. The band is under Wilbur's name. Sidney is one of the really great trumpets. His inspiration comes from the New Orleans style and Louis Armstrong in particular, but he doesn't accentuate the beat so strongly as the New Orleans trumpets. Avoiding all virtuoso effects, he improvises with great nat-

and sensitivity, creating pure phrases which literally sing; at his best, Sidney has practically no competition. Records: with Charlie uralness

Johnson, Boy in the boat (1928); with McKinney's Cotton Pickers, Miss Hannah (1929); with Don Redman, Nagasaki (1932); with Milton Mezzrow, Revolutionary blues ( 1938, de P. leads in the 2d chorus); with Sidney Bechet, No-

body knows the way

I

feel

dis

morning, Wild man blues (1940); St. Louis blues, Jazz me blues (1944); with Edmund Hall, High Society (1943); with James P. Johnson, Victory stride, Blue mizz, Joy meetin, After you've gone under his own name, Who's ( 1944 ) sorry now, Everybody loves my baby ( 1944 ) with Wilbur de Paris, Prelude in C sharp minor, The mar;

de PARIS,

SIDNEY

Crawfordsville,

b.

May who ran

Ind.,

1905. Son of a musician

own

Trumpet, 30,

his

shows, and brother of Wilbur Played with Charlie Johnson 1927-31, with Don Redman 1932-36, Milton Mezzrow 1937, Zutty Singleton 1939-40, Benny

de

;

tinique (1953).

Paris.

76

de PARIS, b.

WILBUR

Crawfordsville,

Trombone,

Ind.,

1900. Brother of Sidney

Jan.

de

11,

Paris.

.

DESVIGNES - DICKENSON Son of a musician who played trombone, guitar, and banjo and ran

spent his childhood in

and played

in that city

his

own shows in which Wilbur was appearing by the age of seven. Played with Teddy Hill, Louis

Mississippi

riverboats

Armstrong, Ella Fitzgerald,

Charlie Creath, and Dewey Jackson. After a long stay in Chicago-from 1928 to 1933-he

Roy

Ellington,

Duke

Founded band with

Eldridge.

the de Paris brothers' his brother Sidney in 1943 and has

under its presWilbur de Paris and his Rampart Street Ramblers, which can be heard on records in continued

it

name

of

ent

since,

"New

Orleans

DESVIGNES, SIDNEY

Trum-

a selection entitled Jazz" (1953).

Played in the best bands in New Orleans, and on the Mississippi riverboats with Fate Marable. One of the best trumpet

Oliver's.

Record: with Fate Marand Johnny ( 1924 )

able, Frankie

DEWEY, LAWRENCE Duhe)

(Origi-

New

OrPlayed in his home town about 1910 with Emanuel Perez. In 1914 he moved to Chicago, where he headed the OrigCreole Jazz inal New Orleans Rand, which in 1917 included Sidney Rechet, Freddy Keppard, Roy Palmer, Wellman Rraud, and other excellent musicians. He is reputed to have been one of the greatest of New Orleans clarinets, but he never recorded. nally

Clarinet, b.

leans, La., late 1890's.

DIAL,

HARRY

mingham,

Ala.,

Drums,

b. Bir-

Feb. 17, 1907.

He

Louis

with

Fate

Marable,

to New York where he played with Fats Waller. After that he fell into obscurity until 1946 when he re-emerged and led a small band with some success. A solid drummer with a style close to the New Orleans. Records: with Fats Waller, Serenade for a wealthy widow, Baby Brown, I ain't got nobody (1934-35).

went

pet, b. La., ca. 1890.

players of the early generation in jazz, with a style resembling King

St.

and on the

DICKENSON, VIC

Trombone.

Aug. 6, 1906. His brother, who had been taking trombone lessons without either enthu-

b.

Xenia,

O.,

siasm or success, abandoned his instrument in a corner of the house; Vic Dickenson found it and learned to play entirely by himself; was soon good enough to hold his own in small local bands. The first important band in which he played

was that

of

Speed Webb, which

1930 ) included Teddy Wilson and the Eldridge brothers. Then he played beside Sy Oliver in Zack White's band. In 1936 and 1937 he played in Claude Hopkins' New York band; during 1939 and 1940 he was with Benny Carter, then for a while with Count Basie, then again with Carter. In 1941 he played in a number of small groups assembled by Sidney Bechet. After having played in Lips Page's band and then Frank at that time

(

77

;

.

DICKERSON - DIPPER Newton's, he joined the Eddie Heyin 1943 and remained for several years. Since 1944 he has made a lot of records with pick-up bands. Dickenson is a versatile and original musician, but a little un-

wood group

For all that, at he is one of the greatest trombone players. Records: with Count Basie, 7 never knew (V.D. takes 2d chorus), Let me see, The even in

is

Carter,

mad

My

(1940); with Benny

favorite blues (1941);

with Sidney de Paris, Everybody loves my baby, Ballin the jack, Who's sorry now ( 1944 ) with Sidney Bechet, St. Louis blues, Jazz me blues, Muskrat ramble ( 1944 ) with Eddie Heywood, Coquette ;

(1945); Pom pom, You made me love you (1946); with Louis Arm(1946); under his Jeepers creepers, Rus-

Sugar

strong,

Ellington

own name,

sian lullaby (1954).

(RCA

Victor

version,

Cootie Williams Benny Carter (1946).

(1937),

1928),

DILLARD, BILL

his playing.

his best

icorld

revue of 1928. Chorus of 32 bars with release. Best records: Duke

Florida,

b.

1901.

Trumpet, Played in the

bands of Luis Russell, Benny Carter,

Lucky

(with

Millinder,

whom

he

Coleman

1937),

Louis Armstrong.

ond

trip to

Teddy

Hill

Europe in Hawkins, and

visited

He made

a sec-

France in 1949 as ac-

companist to the singer Leadbelly. plays with sensitivity and great feeling. Records: with Spike Hughes, Pastoral (1933); with Dickie Wells, Hot club blues

He

(1937).

DINAH Composed in 1925 by Harry Akst and now almost a jamsession classic. 32-bar chorus with release. Best recordings: Ethel

DICKERSON, CARROLL Band

leader and violin. Between

1922 and 1929 led a well-known band which included such musicians as Louis Armstrong, Earl Hines, Pete Biggs, Zutty Singleton. In 1929 this band played for some in

DIGA DIGA DOO Composed in 1928 by Jimmy McHugh and Dorothy Fields for the Blackbirds 78

(three

versions,

1926,

Wa-

1935,

1946), Louis Armstrong (1930), Fats Waller (1935), violin duet by

Eddie South and Stephane Grap-

Duke Ellington (1937), (1938, under the title Dinah's in a jam ) Lionel Hampton ( 1939 ) pelly

,

New

York under Armstrong's name. Dickerson has left us one very fine record: Savoy agers stomp and Symphonic raps, made in 1929 when Armstrong and Hines were with him.

months

ters

DIPPER

MOUTH BLUES

Composed by Louis Armstrong

in

1917. Classic 12-bar blues intended to

be played

rived from

fast.

The

title is

de-

a nickname given to

Armstrong, who recorded it twice 1923 with King Oliver's band.

in

Fletcher Henderson retitled it Sugar foot stomp, added a 16-bar

)

DIRTY - DIXON theme

for three clarinets

and

re-

corded it for the first time in 1925 with Louis Armstrong, and four times subsequently during 193132. King Oliver recorded it again in 1926 as Sugar foot stomp, and in 1936 Armstrong recorded it again its original title. The three choruses played by King Oliver on the original version make up one of the most famous solos in the

under

whole history of jazz; Armstrong played them with slight modificain

tions

his

recording

Fletcher Henderson (1925) another one under his own

with

and

name

(1936).

DIRTY

A

rough, hard, harsh the opposite of "sweet." A marked gravel tone is the most frequently used "dirty" effect: it is frequently found in style

of playing,

trumpet solos played with the "wa-wa" mute by Bubber Miley and Cootie Williams, and in some saxophone solos by Coleman Hawkins, Ike Quebec, Illinois Jacquet.

DIXIELAND was

The

Dixieland

the style of the jazz musicians of the South, style

originally

more particularly of New Orleans. The expression "Dixieland" is generally considered synonymous with

"New

Orleans," but before 1950, to

most connoisseurs Dixieland was the music played by white bands without a great deal of success to copy the genuine New Orleans style. This use of the word probably derived from the first striving

white group which tried to play in the classic tradition: the "Orig-

Band" (1917). Dixieland style suffered the same eclipse as New Orleans during the thirties, but came back into favor also at about the same time. From 1938 Nick's in New York became the home of Dixieland bands (Edinal Dixieland Jazz

die Condon, Pee Wee —so much so that the miliarly

referred

to

Russell, etc. style

as

was

fa-

"Nicksie-

land"; for all that, this success

was

confined to a few night spots. From 1949 on, however, Dixieland enjoyed the most fantastic popularity throughout the United States —a popularity which is partly accounted for by the fact that the bop and cool bands had so belabored the ears of the public that the music, usually unrefined and easy to listen to, of most "Dixieland" bands as a relief. The Chicago style, an imitation of New Orleans music by white musicians, blended a few years later with Dixieland. It should be noted that, as the years go by, the word "Dixieland" is being used more and more as synonymous with authentic New Orleans music, so that in reading books and articles, etc., the sense in which the word is used should be checked.

came

also

DIXON, CHARLIE

Banjo and

arranger, b. ca. 1900, d. ca. 1940.

From 1923

to 1928 played with Fletcher Henderson with whom he recorded notably: Sugar foot stomp, Watcha call 'em blues, The stampede. A brilliant arranger, Charlie

79

DIXON - DODDS Dixon wrote the orchestration of Sugar foot stomp and the superb That naughty waltz and Harlem congo for Chick Webb.

Keppard, Willy Hightower, Hugh Swift, and Charley Elgar. From 1928 to 1930 he played at Kelly's Stable,

Chicago,

in

his

brother's

band with Nat Dominique and

DIXON, GEORGE

Trumpet,

Charlie Alexander.

He

saxophone, arranger, b. ca. 1905. Played frequently with Earl Hines between 1930 and 1943; also had his own band. Records: trumpet, with Earl Hines, Jersey bounce

to play in various

Chicago night

(1941).

DIXON, TYRELL ("LITTLE T") Drums,

the beginning of the Played and recorded in Chicago with various blues singers. A fine musician. Records: with Big Bill Broonzy, Roll them bones, You b. at

century.

got the best go, Oh baby, When I get to thinkin, Cell no. 13 blues, Humble blues (1945); with Big Maceo, Texas stomp, Detroit jump

spots with his brother until the lat-

death in 1940. He then appeared with several small groups, including one headed by Jimmie Noone. In 1945 he left Chicago for New York where he played with Bunk Johnson, and took an importer's

tant part in the radio series "This Jazz." In 1948 he went to France with Milton Mezzrow's band to play at the Jazz Festival at Nice, French Riviera. On his return to U.S. he was taken seriously ill and since that time his uncertain health has not permitted him to play regis

ularly.

Baby Dodds

(1946).

continued

is

one of the most

typical representatives of the

DODDS, "BABY" (WARREN) Drums, b. New Orleans, La., Dec. 24, 1894. Brother of

Johnny Dodds.

very young played in the New Orleans honky tonks, and then worked successively in the best-known bands in the city such as Sidney Desvignes's, the Eagle Band, John Robichaux's, and the Tuxedo Band before joining Fate Marable's band on the Mississippi riverboats. In 1921 he went to Chicago and entered King Oliver's band at the Lincoln Gardens beside his brother and Louis Armstrong. He left Oliver in 1924 and played successively with Freddy

While

80

still

New

Orleans style and also one of the greatest drummers of all time. His rolls on the snare drums are a model of their kind. He is not above using wood blocks and cowbells to augment the intriguing effects that he can get into his breaks or even play an entire chorus of the simplest New Orleans beat. His tempo is at once easy yet powerful; his strong offbeat accents are brought

which makes for tremendous drive. He has no competition in the playing of High society and other parade numin at the last possible instant

bers.

Baby Dodds has recorded a num-

.

DODDS ber of extraordinary drum solos: improvisation No. I and No. II, Spooky drums, Rudiments, Tom torn work out, Maryland ( 1946 )

Drum Of

his

band recordings the

fol-

lowing are unusually good: with King Oliver, I'm going away to wear you off my mind ( 1923 ) with Johnny Dodds, My little Isabel, ;

Goober dance, Too

tight

(1929);

with Sidney Bechet, Blues in thirds, Misbehavin, Save it pretty mama, Stompy Jones (1940); with Albert Nicholas, Wolverine blues, Albert's blues (1946); under his own name, Careless love, High society ( 1946 ) Baby Dodds also used to play the washboard extremely well, and can be heard on: with Johnny Dodds, Blue washboard stomp, Bucktown stomp, Weary Ain't

.

city (1928).

b.

DODDS, JOHNNY New Orleans, La.,

1892, d. Chicago,

111.,

Clarinet,

April

Aug.

8,

12,

1940.

Learned to play clarinet in his childhood while his brother Baby Dodds took up drums. From 1911 to 1918 he played in Kid Ory's band, at that time the best in New Orleans. In 1918 he toured with Billy Mack and returned to his home town, but in 1920 he was called to Chicago

and

settled

there

by King Oliver for

good.

He

of small New Orleans leading several of them himself. These groups usually inin a

number

groups,

cluded Baby Dodds on drums, Nat Dominique on trumpet, and the guitarist Lonnie Johnson. To the

end

dis-

From

1926 on he made an enormous number of records with Louis Armstrong, Roll Morton, the Jelly New Orleans Wanderers, the Bootblacks, the Chicago Footwarmers,

and a whole series for RCA Victor and Brunswick under his own name. After 1930, with the arrival of the depression, he ceased to make records except for two occasions: in 1938 he made a trip to New York specially for a recording session, and in Chicago in 1940 a few weeks before his death, which was caused by a series of strokes.

Johnny Dodds is (with the exof Jimmie Noone) the greatest representative of the pure

ception

New

Orleans clarinet style. His inhas been considerable; Omer Simeon, Buster Bailey, Frank Teschemacher, Milton Mezzrow, and Claude Luter were all more fluence

or less disciples of

Noone's

Dodds

by his brother and by Louis Armstrong; this was the famous Lincoln Gardens band which had so much influence on Chicago musicians. Then he played

with

was a

Dodds. While

was, like that of Orleans clarinets, very

style

most New mobile and

played four years with Oliver; was joined in turn

Johnny Dodds

of his life

liked playing in big bands.

that of Johnny and violent

fluid,

sharp

and viwere "torn"

attack

strong

brato, almost as

if

it

out of the instrument; but in the

development of

his inventions

variations there

is

the same

and

spirit,

81

;;;

DOGGETT - DON'T the same love of melody displayed by the other musicians from Louisiana. Johnny Dodds played blues with power and incomparable purity. Records: with King Oliver, Canal street blues, Mandy Lee blues, Dipper mouth blues, High society, Sweet loving man, Sobbin

Where did you

blues,

night, Jazzin babies blues,

man

blues,

stay

last

Working

Room rent blues

(

1923 )

with the New Orleans Wanderers, Perdido street blues, Too tight (1926); with the New Orleans Bootblacks, Mad dog, I cant say with Louis Armstrong, Gut ( 1926 ) bucket blues (1925); Lonesome blues (1926); Melancholy blues, That's when I'll come back to you, Hotter than that, Willie the weeper, ;

Chicago (1946). He was the arranger of Muchacho azul recorded by Lionel Hampton in 1947.

DOMINIQUE, "NATTY" TrumNew Orleans, La., Aug. 2,

pet, b.

1896. Played in his home town with Emanuel Perez. Moved to Chicago in 1913 and settled there, playing

with Carroll Dickerson, then with various small New Orleans bands including that of Johnny Dodds. His style was derived from Freddy Keppard, and he's at his best in the slow blues. Records: with Johnny Dodds, Weary city, Bucktoivn stomp, My little Isabel first

(1929).

DONNELLY, TED

Trombone. Nov. 13,

Wild man blues, Alligator crawl, Potato head blues, Gully low blues, Once in a while (1927); under his

b.

Joe Turner blues, Come on and stomp stomp stomp ( 1927 )

and didn't switch to trombone until he was 20. Played

own name, Bucktown (1928); talkin,

My Too

(1929);

Weary city Isabel, Heah me

stomp, little

tight,

clarinet

Goober dance solos,

Clarinet

New St. Louis blues (1927); Blue clarinet stomp, Blue piano stomp, Indigo stomp ( 1928 ) Melancholy baby (1938).

Oklahoma

1912.

Learned

the age of

with

City, Okla.,

to play the violin at

8,

Andy Kirk

1934-42, Al Sears

Count Basie 1943-49. A robust and straightforward musi1943, then

cian.

wobble,

DOGGETT, BILL

Piano, organ,

arranger, b. Philadelphia, Pa., Feb.

Played with Lucky Millinder, Illinois Jacquet, Louis Jordan. A good, solid musician whose style owes something to Count Basic Records: with Illinois Jacquet, Jumpin Jacquet, Illinois goes to 16, 1926.

82

DON'T BLAME in

ME

1933 by Jimmy

Composed

McHugh and

Dorothy Fields. Chorus of 32 bars with release. In recent years has been mostly played as a tenor sax

which the best recordby Coleman Hawkins (1944) and Illinois Jacquet (1946). Other good recordings: Ethel Waters (1933), piano solos by Teddy Wilson (1937) and Art Tatum specialty, of

ings

are

(1949).

.

DON'T - DORSEY DON'T GET AROUND MUCH ANY MORE Composed in 1940 by Duke Ellington. Originally tled Never no lament. Chorus

ti-

of

32 bars with release. Best recordings:

Duke

Ellington (1940),

Ben

Webster (1954).

DORSEY, BOB phone,

b. Lincoln,

Tenor

saxo-

Neb., Sept. 10,

1915. Has played mainly with Horace Henderson (1938), Cootie Williams and Cab Calloway ( 1945-47). A musician with a warm expressive style akin to Herschel Evans'. Records: with Sir Charles Thompson, Benson alley, Strange hour

(1947).

DORSEY, JIMMY

Clarinet, alto

and band leader, saxophone b. Shenandoah, Pa., Feb. 29, 1904. Played with Jean Goldkette and Paul Whiteman, then with his brother Tommy formed the Dorsey Brothers' Orchestra ( 1934-35 ) Subsequently formed his own band. In 1953 the Dorsey Brothers' Orchestra was re-formed. On clarinet he was originally influenced by Jimmie Noone, but achieved no more than a superficial resemblance.

On

alto sax he's not

very

outstanding.

The

two brothers separated in 1935 and Tommy got together his own band, which became very successful from 1936 on and even more so after 1939 when Sy Oliver joined the band as arranger. Many musicians started on the road to fame with Tommy Dorsey, notably Dave Tough and Buddy Rich (drums), Bunny Berigan and Charlie Shavers (trumpet), and Joe Bushkin (piano). its

The band was renowned

for

In

orchestrations.

distinctive

Dorsey brothers again formed an orchestra under their the

1953,

joint leadership.

Early in his career Tommy Dorsey played in the style of Miff Mole, but in 1927, under the influence of Jimmy Harrison, he moved toward the New Orleans tradition and became one of the best white trombones in the business. In 1934 he began to specialize in "sweet" solos, of which he became the chief exponent; he played with a sweetness and purity of tone that's seldom been equaled. After that time his

jazz

more

solos

became more and

Tommy

infrequent.

plays

trumpet from time to time, but his technique on this instrument is not as sure as it is on trombone. Records with the Cotton Pickers, Rampart street blues; with the Travel:

DORSEY,

TOMMY

Trombone,

trumpet, band leader, b. Shenandoah, Pa., Nov. 19, 1905. Played with Jean Goldkette and in the late twenties and early thirties with Paul Whiteman until, with his brother Jimmy, he organized the Dorsey Brothers' Orchestra in 1934.

Breakaway

(1927).

performances by

Tommy

lers,

band are Song Boogie river

(1940);

chariot, last

vooogie

Typical Dorsey's

of India

(1937);

(1938);

Swanee

Swing low, sweet

Deep River (1941);

three arranged

by Sy

the

Oliver.

83

DOUGHERTY - DRUMS DOUGHERTY, EDDIE b.

Philadelphia,

New

Played in

Pa.,

Drums,

ca.

1915.

York with various

small bands, notably those of Frank

Newton and Joe Sullivan. A solid drummer with considerable swing, he has seldom had a chance to make records worthy of him in favorable conditions. He can be heard in the following: with Mildred Bailey, Someday sweetheart, When day is done, I'd rather listen to your eyes ( 1935 ) with James P. Johnson, Hot Harlem, Four o'clock ;

tonal effects can be obtained different from those obtained by the

drumsticks on the rim of either the or snare drum; (2) one or more cowbells, which give a metalbass

lic ring; (3)

temple blocks, a

wider tone scale than (4)

hand

(6)

chimes.

cymbals;

The

(1) (5)

or

(2);

rattle;

inclusion of these

additional instruments

is

optional

with the drummer. He uses drumsticks, wire brushes, or mallets— primarily on the tom-toms.

The drums

groove (1944).

series

wooden "mouths" producing a

of

are the heart of the

band, for they provide the rhythm

DRUMS

A set of percussion instruments of which the basic components are: ( 1 ) bass drums, beaten by pedal action (in certain breaks drumsticks may be used on it); (2) snare drums, played either with drumsticks or wire brushes; (3) one or more cymbals, used either for "punctuation" (for example on the last weak beat of a chorus or of each 8 bars of a chorus) or to establish a regular rhythm, like the snares; (4) two drums called tom-toms, varying in size and tone. Other instruments may be added. The most common accessory is the "high hat cymbal," also known as the "Charleston" or "sock" cymbal (q.v. ) which came into favor after 1928. There are others: a little cymbal, not very loud; a studded cymbal producing a kind of silky jingle, etc. Other

possible

additions

The four regular beats on the bass drum and the rolls on the snare drum marking the weak beats are the founda-

for the other musicians.

Besides providing the reguthe drums are used for rhythmic "breaks" which help in the musical sequence, to underline the solos and to punctuate the detion.

lar beat,

velopment

of an orchestral arrangement. The drummer also of

course plays solos himself, in which

he not only can display

his accentuations

own

and the judicious

use of the various accessories at his disposal.

drum

There are few records of but they are very in-

solos,

teresting for a study of technique.

They

are:

Baby Dodds, Drum imand No. 2, Spooky

provisation No. 1

drums, Rudiments, Maryland, Tom workout (1946); Zutty Single-

are:

torn

(1) the wood block, a rectangular piece of wood on which various

ton,

84

his

rhythmic invention but can also suggest a whole melodic line by

Drum

face (1951). There are

some other records which have

DUNCAN - DUTREY long drum passages, including: Lionel Hampton, Jack the bellboy (1940), Crazy

Hamp

(1953); Sid-

Rose room (1944 VDisc ) Steak face ( with Louis Armstrong on "Satchmo at Symphony Hall" 1947); Cozy Cole, Ratamacue (with Cab Calloway, 1939), Bugle call rag (with Louis Arm-

ney

Catlett, ,

strong,

1950 ) ter:

.

New

Orleans Days L.P., Finally shorter but even bet-

Chick Webb, Harlem congo

Memphis, Tenn., ca. 1900, d. 1938. Toured Louisiana and other Southern states before moving to New York and Chicago, in which cities he played from 1918 to 1928. Went to Europe and settled in Holland where he remained until his death. A good New Orb.

Holland,

leans trumpet, an expert with the "wa-wa" mute. Records: Sergeant Dunn's bugle call blues, Buffalo blues, Ham and eggs (1928).

(1937); Liza (1938).

The

drummers are: Hampton, Zutty Singleton, Baby Dodds, Sidney Catlett, Cozy Cole, James Crawford, Dave Tough, Jo Jones, Tubby and Minor Hall, Alvin Burroughs, Slick Jones, George Stafford, Keg Purnell, Specs Powell, Kaiser Marshall, and Johnny Wells. Chick

greatest jazz

Webb,

Lionel

DUNCAN, HANK

Piano, b. ca.

with Ladnier and Bechet's New Orleans Feetwarmers in 1932; then in Fats Waller's band, sometimes taking Fats' place at the piano. Since 1940 has been playing mostly with small bands in New York night clubs, notably with the Milton Mezzrow Trio. A good pian1910.

Played

DURHAM, EDDIE Tex.,

Aug

19,

Guitar,

San Marcus, 1908. Played with

trombone, arranger,

b.

Benny Moten's Kansas City; moved to Alphonse Trent's band, then to Jimmie Lunceford (1935-37), and Count Jesse Stone, then in

band

Basie

in

(1937-38).

Shortly

after-

wards he led an all- girl band. Durham is one of the arrangers who promoted the Kansas City style in His arrangements are straight an abundant and intelligent use of riffs; among the best recorded ones are: Bennie Mojazz.

to the point with

ten, Moten swing (1932); Jimmie Lunceford, Oh boy, Harlem

shout, Avalon, Pigeon walk,

Wham,

Lunceford special ( 1935-39 ) Count ;

ist in

the Fats Waller, Willie "the

Lion" Smith tradition. Records: with the New Orleans Feetwarmers, Sweetie dear, I found a new baby (1932); with Fats Waller, I got rhythm (H.D. plays the first of the two piano choruses, Waller the second); with Mutt Carey and

Baby Dodds, Slow

drivin (1947).

DUNN, JOHNNY

Trumpet.

Time out, Topsy, Out the window (1937). Eddie Durham was also one of the first musicians Basie,

to use the electric guitar.

DUTREY, HONORE

Trom-

bone, b. Louisiana, 1894, d. July 21, 1935. After having played for some time in New Orleans, he joined King Oliver in Chicago in

85

.

DUVIVIER - ECKSTINE 1919 and remained with him almost constantly until 1924. Then

played in Carroll Dickerson's band and Johnny Dodds' small group. He was a remarkable ensemble musician, whose melodious and solid counter-melody, played with

(1923); with Johnny Dodds, Bucktown stomp (1928); My little Isabel, Goober dance (1929).

DUVIVIER, GEORGE arranger, b.

New

York, N.

Bass and Y., 1920.

a certain air of laziness, made him one of the finest trombones in the pure New Orleans style. Records:

Hawkins, Lucky Millinder, Jimmie Lunceford, Sy Oliver. A performer with

with King Oliver, Sweet baby

plenty of musicianship and swing, much influenced by Jimmy Blanton. Records: with Sy Oliver, Slow burn, Scotty (1947, the latter ar-

doll,

Jazzin babies blues, I ain't gonna tell nobody, Room rent blues, Tears,

Buddy's habit, Snake rag,

High

society,

Riverside

blues

Played

with

Coleman

ranged by him).

E EAGER, ALLEN b. New York,

Tenor saxo-

phone,

N. Y., Jan. 10, 1927. Has played with Woody Herman, Tommy Dorsey, Buddy Rich. The best among the white disciples of Lester Young, but not in a class with Gene Ammons, Dexter Gordon, and Paul Quinichette, who play in the same style. Records: Rampage, Booby hatch (1946).

EAGLE BAND One of the most New

EASTON, AMOS.

See Slim,

Bumble Bee

ECKSTINE, BILLY (Originally ECKSTEIN) Singer and band leader, b.

Pittsburgh, Pa., July

8,

1914. Started out as a blues singer

and became well known with Earl Hines' band (1939-43). He then led his own big band which contained

an

impressive

number

of

good

soloists

taken over by the trombone player Frankie Dusen when Bolden's health collapsed in 1907. From 1911 to 1914 Bunk Johnson was first cornet and was at his best during

and was one of the best in the years 1944-46. It broke up in 1947 and Eckstine has since had an extremely successful career as a crooner of popular ballads. His big band was never recorded under good conditions, its only interesting record being Blowin the

these years.

blues

away

famous bands leans period.

Bolden under

86

in the early

Or-

Founded by Buddy own name, it was

his

(

1944 )

;

EDISON - ELDRIDGE EDISON, HARRY b.

Trumpet,

Made

Ohio, Oct. 10, 1915.

his

debut in 1933. After playing with Alphonse Trent, he caught the attention of musicians when he was with Lucky Millinprofessional

der's Blue Rhythm Band in New York in 1937. Early in 1938 he joined Count Basie's band, of which he was one of the pillars until 1950 when Basie dissolved it. Edison then played with Buddy Rich, with "J azz at the Philharmonic," with Bill Harris, and then joined the band that accompanied Josephine Baker on several tours of the U.S. and overseas. Thereafter settled in California where he worked with Benny Carter in motion picture studios and also played

in several small bands.

Edison adopted the style of Roy Eldridge but eliminated the eccentricities

and

flashy

characterize too

work.

He

that

effects

much

players and his influence can be detected in the trumpet style of such

musicians as Joe Newman, Sam Massenberg, Joe Morris, Harry Jackson, Snooky Young, Emmett Berry, Taft Jordan, and many others. Records: with Count Basie, Every tub, Now will you be good, Sent for you yesterday, Texas shufRock-afle, Panassie stomp ( 1938 ) bye, Basie, jump for me, Miss thing, Pound cake (1939); Easy does it (H.E. plays 2d trumpet solo), Moten swing, Broadway ( 1940 ) Jump the blues away, Tuesday at ;

terbrains, Feather

Jammin

ELDRIDGE, ROY DAVID

plays in a solid, direct

suited to the beat of a

rhythm

He

is

sec-

not only

a very pure jazz soloist, but also a musician with a great sense of melody who knows how to develop his variations with perfect logic, as sensitive

and moving

powerful and fiery. bered among the

He

the Blues.

of Eldridge's

way, often stressing the beat, and has had a good influence on a number of young trumpets who would have got nowhere trying to play like Eldridge. Harry Edison has brought back into popularity a simple, forthright style, very well tion such as Basie's.

Tom

thumb, Platmerchant ( 1941 ) Taps miller, On the upbeat (these two on V-Disc), Queer street (1945); Stay cool (1946); with James Rushing, Good morning blues, Thursday blues (1946). Edison appeared in the movie ten, 9:20 special,

as

he

is

can be numgreat trumpet

("LITTLE JAZZ") b.

Trumpet,

Pittsburgh, Pa., Jan.

30,

1911.

Horace Henderson, Speed Webb, then New York with Elmer

Played with Zack White,

came to Snowden (1931-32). Became well known in 1935 while in Teddy Hill's band. During 1936 played with Fletcher Henderson, then formed his own small group until 1940. From 1941 to 1943 he played with Gene Krupa, in 1945 with Artie Shaw, then toured with "Jazz at the Philharmonic." Went to Europe with Benny Goodman in 1950 and stayed until the following year;

87

ELLINGTON upon his return to the U.S. he resumed playing with "Jazz at the Philharmonic." In an attempt to depart from the Louis Armstrong style so many trumpets adopt, Roy Eldridge evolved a different approach, featuring a furious succession of rapid phrases.

A

remarkable

virtuoso

gifted with exceptional punch, he recorded a number of solos which are very brilliant from the point of view of instrumental technique but are sometimes musically poor. When he gives up striving for effect and plays naturally, he has a lot of swing and is capable of developing his solos coherently, as for example when he recorded Wabash stomp ( 1937 ) and Dale's wail He can also play extremely ( 1953 ) well in slow time in the Armstrong .

example in Where the lazy by ( 1937 ) Twilight time (1944). Rockin chair with Gene Krupa's band (1941) is considered by many to be his best record. The well-known After you've gone (1937) shows Eldridge playing to vein, for

river goes

,

the gallery. Since 1935 Eldridge has

had a considerable

influence

on a

number of trumpet players, not ways with the best results.

al-

ELLINGTON, "DUKE"

(EDWARD KENNEDY) composer,

arranger

and

Piano,

band

Washington, D. C., April 29, 1899. Regan to take piano lessons at the age of 7. First was attracted to a career as an illustrator, but finally decided on music as his leader, b.

88

main interest. He took lessons in harmony and went on with his piano until he became very good at ragtime. At 16 he produced his first composition, Soda fountain rag. Soon afterwards he began playing in Washington with various musicians

who

in

due course be-

came members of his first band, notably Otto Hardwick and Sonny Greer. With these two he left for New York in 1922, where they played together in Wilbur Sweatman's band in Harlem. Duke

know who made

Ellington got to

Willie "the

Lion" Smith

a great im-

pression on him, then Fats Waller

and James

P.

Johnson

who

also in-

fluenced him considerably. Out of

work after their engagement with Wilbur Sweatman, they returned broke to Washington. In 1923 they went back again to New York with banjo player Elmer Snowden and trumpeter Artie Whetsel. Under Snowden's direction the band played for a time at Rarron's, a night club in Harlem; it then comprised the following: Arthur Whetsel (trumpet), Otto Hardwick (alto

and bass Sonny

(banjo),

sax),

Greer

Fred Guy (drums)

and, of course, Ellington (piano). In 1924 a trombone, Charlie Irvis, was added. As a result of various disagreements, Snowden went off to form another band and Ellington became head of this small group which soon got a job at the Ken-

tucky

Club

A few

in

downtown New

months before that time, Arthur Whetsel had been re-

York.

ELLINGTON on

placed

trumpet

by

Bubber

Miley, one of the most important musicians who played with Ellington: his "jungle" style and his melodic ideas played a considerable part in the evolution of the band.

Next, Tricky Sam, whose trombone

sounded something

like

Miley on

trumpet, replaced Charlie Irvis. Other musicians were added and when the band opened at the Cotton Club in New York in 1927 the line-up

Miley

was as follows: Bubber and Luis Metcalf (trum-

Tricky Sam (trombone); Otto Hardwick, Harry Carney, and Barney Bigard (saxophones and clarinet ) Fred Guy ( banjo ) Wellman Braud (bass); Sonny Greer (drums). From this time on, the Ellington group can rightly be considered along with Fletcher Henderson's and the McKinney's Cotton Pickers as one of the greatest big bands in jazz. In 1928 Whetsel returned to take the place of Metpets);

;

;

Freddy Jenkins was added as and Johnny a third trumpet, Hodges replaced Otto Hardwick on

calf,

alto sax.

In 1929 Cootie Williams

Bubber Miley's place and Juan Tizol was added as a second trombone. There were no further changes until 1932, when Lawrence Brown came in as third trombone and Hardwick returned as fourth sax. The band made a European took

tour in 1933 with great success. The line-up remained the same until 1939, except that Hayes Alvis and Billy Taylor

came

in

on bass

(first

together, then Taylor alone), while

Rex Stewart and Wallace Jones

re-

placed Jenkins and Whetsel on trumpet. In 1939 Billy Strayhorn became Ellington's right-hand man for arrangements and directing the band; Jimmy Blanton took Taylor's place on base. In 1940 Ben Webster joined the band on sax; Cootie Williams left and was replaced by Ray Nance. After 1942 the band lost its previous stability and there was a quick turnover of musicians, but they were always good and Ellington managed to maintain a group of the highest standard.

Duke

Ellington

is

greatest personalities scene.

but to

He

is

one of the on the jazz

an excellent

pianist,

his greatest gift is his ability

express his ideas through the

medium of a whole band. He has always known how to pick musicians

whose personality

with his own, only

interpret

his

blend can not

will

men who

orchestrations

well but improvise solos

which are

in perfect accord with these orches-

He is a composer and arranger of genius. He has the gift of creating melodies both charming trations.

and

full of melancholy which are quite unlike most jazz tunes, for

example The mooche, The dicty Shout 'em Aunt Tilly. But

glide,

secondary in comparison to Ellington's orchestration of these melodies, his genius for building up harmonic background with counter-melodies of great musical richness, all conceived in a way that leaves the band plenty of freedom for solid, swinging inthis talent is

89

,

.

ELLINGTON terpretations.

He

has also a great

feeling for subtle harmonic

binations

com-

which are a delight o

to

hear.

During the early part of his until about 1929 or 1930, Ellington was principally inspired by the melodies of the New Orleans musicians and by the style of Fletcher Henderson, who was himself soaked in the New Orleans spirit. But his strong personality was already asserting itself and career,

lending his arrangements a char-

own which is inFrom that time on, Ellington went his own way and now a lot of the big bands imitate him. From 1930 until toacter

of

stantly

their

recognizable.

day his orchestrations have kept on growing in musical complexity, disclosing more and more gifts of harmony and richness which show that, beyond the confines of the jazz world, Ellington may be considered as one of the great composers

of

his

time.

Since

1943

Ellington has sometimes departed

from jazz and composed a few concert works,

and

beige,

such as Black brown

and Perfume

suite; fur-

thermore the compositions and arrangements of Billy Strayhorn have introduced into the band a flavor of modern European music. But in spite of that, when Ellington wants to play strictly jazz, his interpreta-

tions are better than those of the

best big bands. is not a piano virtuoso Waller or Art Tatum, but he can improvise very good cho-

Ellington

like Fats

90

ruses full of ideas style that

may be

and rhythm

in a

called orchestral.

The main

influences on him have been Willie "the Lion" Smith, Fats Waller, and James P. Johnson. Ellington is also a fine ensemble pianist: whether playing a straight accompaniment, or adding a touch here and there with a few chords, or

improvising

subtle

a

melody behind one of

counter-

his soloists,

he

never fails to stimulate the imagination and the swing of his musicians. Among the records on which he plays remarkable piano are: with his own band, Harlem quiver river ( 1927, also called

Brown

Rose room ( 1932 ) 1935 ) The clothed woman (1947); with Rex Stewart, Swing berries )

Margie

(

,

,

baby swing ( 1937, also known as Love in my heart); with Johnny Hodges, Rendezvous with rhythm (1938); piano solos, Black beauty (1928), Solitude, Dear old southland (1941), Jumpin room only, Frankie and Johnny ( 1945 ) In a sentimental mood, Things ain't what they used to be, Prelude to a ,

kiss,

A

Who

knows

(

1954 )

selection of the best records of

The creeper head, East St. Louis toodle-o, Creole love call, Black and tan fantasy, Blues I love to sing (1927); Take it easy (OkehParlophone version), Got everything but you, Hot and bothered, More over, The mooche, Blues with a feelin, Goin to town (1928); Flaming youth, Doin the voom voom, Saturday night function,

the Ellington band:

(1926);

Hop

;

.

ELMAN - EMBOUCHURE Harlem

blues, Cotton club fiat stomp, Saratoga swing, Jazz lips (1929); Double check stomp, Old man blues, Ring dem bells, Shout 'em Aunt Tillie, Sweet chariot, Rockin in rhythm (1930); Echoes of the jungle, It's glory (1931); Lazy It don't mean a thing,

rhapsody called Swanee (also rhapsody); Baby when you ain't there, Bugle call rag, Rose room, The sheik of Araby, Blue ramble,

Ducky wucky (1932); Slippery horn, Bundle of blues, Hyde Park, Harlem speaks, Jive stomp ( 1933 ) Stompy

Troubled

Jones,

waters,

Saddest tale ( 1934 ) Margie, Show boat shuffle, Merry go round, Cotton, Truckin (1935); Kissin my baby goodnight, In a jam (1936); ;

Scattin at the kit kat,

Harmony

in

Harlem, Diminuendo-crescendo in blue (1937); Prologue to a black

and tan fantasy and

New

black and

tan fantasy (actually the two parts of a new version of Black and tan fantasy), Riding on a blue note,

The gal from Joe's, Watermelon man, Slap happy (1938); Subtle lament, Pussy willow, Portrait of the lion, Tootin through the roof, Country gal (1939); Jack the bear, Ko-Ko, Concerto for Cootie, Cotton tail, Never no lament, Bojangles,

Across

the

track

blues,

The sidewalks of New York (1940); Take the "A" train, Just a-settin and a-rockin, Five o'clock Chloe,

drag (1941); Perdido, What am I here for ( 1942 ) Things ain't what they used to be (V-disc, 1943); Rockabye river, Trumpets no end ;

(1946); Stomp look and listen (1947); Fancy Dan (1951). Ellington and his band were in several movies, notably Check and

Double Check (1930), Cabin in the Sky ( 1943 ) and in a number of shorts, including Black and Tan ( 1929 ) and Bundle of Blues ( 1935 ) ,

ELMAN, ZIGGY Trumpet, trombone, saxophones, band leader. b. Philadelphia, Pa.,

May

26, 1914.

Started out with a local band in Atlantic City 1930-36, played with Benny Goodman 1936-40, then

with Tommy Dorsey until 1943. Served in the Armed Forces 194346, and after that returned for one year with Tommy Dorsey. Since 1947 has free-lanced in Hollywood and led his own band on and off.

Elman

specializes in strident solos

in the

upper register of the trum-

His best known is And the angels sing which he recorded

pet.

with Benny Goodman (1939) and with his own band.

EMBOUCHURE

The shaping

of the lips around the mouthpiece

of a

wind instrument. To a certain a good embouchure is a

extent,

factor of the original shape of the

musician's mouth, and some very thin-lipped people can never acquire one. Generally, however, a good lip position is a knack that

can be learned and it's one of the most important and difficult elements in learning any instrument that's blown. A musician who starts out with a faulty embouchure is apt to be permanently handicapped

91

.

ERSKINE- EVANS in his playing;

and an injury

teeth or lips

a major disaster to a

is

to the

performer on a wind instrument, as

may be noted

in

many

of

these

biographies.

ERSKINE, LES Drums,

b. 1925.

Played with Bardu Ali in 1941-42, but did not achieve his true stature until

1950. Plays fine, solid,

New

Orleans-style drums. Since 1953 has

played in the small group headed by Paul Quinichette. Records: with Vic Dickenson, Russian lullaby, Keepin out of mischief now ( 1954 )

ESCUDERO, BOB Tuba. b. ca. A member of Fletcher Hen-

1900.

derson's

band 1923-26, and McKin-

ney's Cotton Pickers 1926-29. Rec-

with Fletcher Henderson, Sugar foot stomp, Watcha call 'em blues, T.N.T. (1925); The Stam-

ords:

pede (1926).

ESTES, "SLEEPY JOHN"

Gui-

and blues singer, b. probably Columbus, Ga., ca. 1880, d. March 1953. One of the oldest and greatest blues singers on records. His

tar

superb guitar playing is reminiscent of Big Bill Broonzy's; he probably influenced Big Bill. His vocal style differs widely from that of

all

abrupt and

other blues singers. full of contrasts,

It's

with

syllables half swallowed; his voice,

which is very moving, sounds almost like that of a man in tears, but without any trace of sentimentality. Records: Diving duck blues (1929);

92

Down

south blues, Stop

that thing,

Who's

Someday baby

been

tellin

you,

blues,

Buddy

Brown blues, Married woman blues, Drop down mama (1934); Vernita blues, Need more blues (1937); Everybody ought to make a change, Liquor store blues, Easin back to Tennessee, Fire department blues, Clean up at home, New someday baby, Special agent (1938); Mailman blues, Time is drawing near, Jailhouse blues, Mary come on home, Drop down (1940); Lawyer Clark, Little Laura blues, Working

man

blues (1941).

EVANS, HERSCHEL

Tenor

saxophone, clarinet and arranger, b. Denton, Tex., 1909. d. New York, Feb. 9, 1939. Played in the band of Troy Floyd 1928-29, then with Benny Moten at Kansas City in 1934, in California with Lionel Hampton, and with Buck Clayton. In 1936 he entered Count Basie's

band where he remained

until his

death.

Herschel Evans was one of the finest tenor saxes of all time.

He

was strongly influenced by Coleman Hawkins, for whom he had an unlimited admiration. His playing was reminiscent of the Hawkins of 1930, particularly in slow tempo, but it was more concise and eager. In fast and medium tempos Evans created a style of his own, full of drive, strongly stressed, with tight

and powerful

inflections.

He was

an extraordinarily lyrical musician who put everything he had into each note, and whose warm, som-

EVANS -EXACTLY ber tone and violent, almost overheated vibrato struck the listener forcefully. Besides Hawkins and Lester Young, Herschel Evans is the most influential of tenor saxes; which is extraordinary in view of

was only prominent in Count Basie's band for two and a half years, and made comparatively few records. Among tenor saxes influenced by him to a greater the fact that he

or lesser degree are Illinois Jacquet, Don Byas, Buddy Tate, Jessy

Powell, Paul Quinichette. Records: with Count Basie, The glory of love,

One

o'clock

solo), John's idea,

jump

(1st tenor

Smarty (1937);

Georgiana (1st tenor solo), Sent you yesterday, Swinging the blues (2d tenor solo), Doggin around (1st tenor solo), Blue and sentimental (1938); with Harry James, One o'clock jump, Life goes to a party (1938); with Lionel Hampton, Shoe shiners drag, Muskrat ramble (1938). He arranged Doggin around and Texas shuffle for Count Basie, and played for

clarinet in that band's

Jumpin

at

technique and very he played in a fast, loose which was rooted in the pure

instrumental inventive, style

jazz tradition.

and very

He made

frequent

effective use of the "slap"

tongue effect. Records: with Jelly Roll Morton, Wild man blues, Beale st. blues, Jungle blues, Billy goat stomp, Hyena stomp, The pearls (1927).

EVERYBODY LOVES MY BABY Composed in 1924 by Spencer Williams. Chorus: 32 bars, in A, A 2 , B, A form. The best recording is by Clarence Williams' Blue Five, with Armstrong on trumpet

(1924); other good recordings: Mezzrow-Ladnier Fats (1938), Waller (1940), Sidney de Paris (1944).

EWELL, DON

Piano, b. Balti-

more, Md., Nov. 14, 1916. Remarkably like Jelly Roll Morton in style. Records: piano solo, Manhattan stomp; with Baby Dodds, Wolverine blues, Albert's blues (1946).

the woodside (1938).

EXACTLY LIKE YOU Number EVANS, "STOMP"

Alto, tenor

and baritone saxophone, b. ca. 1900, d. ca. 1930. Played in Chicago between 1920 and 1930, notably with King Oliver, Erskine Tate, and Carroll

Dickerson.

One of the first really

great saxes. Gifted with a brilliant

composed

by

Jimmy

Dorothy

Fields.

Chorus of 32 bars with

release.

McHugh

in

and

1930

Good vehicle for improvisations. The best recording by far is Louis Armstrong's ( 1930 ) Also very good the one by Count Basie (1937). .

is

93

.

FAREWELL - FITZGERALD

FAREWELL BLUES

Com-

posed in 1923 by Leon Rappolo, Paul Mares, and Elmer Schoebel. The chorus (16 bars with release) bears harmonically a striking resemblance to the last strain of Weary blues. Best records: King Oliver Benny Carter (1927), (1938).

FAWKES, WALLY b.

London, England, July

Has played

for a

Humphrey

number

Clarinet, 21, 1924.

by far is the one by Fletcher Henderson (1927). Another good one is by Mutt Carey

best recording

(1947).

FIELDS,

of years

FIELDS, CARL ("KANSAS") Drums,

New

1915.

Lyttleton's

Orleans clarinets, particularly

Sidney Bechet and Jimmie Noone. Record: Fishmouth (1954, his own composition).

Andy

b. Chapman, Kan., Dec. 5, Played with Roy Eldridge,

Kirk,

Benny

New

d.

March

Pollack,

Orleans, La., Dec. 10, 1912, 20, 1949. Played with Ben

Glenn

Bob Crosby, city. Inspired by

Miller,

and in his native Leon Rappolo. A good technician but not a great jazzman. Record: with Bob Crosby, High Society

Carter,

Cab

in 1953.

A drummer

and swing, but uneven. Inspired by Chick Webb and Sidney Catlett, his style is parof virtuosity

full

ticularly reminiscent of the latter.

Records: with Buck Clayton, Sweethearts on parade; with Milton

Mezzrow, Wrap your troubles Swingin with Mezz,

dreams, can't

believe that you're in

with me, Boogie special (the

(1939).

two on Vogue LP "Jazz time

FIDGETY FEET Composed

in

1918 by Nick LaRocca and Larry Shields. It has two main themes, the first 16 bars long, the second 32 bars, both without release. The

94

Cal-

loway, Lips Page, Sidney Bechet, and made a European tour with

Mezz Mezzrow

FAZOLA, IRVING (IRVING HENRY PRESTOPNIK) Clarinet, b.

Trombone,

Played in the New Orleans style with plenty of "growl"; can be heard to advantage with Roll Morton on Georgia Jelly swing, Shoe shiners drag, Mournful serenade ( 1928 )

band in London. Pleasantly inspired by the in

GEECHY

b. ca. 1900.

No.

3,

in I

love last

Paris"

1953).

FITZGERALD, ELLA

Singer,

Newport News, Va., April 25, 1918. Her parents died when she

b.

FLARE - FLEMMING was very small and she was brought up in a New York orphanage. She

Dixie (1939). Subsequently her singing became more "professional" in the quantities of sugary "ballads" she recorded for economic reasons, but her remarkable talent never left her. She is a wonderful scat singer, as may be heard in Cow cow boogie Flying home ( 1945 ) Lady ( 1944 )

took part in an amateur competition at the Apollo, Harlem, in 1934, and her success in it won her a place in Chick Webb's band; she was still with him when he died in 1939 and the band continued under her name until 1942. Later on she made a number of tours with various bands, principally with "Jazz at the Philharmonic." Ella Fitzgerald can be considered one of the very best jazz singers. While she was with Chick Webb and in the few following years she sang very straightforwardly, with

an

enthusiastic

freshness,

FLARE A note held by a player at the

end

band

into

imthe trumpet which plays the lead note ( see Louis Armstrong in Willie the weeper, 1927). The flare may be played by the whole melody section; it may also be a chord instead of a single note (see Armstrong's Where the blues were born in New Orleans, 1946). The flare is a typical New Orleans device but is often used by bands playing in other

much

swing song ( 1936 ) A little bit later on ( 1937 ) Cryin mood, Rock it for me, The dipsy doodle, Hallelujah, I want to be happy (1938); Un;

;

final

It

is

collective

generally

FLEMMING, HERBERT

My heart belongs to daddy 1939 ) published under her name and recorded with a section of Chick Webb's band, Dark town

(ARIF

NICCOLAIIH EL-MICHELLE)

;

Trombone, April

5,

Tunis,

b.

1905.

^Bz J

J

J

H

N.

Africa,

He immigrated

as a

became a

jazz

child to the U.

from

J

a

styles.

decided,

strutters' ball, Shine, Strictly

of a chorus to lead the

provisation.

emotion, and a swing that has seldom been equaled. Records: with Chick Webb, Devoting my time to you, Sing me a

(

;

;

be good (1946).

S.,

=Sfr-

J

j

Flare

95

;

.

FLOWERS -FLYING musician and

made

a

number

of

on which

records

Europe ( notably with Sam Wooding), and also toured in China, Japan, Java, and India. Re-

may be

shortly before

in Spike

visits to

turning to the U.

S.

World War II he played with Earl Hines, Lucky Millinder, Fats Waller, and various other bands. Gave up music for some years, until 1949. 1953 he has played with Henry Allen. He has a good tone

flute choruses heard, for example those

executed by

Benny

Wayman

Carver in

Carter's Devil's holiday

Hughes' Sweet Sue

and

1933 ) duets in (

and the clarinet-flute Chick Webb's Hallelujah, I want to be happy, and I got rhythm (1937).

Since

and plays in a style much influenced by Jack Teagarden. Records: with Freddie Johnson, Sweet madness, I got rhythm ( 1933 )

FLOWERS, PAT

Piano

and

Mich., Oct. 6, 1917. Studied at the Detroit Con-

singer,

b.

Detroit,

servatory, then went into jazz, taking Fats Waller very closely as his model. Has mostly appeared in his home town. Records: Bach prelude and fugue ( 1944 ) Carolina in the ;

morning (1947).

FLOYD, BUDDY phone,

b. ca. 1920.

fornia with Jay Milton. A great

Tenor saxo-

Played in Cali-

McShann and Roy

man

in slow blues,

which he plays with very concise phrasing and many glissandos. Records: with Roy Milton, R.M. blues, True blues; with Jay McShann, Slow drag blues.

FLUTE

An

instrument

little

used in jazz bands because, unlike the trumpet, trombone, or clarinet, it's much less capable of producing flexibility comparable to jazz vocal technique. There are a few rare

FLYING

HOME

Composed by

Lionel Hampton in 1939. A very pleasant riff tune. Chorus of 32 bars with release. The original version is that of the Benny Goodman sexwith Lionel Hampton and tet Charlie Christian (1939), but the first published under Hampton's own name is that recorded by RCA Victor-HMV in 1940 with Budd Johnson on tenor sax. The latter is taken at the tempo best suited to the piece, but suffers from a mediocre rhythm section. Later Hampton produced several rousing interpretations of the piece with his big band: with Illinois Jacquet on tenor sax (1942); Flying home No. 2 with Arnett Cobb on tenor sax (1944); V-Disc (1944); 1949 under the title Wee Albert; 1951 under the title Gate steps out. There is also another version on V-Disc called Flying on a V-disc (1944), made in the course of a concert in New York in which Hampton, Armstrong, Eldridge, Bigard, Hawkins, Tatum, and Catlett took part. Other recordings: Art Tatum Trio (1944); Illinois

Jacquet (1946).

(1945);

Tiny

Grimes

FOSTER -FRANKEE FOSTER, "POPS" (GEORGE

MURPHY)

Bass. b. McCall, As-

cension Parish, La.,

When

May

he was about 10

19, 1892.

his family

to New Orleans and he learned cello from his father and sister. At the age of 16 he changed to string bass and played in the Storyville honky-tonks with Kid Ory, King Oliver, Roy Palmer, George Baquet, and other musicians, and orchestras such as the

moved

Eagle Band and Magnolia Band In 1914 he left New Orleans ( 1907 ) and spent some time on the Mississippi riverboats, notably with Louis Armstrong and Baby Dodds in Fate Marable's band. Shortly after 1920 he worked for a while in St. Louis with Charlie Creath's band. In 1927 he was in California. Two years later Luis Russell brought him to New York and he remained .

almost constantly in Russell's band (which became Armstrong's in 1935), until 1940. Afterwards he played in and around New York with small groups and made a number of records. In 1948 he visited France and played at the Jazz Festival in Nice, French Riviera, with Milton Mezzrow. Since then he's been playing most of the time with the band that Jimmy Archey took over from Bob Wilber in 1950. Pops Foster is one of the really great bass players. A typical representative of the New Orleans style, using a great deal of slap, he plays with extraordinary power and his punch is much stronger than that of any other bass in the business.

He seldom

attempts anything very

imaginative, but sticks to a pure classic style. It is largely because of Pops Foster that the tuba more or less dropped out of bands in favor of the string bass. Records:

with Louis Armstrong, Mahogany hall stomp, St. Louis blues, I ain't got nobody, Dallas blues (1929); Blue turning grey over you ( 1930); Swing that music (1936); with Henry Allen, Feeling drowsy with Luis Russell, The new ( 1929 ) ;

call of the freaks, Jersey lightning,

Doctor blues (1929), Saratoga shout (1930), Case on down, Saratoga drag (1931); with J. C. Higginbotham, Give me your telephone number, Higginbotham blues (1930); with Tommy Ladnier-

Mezzrow, If you see me comin, Royal garden blues, Gettin together,

Ain't

none

my

gonna give nobody

(1938); with Bechet, Bowin the blues, Old school, Out of the gallion, De luxe stomp, Ole Miss of

jelly roll

Mezzrow and

(1945), butt,

Tommy's

Kaiser's

last

blues,

break,

I

Funky want

some, I'm going away from here, Chicago function (1947).

FOUR OR FIVE TIMES Composed ca. 1927 by Hellman and Gay. Chorus: 16 bars without release. Best recordings: Jimmie Noone (1928), Jimmie Lunceford Milton Mezzrow with (1935), Claude Luter (1951).

FRANKIE AND JOHNNIE A very

Composer unknown.

old

ballad, always extremely popular.

97

FREEMAN - FULLBRIGHT Best

recorded

Waters (piano

solo,

Ethel

versions:

(1938),

Duke

Ellington

1945, with orchestra,

V-Disc 1945), Erroll Garner (1947, piano solo under title Frankie and Gamie ) The same melody with different words is also known as Stack d lee blues of which Ma Rainey made a good recording in 1925. .

FREEMAN, "BUD" (LAWRENCE)

Tenor saxophone. Chicago, 111., April 13, 1904. One of the original five musicians from the Austin High School, Chicago, who in 1922 formed a band which became typical of the Chicago style, playing at the Friar's Inn. After this, and after some time with the McKenzie-Condon group, he played with Ben Pollack, Red Nichols, Gene Kardos, Tommy Dorsey, and b.

Benny Goodman. Then led his own band and played in various small Dixieland groups.

He tried to

his instrument to the

New

adapt Orleans

style and also was much influenced by Coleman Hawkins but never

quite assimilated the latter's style. Records: with Eddie Condon's Chi-

cago Rhythm Kings, The eel, Home cooking ( 1933 ) with Milton Mezzrow, 35th and Calumet, Sendin the vipers, Apologies (1934). ;

FRONT LINE

The melody secwhich generally sits in front the rhythm section.

tion,

of

FRYE,

DON

Piano, b. SpringOhio, ca. 1905. Played with Lloyd Scott, Cecil Scott (1926-29),

field,

98

Frank Newton (1937), Zutty

Sin-

(1940-41). Since 1945 has

gleton

been permanent

Jimmy

soloist

between

New

York. Records: Man in the moon, voulezvous (1945).

sets

at

Ryan's,

FULFORD, TOMMY

Piano,

Played with Chick Webb 1936-39, and with Ella Fitzgerald 1939-42. Influenced by Louis Armstrong and Art Tatum; a lively performer with an energetic touch. Records: with Chick Webb, Clap hands here comes Charley, I ain't got nobody, I want to be happy with same band under Ella ( 1937 ) Fitzgerald's name, The dark town b.

1912.

ca.

;

strutters

ball (1936).

FULLBRIGHT, RICHARD Bass. b. in the South early 1900's.

Played in Florida in the band of Alonzo Ross with which he came to New York in 1928. There he played with Elmer Snowden 192932, then moved to Teddy Hill's band with which he made a European tour in 1937. Later on played with Billy Hicks, Zutty Singleton,

Dave

and

Martin,

other

A

small

powerful and dramatic bass whose full tone and superb resonance is reminiscent of Pops Foster, though his style is more like Walter Page's. His best records are those he made with Dickie Wells in Paris ( 1937 ) Between the devil and the deep blue sea, Bugle call rag, Sweet Sue, Hangin around boudon; also, with Teddy Hill, groups.

:

King Porter stomp (1937).

;

.

.

FULLER -GAITHER FULLER, "BLIND BOY"

FULLER, WALTER

Gui-

and

and blues singer. Blind, b. Durham, N. C, ca. 1900, d. 1940. Went to Chicago in the thirties and made a number of records. He had a bass voice, unlike most blues singers, who range from tenor to countertenor. His singing was simple and grave; his guitar style had all the color and purity of the primitive blues men. Records: Working man blues, Walking and looking blues, tar

Where my woman Step

it

woman

usta lay

(

up and go (1939);

his

made

in Earl Hines' band, in

1932-40; then band. Musician with a vigorous, vehement, and simple style; influenced by Armstrong both in his playing and singing; he makes a great use of mutes and "growl." Records: with Earl Hines, Cavernism (1933); Darkness, Wolverine blues ( 1934 ) Ridstarted

his

own

;

in

Little it

Worn out engine blues, Thousand woman blues 1940

baby,

)

(

mark

which he played

1937 )

you're so sweet, Shake

Trumpet

singer, b. ca. 1910. First

and

jivin, After all I've

been

to

you, 'Gator swing ( 1939 ) Call me happy, Topsy turvy (1940); with ;

Lionel Hampton, Rock Hill special,

Down home jump

(

1938 )

G GAILLARD, "SLIM" (BULEE)

GAINES, CHARLIE

For a number of years was straight man in the well-known team of "Slim and Slam" with Slam Stewart. He achieved an immense popular

Trumpet, Aug. 8, 1900. Played with Charlie Johnson and Leroy Smith during the twenties, and later on at the head of his own band in Philadelphia. A good musician with a direct style, some-

success through his strong personal-

what

Drums,

come-

bass, piano, singer,

dian, b. Detroit, Mich., Jan. 4, 1916.

ity,

his

dead-pan humor, and

for instrumental Plays very good guitar

talent

his

imitation.

T ravelin

of the New Orleans school. Records: with Fats Waller, Harlem fuss, The minor drag (1929).

somewhat

in the style of Charlie Christian.

Records:

b. Philadelphia, Pa.,

blues,

Vout

GAITHER, BILL ("LEROY'S BUDDY") Guitar and blues singer,

Opera in vout (1946). Appeared with Slam in the film Hellzapoppin

Tennessee ca. 1908. Hasn't a very good voice for the blues but sings pleasantly in the style of

(1941).

Leroy Carr,

boogie,

Sighing

boogie

(1945);

b.

in

whose honor he 99

GANT- GARNER adopted the name of Leroy's Buddy and in 1940 recorded The life of Leroy Carr.

CECIL

GANT,

Piano

and

singer, b. Nashville, Tenn., ca. 1915, d. 1951.

His singing recalls that of

Leroy Carr and to a certain extent King Cole, though it's not as smooth as the latter's. He is a remarkable boogie woogie pianist with a solid beat, but he can also play in a quite different style, with melodic phrases reminiscent of Armstrong's trumpet. Records: 7 wonder, I'm a good man but I'm a poor man, Cecil's jam session, I ain't gonna cry anymore, Screwy boogie, Train time blues, Ninth street jive, Special delivery blues, It's

a

girl,

Owl stew

(1944-50).

GARLAND, ED

Bass. b.

New

Orleans, La., Jan. 9, 1895. Took part in a number of parades in his home

town

which he played either the tuba or the bass drum. Played with Frank Dusen and the Excelsior in

Band. Left New Orleans in 1914 Chicago where he played with Emanuel Perez and King Oliver. In 1921 he settled in California where he was a member of Kid

for

Ory's

band and of various small When Ory re-formed his

groups.

band

in 1944

land,

who

he again hired Garhas been with him ever since. A good bass player in a sober, typically New Orleans style. Records: with Kid Ory, Get out of here, Blues for Jimmy, South, Creole

song (1944); Wolverine blues,

Clarinet

100

marmalade (1954).

GARLAND, JOE (JOSEPH COPELAND) Tenor and baritone saxophone, composer, b. Norfolk, Va., Aug. 15, 1910. Made his debut with Jelly Roll Morton. Went to France about 1930. Played with the Blue Rhythm Band 1931-36, with Edgar Hayes 1937, with Don Redman 1938-39, and with Louis Armstrong 1941-47. sician who has

An

excellent

mu-

never been well recorded. Composed In the mood

and Leap

frog.

GARNER, ERROLL b.

Piano,

Pittsburgh, Pa., June 15, 1921.

Became known when he appeared 52d Street night clubs of York in 1944. Went to California in 1945 and to Paris in 1948. Has played exclusively with small groups, mainly trios. Self-taught, Garner can't read in the

New

music. Unlike the majority of modern pianists, he constantly plays with both hands, with a powerful and active left hand reminiscent in fast and medium tempos of Fats Waller in his later years. His improvisations are full of daring and often include excellent harmonic ideas. In slow tempo he has a tendency to play sentimentally with runs and arpeggios and the use of

neo-Debussy chords which have very little to do with jazz. Records:

piano

solos,

Movin

around (1945); Play piano play, Frankie and Gamy (also called Fantasy), Slow gin fizz (otherwise Barclay's bounce), Loose nut, Blues garni, Love for sale (1947); Blue

.

GEE -GILLESPIE and

When

sentimental (1949); Jada, you're smiling (1950);

strong (1931), Fats Waller, piano solo (1941).

Honeysuckle

rose (1951); with Three o'clock in the Wrap your morning (1945); troubles in dreams ( 1946, the latter also issued under Garner's own

poser, b. Brooklyn, N. Y., Sept. 28,

name )

in Blue

Don

Byas,

GERSHWIN, GEORGE

Com-

1898, d. Los Angeles, Calif., July 11, 1937. Best known for his Rhapsody

and the opera Porgy and These works borrowed phrases and effects from jazz withBess.

GEE AIN'T I GOOD TO YOU Composed in 1929 by Don Redman. Chorus of 16 bars with release. Best recording: McKinney's Cotton Pickers (1929).

GEE,

MATTHEW

Trombone.

Houston, Tex., Nov. 27, 1921. From 1943 played frequently with the Erskine Hawkins band and also appeared with the small groups of Joe Morris and Gene Ammons. In 1952 joined Illinois Jacquet's band. A gifted but uneven musician, inspired by Trummy Young. Record: with Joe Morris, Wow (1949).

b.

GEORGE, KARL b.

ca.

1918.

Trumpet, Played with Teddy

out themselves being in the idiom. On the other hand, Gershwin wrote several

numbers which have been

frequently used to good purpose by jazz musicians, notably: 7 got

rhythm, The man I love, Lady be good, Liza, Somebody loves me.

GETZ, STAN Tenor saxophone, Feb. 2, 1927. Since mid-forties has played with Stan Kenton 1944-45, Benny Goodman, Woody Herman 1947-49, and various small bands, some under his

b. Philadelphia, Pa.,

name. Picked up much of his style from Lester Young but mixed bop with Lester Young's style and often deviated from jazz.

Wilson 1939-40, Lionel Hampton 1941-42, Benny Carter 1944, Count Basie 1945, and with various small groups. His style recalls that of Harry Edison. Records with Lionel Hampton, Three quarter boogie (1941); In the bag (1942); under his own name, Baby it's up to you, :

Grand slam (1945).

GEORGIA ON MY MIND 1930 by Hoagy Carmichael. Chorus of 32 bars with release. Best recordings: Louis Arm-

Composed

in

GHOST OF A CHANCE Composed in 1932 by Victor Young. Chorus of 32 bars with release. Has

become

a specialty piece for tenor

Chu Berry Cab Calloway (1940), Lester Young (1944), Illinois Jacquet saxes. Best recordings:

with

(1945).

GILLESPIE, "DIZZY" (JOHN BIRKS) Trumpet and bandleader, b. Cheraw, S. C, Oct. 21, 1917. His family

moved

to

Philadelphia in

101

);

GILLUM -GLENN 1935 and he

made

his

musician

professional

debut as a there

in

band the same Teddy Hill's band, with which he went to France and England. Later on played with Cab Calloway, Benny Frank

Fairfax's

year. In 1937 joined

Carter, Earl Hines, Billy Eckstine;

then in 1945 abandoned jazz and launched out into bop. In 1946 formed a big band which he took

on a European tour Gillespie

is

in 1948. a very gifted trum-

much influenced by Eldridge. Gradually he began to experiment with a style of his own and abandoned the traditional music he played so well in favor of an instrumental technique and harpet, originally

Roy

monic

intervals adopted from the study of European music. His playing in quick tempo involved tre-

mendously

fast

and

shrill variations

with hardly any swing left, and in slow tempo, a sad, declamatory manner which has none of the "singing" tone of jazz musicians. This was "bop," of which he was one of the pioneers. While Gillespie's small groups have played purely bop, his big bands have always contained a certain number of excellent jazz musicians such as Howard Johnson, Alton Moore, "Big Nick" Nicholas, Budd Johnson, Jessie Powell, and have usually used arrangements written in the jazz idiom— for instance those of Buster Harding.

A

record such as Teddy Hill's King Porter Stomp (1937) shows Gillespie playing in a style similar

102

to

Roy

Coleman Haw-

Eldridge's;

Disorder at the border ( 1944 shows him still as a jazz-man but with a few bop effects already creeping in.

kins'

GILLUM, WILLIAM ("JAZZ GILLUM") Harmonica and blues b. Greenwood, Miss., ca. Has lived most of his life in Chicago where he made a number of records. His voice is warm and of good quality but he doesn't sing such lowdown blues as, for in-

singer,

1908.

Kokomo Arnold, or Waters. He plays wonderful blues on the harmonica, producing beautifully sustained single notes rather than chords, with a fine, restrained vibrato. Records: stance, Big Bill,

Muddy

to the highway (1940); Long razor blues, I'm not the lad ( 1946 ) You got to run me down, Handreader blues, I'm gonna take my

Key

rap (1947).

GLENN, LLOYD

Piano, b. San

Played Texas 1935-36, with Lowell Fulson in California, and from 1949 to 1952 in Kid Ory's band in Los Angeles. An excellent blues pianist. Records: with Kid Ory, Ory's boogie, St. Louis blues, Blues for Jimmie Noone Antonio,

with

Don

Tex.,

ca.

Albert's

1910.

band

in

(1951).

GLENN, TYREE WILLIAM Trombone and vibraphone, sicana, Tex.,

Nov.

b.

Cor-

23, 1912. In his

youth was a member of Bob Young's which accompanied Ma

band

.

GLISSANDO - GOODIE Rainey. Played with Eddie Barefield 1935-36, with the Eddie Mallory group accompanying Ethel Waters 1937-38, with Benny Carter 1939, and for the following six years with Cab Calloway. In 1946 toured

he became an orand manager of bands. Some of them played under his own name-notably that of 1926-27 which included Bix Beiderbecke and Frankie Trumbauer. He helped

Europe with Don Redman, and

considerably in the launching of the excellent McKinney's Cotton

soon after his return to the U. S. joined the Ellington band with

which he remained more or constantly until

1951.

An

pleasantly

ganizer

Pickers.

less

GONSALVES, PAUL

erratic

musician but capable of excellent solos

classical pianist,

reminiscent

of

Sam. Records: on trombones, with Rex Stewart, Three horn parlay (1945); with Brother Joshua (Cousin Joe), If I just keep still (1945); with Duke Ellington, Three cent stomp, Hya Sue, Sultry serenade (1947). Tricky

,

mad

at you, Robins basement (1947); with Duke Ellington, Fancy Dan Take the "A" train ( 1952 ) ( 1951 )

Basie, I ain't

GLISSANDO

The

from

slide

one note to another without breaking the sound. Much favored by New Orleans trombones in collective improvisation, but actually

used by most instrumentalists. Barney Bigard on clarinet plays glissandi in a

number

of Ellington

recordings, notably Saturday night

(RCA Victor-HMV

function

ver-

Perhaps the finest glissando on wax is that played by Louis Armstrong to pass into the final chorus of Shine (1931); Armstrong also plays superb glissandi in Chantezles bas (1954, "Armstrong plays W. C. Handy"). sion).

Tenor

saxophone, b. Boston, Mass., July 19, 1920. Played with Count Basie 1946-50, and subsequently with Duke Ellington. Belongs to the Hawkins school, but has been more particularly influenced by Ben Webster and Don By as. He has a powerful tone and his playing is full of drive. Records: with Count nest,

Basie's

;

GOODIE, "BIG BOY" (FRANK) Tenor saxophone, trumpet, b.

Royville,

the original

La.,

clarinet,

1906. Played in

Tuxedo Orchestra

and returned to Europe in 1946. "Big Boy" plays good New Orleans clarinet and pleasant trumpet but it's on tenor sax that he's really excellent. He is one of the rare saxes who owe nothing either to Haw-

or Lester Young, but has evolved his own emphatic and melodious style. Records: tenor sax, with Bill Coleman, Swing guitars, kins

GOLDKETTE, JEAN and band France,

Piano

leader, b. Valenciennes,

March

18,

1899.

First

a

of

Oscar "Papa" Celestin and settled in Europe in 1925. Spent the years of World War II in South America

103

.

GOOD - GOODMAN I ain't got

his

nobody (1937); under

own name, You and

I

babe,

Who's sorry now, You in my arms and sweet music, It's a sin to tell a lie (1939), Big boy boogie, Blue drag

(1946);

own name, with

Bill

St.

clarinet,

under

his

Louis blues (1935);

Coleman, Big boy blues

(1937).

GOOD MAN FIND, A

IS

HARD TO

Composed

ca. 1925 by Eddie Green. Chorus of 24 bars. A very good old standard. Best records: Bessie Smith (1927), Fats

Waller (1939).

GOODMAN, BENNY

Clarinet

and bandleader,

b. Chicago, 111., Played with Ben Pollack 1926-30, then free-lanced in New York where he participated

May

30, 1909.

many recordings by Red Nichols and other studio bands. In 1934 he got together a big band which,

in

slow start, made a tremendous hit and started the "swing era." Between 1936 and 1942 he must have been the most popular musician in the world. Since the early fifties he has appeared only at irregular intervals, mostly with a small group. A motion picture biography of Benny Goodman was after a

produced in 1955. Goodman doesn't appear in it, but provides the music

with his band. The personnel

of

Benny

Goodman's

band

in-

cluded at various times some of the leading white jazz musicians (Bunny Berigan, Harry James, trumpet; Gene Krupa, drums; Jess 104

Stacy, ell,

Johnny Guarnieri, Mel Pow-

piano; and

many

others

)

Benny Goodman has been perhaps a

overrated. His technical pro-

little

ficiency

on the

but his tone

is

clarinet

is

fantastic,

inclined to be thin

and his style somewhat mechanical and cool. His band was a little stiff and lacked the swing, the ease and rich sound of such great colored bands of the same period as Jimmie Lunceford's and Count Basie's.

The remarkable

success

of

this

group was due partly to the wonderful work done for Benny by such arrangers as Fletcher Henderson, Jimmy Mundy, Mary Lou Williams, and Edgar Sampson. For example, When Buddha smiles, Blue skies, Sometimes I'm happy, and King Porter stomp (1935) are Fletcher Henderson at his best, although the arrangements were executed with more precision than feeling. Other great orchestrations: Roll 'em (1937, arranged by Mary Lou Williams); One o'clock

jump

arranged by Count good example of the band's performances can also be found in the "Carnegie Hall Jazz Concert, 1938" Album. (1938,

Basie).

A

Besides his big band, Goodman a tremendous hit with his Trio which included Teddy Wilson on piano and Gene Krupa on drums and became a Quartet with the addition of the great Lionel Hampton on vibraphone; then with

made

his Sextet

which included the won-

derful guitarist Charlie Christian,

Cootie Williams on trumpet, and

..

.

GOODWIN - GRAPPELLY Count Basie on piano for a time Basie gave up his own band.

when Some

of the best small group rec-

ords are:

by the

Trio, After you've

gone (1935); by the Quartet, Dinah (1936); by the Sextet, Star dust (1939), Royal garden blues I found a new baby ( 1941 ) ( 1940 )

minor mad, Blow Mr. Dexter Bikini, Ghost of a chance with Billy Eckstine, Blowblues away (1944, D.G.

ter s

(1945); (1947); ing the plays a nions )

GRAHAM, BILL

,

GOODWIN, HENRY

Trumpet. Washington, D. C, Jan. 2, 1907. Made European tours with Claude Hopkins 1924, Lucky Millinder 1933, Edgar Hayes 1937, Milton Mezzrow 1948, Jimmy Archey 1952. Played a lot in New York with Charlie Sidney Johnson, Bechet, Cecil Scott, Bob Wilber, and Jimmy Archey. A little erratic

at times, Goodwin is capable of very good things, particularly in the "growl" style, as in Blues in the air recorded by Bechet ( 1942 )

GORDON, DEXTER

Tenor

saxophone, b. Los Angeles, Calif., Feb 27, 1923. As soon as he left school played in Lionel Hampton's band 1940-43; during 1944 played with Louis Armstrong, and then with Billy Eckstine's group during that band's best years, 1944-45. Subsequently was with a number of small groups in California and

on 52d Street in New York. Gordon is one of the best disciples of Lester Young, from whom he has taken the essential of his style. His tone is

fuller

and more powerful than

Young's, but he hasn't got the same

melodic and rhythmic invention. Records: under his own name, Dex-

8,

Baritone saxo-

Kansas City, Mo., Sept. 1918. Played with Erskine Haw-

phone, b.

Gene Am-

sax duet with

b.

Edwin Wilcox, Lucky

kins,

Mil-

Count Basie, Dizzy Gillesthen formed his own small

linder, pie,

band.

GRANT, COOT

Singer, b. ca.

During the twenties toured

1900.

vaudeville with her husband, Sox Wilson. She then opened a restaurant in Harlem, but made several comebacks. Records: Come in

on Coot and do that thing, Have your chill I'll be there when your fever rises, Speak now or hereafter hold your peace ( 1925 ) with Mil;

ton Mezzrow, Evil gal blues, You got to give it to me, You can't do that to

me

(1946).

GRAPPELLY, STEPHANE Violin,

1908.

b.

Paris,

Gave up

France, Jan. 26,

classical

vor of jazz in 1927. inal

member

Hot

Club

music in

Was an

fa-

orig-

of the Quintet of the

de

France

from

its

foundation in 1934. In 1940 went to England and played in London throughout the war with very great success.

One of the few good jazz vi-

with a style influenced by Louis Armstrong and Eddie South. Records: violin solo, I found a new olinists,

105

.

.

GRAY - GREEN baby; with room, Beale

Bill st.

Coleman,

Rose

blues; with Quin-

of the Hot Club de France, Minor swing, Vipers dream ( 1937 )

tet

sought

after

accompanist for

as

blues singers; in this capacity he made a large number of records. In 1927 he left Fletcher Henderson

June Clark's band; he next played for a few months with Fats Waller, then from 1931-33 with Chick Webb. With his broad glissandi, his massive tone and his power, Green was one of the best

to join

GRAY, phone,

WARDELL

b.

Oklahoma

Tenor saxoCity,

1921, d. Las Vegas, Nev.,

Okla.,

May

26,

Played with Earl Hines 1943-46, then with Benny Carter,

1955. Billy

Eckstine,

Benny Goodman, and various small

representatives

of

the

old-time

Gray was good during

trombone style. Playing the blues he was without equal on trombone; he made his instrument "talk" in a

quantity of bop cliches. Records: with Earl Hines, Blue keys, Let's

picturesque, plaintive voice. In his records with Bessie Smith he replies with extraordinary eloquence to the phrases of that great singer;

get started (1946).

see:

Count

Basie,

A

follower of Lester Young. his years with Hines, but gradually his playing became contaminated with a

bands.

Rainy weather blues, Salt waWork house blues. House rent blues, Dying gambler blues ter blues,

GREEN, BENNY

Trombone.

Chicago, 111., April 16, 1923. One of a family of musicians. Played with Earl Hines 1942-43; served in the armed forces from 1943 to early 1946, then returned for a while to Hines; later played with Gene Amnions, Charlie Ventura, and various small groups, eventually returning to Hines again. Influenced first by Trummy Young and then by Johnson, Green is an excepJ. J. tionally supple and mellow trombone, very inventive, with a good attack and good tone. Record: with Earl Hines, Trick-a-track (1947). b.

(1924); Trombone Cholly, Hot spring blues (1927); Empty bed blues, Standin in the rain blues Other records: with (1928). Fletcher Henderson, Watcha call 'em blues (1925); Jackass blues (1926); with Fats Waller, Wont you get off it please ( 1929 )

GREEN, "FREDDIE" (FREDERICK WILLIAMS) Guitar, b.

Charleston,

S.

C, March

31,

Learned guitar at the age of 21. Joined Count Basie's band in 1937 and has remained with it ever 1911.

since except for the years 1950-51

GREEN, "BIG CHARLIE" (CHARLES)

Trombone,

b.

when

New

Orleans, La., ca. 1900, d. 1936. He entered Fletcher Henderson's band in

New 106

York

in 1923.

Was much

Basie temporarily had a small group. Green is strictly an orchestral musician, but as such, one of the best known in jazz. His excellent tempo and unfailing swing

.

GREEN -GRIMES contribution to the high quality of Basie's celebrated rhythm section.

Worried life blues, My soul on fire (1951); under his own name, Over and under ( 1952 )

Records: with Count Basie, Topsy (1937); How long blues (1938); Fare thee honey fare thee well

b. ca. 1912.

have always made an appreciable

( 1939 ) boogie

;

The mad boogie, Hob (1945);

Paradise

nail

squat

(1952).

GREEN, "URBIE" (URBAN) Trombone,

Mobile, Ala., Aug. 8, 1926. Played with Gene Krupa 1947-50, Woody Herman 1950-53 and in New York with various small bands and Benny Goodman 1955. An excellent technician who can play good jazz, but has unfortunately been influenced by the progressive style. Record: with Buck Clayton, How high the fi (1954). b.

Parker,

GRIFFIN,

GORDON

Trumpet,

A

capable but uneven who has played with

musician

Benny Goodman and Ray McKinley. Records: with Teddy Wilson, Rhythm in my Charlie Barnet,

nursery rhymes, Life begins you're in love (1936).

when

JOHNNY ARNOLD

GRIFFIN,

Tenor saxophone,

b.

April,

1928.

Hampton Lionel 1945-47, and later on with Joe Morris. His style is reminiscent of Arnett Cobb's. Records: with Lionel Hampton, Air mail special (1946, Played

with

J.G. takes 1st part).

GRIMES, "TINY" (LLOYD)

GREER, "SONNY" (WILLIAM) Long Branch, N. J., Dec. 15, 1900. Played with Duke Ellington from the formation of his band Drums,

until

b.

Afterwards played in Hodges' small group. A

1951.

Johnny good technician who knew how

to

bring plenty of tonal color to El-

GREY, AL Trombone,

b. Potts-

town, Pa., ca. 1925. Played with Benny Carter 1945-46, Lionel Hampton 1948-52, then led his own small group. A musician remarkable for the

power

tremendous

of his attack drive.

with Lionel Hampton,

Rag mop

(1949);

Newport News,

Va., July 7, 1915. First played the piano, but took up the guitar in

New York in

1940. With bass player Slam Stewart made up the Art Tatum Trio for two years (1943-

44); then led a number of small groups. One of the great experts

on the electric guitar, from which he obtains more than most other

lington's interpretations.

his

Electric guitar, b.

and

Records:

Wee with

musicians.

He

uses

a four-string

which he plays both in solos and ensembles with a swing and an attack which equal the great Charlie Christian, by whom he was much influenced. At the same time guitar

with a splenmelodic invention. He

he's a fine technician,

Albert,

did

Sonnie

expresses himself best in a straight-

gift for

107

.

GROWL -GUITAR forward, sober style, with admirably shaped phrases. His playing is always full of life and has an infectious

warmth and

sincerity that

spreads itself in any band he plays with. Records: with Art Tatum, Topsy, Body and soul, Soft winds 1944); with Cozy Cole, Take it on back (1944); with Clyde Hart, Riding on 52d street (1944); with Ike Quebec, Blue Harlem, Tiny's (

siderable attention in 1940 when he successively with Benny

played

Goodman and Artie Shaw, and later Tommy Dorsey and Raymond

with

Scott. In 1942, tired of touring,

decided

to

settle

in

New

he

York,

where he has since played in a number of night spots— one notable engagement was with Don Byas— and has made a number of rec-

Topsy (1944-45); with

ords with studio groups. Guarnieri is very versatile; his

John Hardee, Hardee's partee, Idaho ( 1946 ) under his own name, Tiny's boogie woogie (1946), Annie Laurie (1949).

style reflects the influence of his three masters— Fats Waller, Count Basie, and Art Tatum— according to the kind of chorus he's playing;

exercises,

;

usually the Waller-Basie influence

GROWL

A

deep, rough tone produced with the lips on wind instruments in imitation of tones used by some blues singers. Properly produced, it can be remarkably effective and can contribute a lot to the swing of a performance. It has often been used by Bubber Miley, Cootie Williams, and Sidney de Paris on trumpet and Tricky Sam

on trombone; but

sometimes occurs also in the solos of such tenor saxes as Coleman Hawkins, Ben Webster, Ike Quebec, and clarinets such as Jerry Blake and Albert

GUARNIERI, JOHN Brooklyn, N.Y., May

A

Piano, 23,

1917.

descendant of the famous Guarnerius family of violin makers and players from Cremona. His father taught him the piano in his childhood. He became a jazz musician at the age of 18. He attracted con108

(

1945 ) Melody in swing ;

(

1946 )

it

Nicholas.

b.

predominates. Guarnieri is one of the few white musicians who have perfectly assimilated the traditional jazz style. His swing is very good. Records: with Lester Young, Sometimes I'm happy, Afternoon of a Basie-ite (1943); with Don Byas, Little white lies, Them there eyes, My melancholy baby, Avalon

GUITAR The ment used

traditional instru-

accompaniment. bands first appeared, the guitar was included as one of the instruments of the rhythm section. Since there was no piano in the early groups, but only drums and tuba, the guitar was the principal harmonic instrument. The guitarist continually played the chords of the number, striking either a chord on each beat of the bar or a chord on the weak beats and a bass note on the

When

in blues

jazz

)

GUT - GUY strong beats. ( This last arises from the technique of singers accompanying themselves on the guitar.

The guitar was early superseded by the banjo because the latter's tone was more audible in a band composed mainly of brass instruments. But owing to the instrumental refinement that became general around 1930, the guitar into favor and replaced the banjo. A few years later some in

jazz

came back

guitarists, still finding it difficult to

make themselves heard made use of an electric

clearly,

amplifier

plugged into their instruments. Leonard Ware and Eddie Durham were the two chief champions of the electric guitar; from 1939 their lead was followed by the majority of musicians using that instrument.

The

electric

advantages.

It

guitar has

certain

enables the perhimself heard eas-

former to make ily both in solos and ensemble work. Sustained chords and sharp contrasts

become

possible.

But the

mechanical amplification deprives the instrument of its peculiar tone and makes it unsuitable for accompaniment in the original blues style. The six-string guitar is the one most frequently used by jazz musicians, but some have used the fourstring

Some

and a few the

blues guitarists use the neck

of a bottle on the

the

ten-string.

left

hand

culiar sound.

Broonzy, Willie Bee, Kokomo ArScrapper Blackwell, Sleepy John Estes, Memphis Minnie, Muddy Waters, John Lee Hooker (only the last two consistently use the electric guitar ) in the old New Orleans style or a near approach to it, Blind Blake, John St. Cyr, Bud Scott, Lonnie Johnson, Josh White, Buddy Christian, Danny Barker; in the styles current since 1939, Charlie Christian, Al Casey, Django Reinhardt, Teddy Bunn, Leonard Ware, Billy Mackel, Floyd Smith, T-Bone Walker, Tiny Grimes, Jimmy Shirley, Freddy Green. nold,

;

GUT BUCKET

Colloquial ex-

synonymous with "low-

pression

down." The expression appears in the title of one of the great jazz Louis Armstrong's Gut bucket blues, recorded by him with his Hot Five in 1926. classics,

FRED Guitar and banjo, Georgia, May 23, 1899. A member of Ellington's band 1923-48. GUY,

b.

Competent but never

GUY, JOE mingham,

Ala.,

great.

Trumpet, Sept.

b.

29,

Bir-

1920.

Played with Teddy Hill, Coleman Hawkins, Cootie Williams, Lucky Millinder,

"Jazz

at

the

Philhar-

and

in order to get a pe-

accompanied Billie Holiday who was his wife. A very

The Hawaiian

erratic musician, at his best, remi-

little

finger of

guitar

very rarely used in jazz. Great guitarists in original blues, Blind Lemon Jefferson, Big Bill

is

:

monic,"

niscent of

Roy

Eldridge. Record:

with Sidney Catlett,

I

never

knew

(1945).

109

:

.

HACKETT - HALL

H HACKETT, BOBBY and

Trumpet

guitar, b. Providence, R.

I.,

Jan.

Has spent most of his playing in small Dixieland groups. Influenced by Bix Beiderbecke. A good musician but somewhat lacking in swing, he hasn't quite assimilated the traditional jazz idiom. Record: with Eddie 1915.

31,

time

Condon, Jada (1938).

pet players. Records: with Duke Ellington, Creole love call, Blues I love to see ( 1927 ) under her own ;

name, accompanied by Ellington, Baby, I must have that thing (1933).

HALL, AL

Bass. b. Jacksonville,

March 18, 1915. Played with Teddy Wilson 1939-41, then with Fla.,

different small groups in

HAGGART, BOB

Bass b. Doug-

N. Y., March 13, 1913. From 1935 on played with Bob Crosby's band throughout its career. Since mid-forties has worked in broadcasting studios in New York. Became well known through his record The big noise from Winnetka on which he plays bass and whislaston,

accompanied by Ray Bauduc on drums ( 1938 ) Other records tles,

.

with Louis Armstrong, Ain't misbehavin, Save it pretty mama (1947, "Satchmo at Town Hall").

HALL, ADELAIDE

Singer,

New

York, N. Y., 1909. One of the stars of the "Blackbirds" revue. b.

Went

England with Duke band in 1935 and settled there, making a successful career in music halls and radio, and running her

own

night club in Lonwho can use the "growl" associated with trum-

A

110

good

New York.

with a full, rich tone. Records: with Don Byas, Super session, Melody in swing (1945); with Louis Armstrong, Jack Armstrong blues (1947). reliable bass

HALL, b.

New

EDMUND

Orleans, La.,

Clarinet,

May

15, 1901.

Played with Alonso Ross in 1928, Claude Hopkins 1929-35, the Blue Rhythm Band, Joe Sullivan, Teddy Wilson, and then formed his own small group. He has been perhaps a little overrated; he uses more of a trumpet style than most New Orleans clarinets. Records: with Viv Dickenson, Jeepers creepers, Russian lullaby ( 1954 )

to

Ellington's

don.

A

striking singer

HALL, FRED ("TUBBY ") Drums, 1895,

Sellars,

b. d.

May

13,

brother of Minor his professional

the Crescent

La.,

Oct.

1946.

"Ram"

Hall.

12,

Elder

Made

debut in 1915 with

Band

in

New

Orleans.

;

.

HALL - HAMILTON Moved to Chicago in 1916 where he played with Lawrence Dewey, then spent eighteen months in the armed forces. Returning to Chicago, he played mostly with Carroll Dickerson between 1922 and 1928. In 1931-32 was in Louis Armstrong's band. Subsequently played with Half Pint Jaxon, Jimmie

was hired by the trumpet Mutt Carey, he moved once more to California where he settled down. In 1944 he joined Kid Ory with

Noone

numbered among the

and other small

1934-35,

groups in Chicago.

New

One

of the best

Orleans-style drummers. His

playing, less subtle than, say, Zutty

characterized by and a powerful drive, with a heavy accent on the afterbeat in most of his interpretaSingleton's,

is

great

strength

tions.

Records:

You

strong,

with Louis Armyou ( 1931 ); with

rascal

Jimmie Noone, The blues jumped a rabbit, Sweet Georgia Brown (1936); Keystone blues, New Orleans hop scop blues ( 1940 )

HALL, MINOR ("RAM ") Drums,

b.

Sellars,

Moved with

La.,

March

2,

family to New Orleans in 1900. His brother Tubby had taken up drums, and he decided when he was 17 to follow suit. In 1916 joined Kid Ory's band; shortly afterwards he moved with his family to Chicago and played at the De Luxe Cafe in Laurence Dewey's band, which included Sidney Bechet and Ed Garland. In 1921 he moved to San Francisco with King Oliver's band, then returned to Chicago where he played for some time with Jimmie Noone, in company with Earl Hines, Joe Poston, and John St. Cyr. When he 1897.

his

whom

he has since remained. He is model of solid power; plays with strongly marked accentuation of a

He has been influenced by Baby Dodds and can be

the afterbeat.

best exponents of the pure New Orleans style. Records: with Kid Ory, Muskrat ramble, The girls go crazy about the way I walk, Oh didn't he ramble, Original dixieland onestep, Do what Ory say, Weary blues ( 1945 ) with Louis Armstrong, Where the blues were born in New Orleans,

Mahogany hall stomp ( 1946 ) with Kid Ory, Muskrat ramble, Gettysburg march, Wolverine blues ;

(1954).

HALLELUJAH

Composed

in

1927 by Vincent Youmans. Chorus of 32 bars with release. Best recordings: Chick Webb (1937), Fats Waller piano solo (ca. 1940), Coleman Hawkins (1944), Art Tatum piano solo (1945).

HAMILTON, JIMMY and tenor saxophone, S.

C, June

Clarinet b.

Dillon,

25, 1917. Studied

music

very young and learned to play nearly every instrument. He became known in the jazz world when he played with Teddy Wilson 1939-42. Since 1943 has been in Duke Ellington's band. A good instrumentalist, but his technique is based more on classical than jazz music.

Ill

HAMILTON - HAMPTON HAMILTON, JOHN Trumpet,

("BUGS")

Louis, Mo., 1911, d. 1947. Started playing professionb.

St.

small jazz bands in the city. In 1928 went to California where

Teddy Weatherford gave him some

He

1931 with Chick Webb, then played with Charlie Johnson, Sam Wooding, Cab Calloway, Teddy Hill, Fats Waller. Much influenced by Armstrong, he played with a wonderful hard attack. Records: with Fats Waller, You're lettiri the

piano

grow (1939); Oh frenchy, The moon is low, You run your mouth and I'll run my business Chant of the groove (1940);

with Armstrong, playing both vibraphone and drums. However, it was only in 1934, when he formed his own band at Sebastian's Cotton Club in Los Angeles, that he worked seriously on the vibraphone

ally in

grass

(1941).

HAMNER, CURLEY

Drums

and dancer, b. Birmingham, Ala., March 15, 1919. Member of the remarkable dance team "Red and Curley" who worked with Louis Armstrong,

with

then

Lionel

Hampton 1945-49. From 1949 Hamner has remained alone with Hampton; he

is

a

brilliant

per-

drums on the following records made by Lionel Hamp-

former. Plays

ton in 1953: Free press oui, Real crazy, Blue Panassie, Walkin at the Trocadero, Elmer the stockbroker.

instruction.

played

in

various bands there, including Paul

Howard's, and in 1930 was in Les Hite's band at the time that Louis Armstrong took it over, during Louis'

first

stay on the

made

Hampton

and became a

West

several

Coast. records

real "vibes" special-

Two years later Benny Goodman heard him, made several recist.

him for making it a Quartet ) with Teddy Wilson and Gene Krupa. Hampton remained with Goodman from 1936 to 1940. During this ords with him, and hired his Trio

(

period he also made a fine series of records with studio bands, of which some are real masterpieces, namely: Whoa babe, On the sunny side of the street, Buzzin around with the bee, Shoeshiner's drag, Drum Sweethearts on parade,

HAMPTON, LIONEL ("HAMP") Drums, vibraphone, piano, band

stomp.

leader, arranger, b. Louisville, Ken.,

which very soon outshone the best

April 20, 1913. Soon after he was born his family moved first to

of

Birmingham, Ala., then Here Hampton began

to Chicago. his musical

playing the big drum in band of the Chicago Defender newspaper. It wasn't long before he was playing drums with

career,

the children's

112

In

Goodman

to

1940

form

Hampton left own big band

his

its size.

Lionel Hampton is one of the alltime greats of jazz. Whether on vibraphone, drums, or piano he displays unbelievable agility, a virtuosity that constantly produces a drive few jazz musicians have ever equaled. On drums, Lionel Hamp-

.

.

HAMPTON ton

likes

a

"lazy" accent

strong rhythm and on the afterbeat. His

Disc, 1945); Air mail special, Robins in your hair

(

1946 )

;

How

high

moon, Goldwyn stomp, Giddyup, Muchacho azul, Midnight sun (1947); Moonglow, Easy to love (1949); Nearness of you (1953);

playing has the solid basis of the great New Orleans drums and that of Chick Webb. His virtuosity adds a real sparkle to the "classicism" of

the

his breaks. On drum solos he displays an astonishing vitality and

Blue Panassie, Free press oui, Real Always, September in the rain (1953); Serenade to Nicole's mink coat, Blues for the Hot Club de France, Elmer the stockbroker Flyin on a V-disc ( V-Disc, ( 1953 )

unlimited rhythmic invention. He can be heard on drums to advantage in the following records, all

under know,

his

name:

I

know

that

you

Drum stomp

(1937); Jack the bellboy (1940); Chasin with Chase Crazy Hamp (1941); (1953). The vibraphone is the instrument which Hampton plays most often. He is the only musician who has extracted genuine marvels from this unrewarding instrument. He turns out magically beautiful solos, the melodic line always logical and admirably developed. Despite the sophistication and complexity of his musical ideas and the very considerable difficulties involved, Lionel plays in a soft, relaxed, apparently careless style. A very precise beat and numerous contrasts give his vibes the same dynamic rhythm as his drums. Records: Buzzin around with the bee, Stomp-

crazy,

;

1944); Star Dust (1947, from Gene Norman's concert "Just Jazz"). Hampton's piano style is very original: usually he used one or

two

fingers of

in the

each hand somewhat as he plays the

same way

vibraphone, creating rapid phrases in the high treble, while another musician accompanies him on piano and provides a rhythmic and harmonic bass. Here again Hampton not only shows remarkable virtuosity but always swings. Records: China stomp, Piano stomp (1937); Rock hill special (1938); Wizzin the wizz (1939); Central avenue breakdown (1940); Beulah's

boogie

woogie No.

(

1945 ) Hamp's boogie

2,

;

New

central

breakdown (1949); Walkin

avenue at the

swing, Down home jump Sweethearts on parade, Shufflin at the Hollywood, Memories of you, Early session hop, Hot mallets (1939); Blue because of

Trocadero ( 1953 ) Hampton is also capable of playing brilliant piano using both hands, as he has shown in Denison swing ( 1939 ) Hampton sings with a lot of swing and a sense of humor. Sometimes he can shout good blues as in Chicken shack boogie ( 1949 )

you (1940); Loose wig, Tempo's boogie (1944); Vibe boogie (V-

leader.

Rhythm rhythm (1937); Don't be that way, I'm in the mood

ology,

for (

1938 )

;

.

Finally,

He

Hampton has the

is

a

great

gift of electrify-

113

.

.

HANDY - HARDING ing a band with his own playing and enthusiasm. His big band bears the unmistakable stamp of his personality;

full of virtuosity, drive,

it's

and swing. His markedly stressed syncopation is like Jimmie Luncewhile

ford's, riffs

built

up

swing

sible

his

use

of

simple

into the greatest pos-

is

reminiscent of Count

Best records by his band: (1942); Flying home chop, Loose wig, The lamplighter, Hamp's boogie woogie,

Basie's.

Flying No. 2,

A

million

dollar

smile,

Overtime

Hawk's nest, Mingus Muchacho azul, Midnight sun ( 1947 ) Hamp's boogie woogie Giddy-up,

fingers,

;

2,

Albert

Beulah's sister boogie, (

Wee

Hamp's gumbo, Sad Turkey hop (1950); Oh

1949

feeling,

rock,

blues

;

the floor (1923, also known as Atlanta blues), Chantez-les bas

(1931).

home Chop

(1944); Vibe boogie (V-Disc), Beulah's boogie (1945), Air mail special (1946), Goldwyn stomp,

No.

Louis blues (1914); Yellow dog (1914); Joe Turner blues (1915); Beale st. blues, Ole miss Aunt Hagar's blues ( 1920 ) ( 1916 ) He also wrote several numbers of a different type such as Careless love (1921); Make me a pallet on St.

)

;

Gate steps out (1951). Sevnumbers are arranged

eral of these

by Hampton himself, notably, Flying home, Hamp's boogie woogie,

HARDEE, JOHN

Tenor saxo-

phone, b. Texas ca. 1920. When he got out of the army in 1945 he played in and around New York with a number of small bands. A powerful and emotional musician with a full tone and dynamic temperament reminiscent of Chu Berry's. One of the very rare tenor saxes who can play good blues. Records: with Tiny Grimes, Tiny's woogie boogie (1946); under his own Hardee's partee, Tired, Biver edge rock ( 1946 )

HARDING, LILLIAN.

Beulah's sister boogie.

name, Idaho,

See

Armstrong, Lil

HANDY, WILLIAM CHRISTO-

PHER

Composer, b. Florence, Nov. 16, 1873. In his early days played cornet in a number of brass bands, among them the Knights of Ala.,

Pythias

Band

at Clarksdale, Miss.,

which he played first cornet. His fame rests on the blues he composed, or earlier traditional tunes he collected and wrote down, a number of which have become very well known: Memphis blues in 1903, in

(written

114

1909,

published

1912);

HARDING, "BUSTER" (LAVERE)

Piano and arranger,

March 19, 1917. Wrote arrangements for a number b.

of

Cleveland, O.,

well-known

bands,

including

and Cab Calloway's. Less subtle than Benny Carter or Jimmy Mundy, Harding is still an

Count

Basie's

excellent style

arranger

which

with a

particularly

direct

suits

the

Basie band. Principal arrangements recorded: by Count Basie, Bockin

a

HARDWICKE - HARMONICA (1940); Rusty dusty it the truth (1942); The mad boogie, Hob nail boogie (1945); House rent boogie (1947); by Cab Calloway, A smooth one (1941); by Earl Hines, Call me the

blues

blues,

Ain't

("TOBY")

soprano and baritone saxophone, bass. b. Washington, D. C, May 31, 1904. Played with Elmer

Snowden

1922-23,

Duke

Ellington

1923-28, Noble Sissle with

whom

he made a European tour, Fats Waller 1929, with Snowden again, and finally with Ellington 1932-46, except for brief periods from time to time after 1943. Later on gave up music. Hardwicke was a great alto sax soloist

of his

during the early part

as the records he Ellington during 1926-

career,

made with

28 show: Birmingham breakdown, Hop head, Red hot brand, The creeper, Black and tan fantasy, Take it easy ( Okeh-Parlophone

stomp (RCA Victor-HMV version), Washington wobble, Got everything but you. version),

Jubilee

In these his alert, melodious style is marvelous, and his playing has a feel of it.

sax

he rejoined Ellington the choruses were given to Hodges, and Hardwicke

Johnny found himself

first alto with no solo except for the occasional "sweet" exposition of a theme— role which he carried out with great feeling; it is he who plays the melody of Dixie in Ellington's

spots

brown and beige

Black,

titled

Come Sunday

en-

(1946).

HARDY, EMMETT Trumpet, Gretna, near New Orleans, La.,

June 16, 1925, of on the steamboats running between Chicago and Davenport from 1916-24. Reputed to have been an excellent trumpet player, and the first in-

June

12, 1903; d.

tuberculosis. Played

Bix

of

spiration

Beiderbecke.

Never made any records.

HARLEM HAMFATS A

small

group which played alternately in New York and Chicago between 1930 and 1940, comprising Herbert

Morand

(trumpet),

Odell

Rand

Horace Malcomb (piano), the brothers Joe and Charlie McCoy (guitar and mandolin), John Lindsay (bass), Fred Flynn (clarinet),

(drums). ords;

Made

also

Howard

a

number

accompanied

at

several

of rec-

Rosetta

sessions,

ex-

amples: If you're a viper, Rosetta blues 1937); Stay away from my door (1938).

enthusiasm and lightness to

When

alto

as an an extract from Elling-

ton's

b.

HARDWICKE, OTTO

own name he recorded

alto sax solo

happy (1940).

Alto,

Under

Blackbirds' medley (1933). his

HARMONICA This instrument has been played with success only by such rare blues men as Jazz Gillum, Sonny Boy Williamson, Sonny

Terry,

Little Walter,

Noah Lewis and who can produce the

most astonishing effects on* it, sometimes even imitating the tone of a trumpet with "wa-wa" mute. 115

HARRIS - HARRISON HARRIS, "ACE"

Hawkins that band

WYNONIE

HARRIS,

Piano, b. ca.

Omaha, Neb.,

Blues

1916. Played with Erskine

singer, b.

1944-47, and returned to

Began by playing drums, then became a dancer, and finally, about 1940, a blues singer. After some years in Kansas City he was the singer with Lucky Millinder's band and then with Lionel Hampton.

again in 1950. Plays with a solid firm touch, has considerable invention, and is a good accompanist of solos. Records: with Lips Page, Rockin at Ryan's, You'd be frantic too, The blues jumped a rabbit (1944).

tempo and a

HARRIS, BILL

Trombone,

b. Philadelphia, Pa., Oct. 28, 1916.

Played with Gene Krupa, Benny

Goodman, Charlie Barnet, Woody Herman, and "Jazz at the Philharmonic." The speed of his playing tremendous, but his improvisa-

is

tions lack imagination.

HARRIS, DICKY

Trombone, Birmingham, Ala., ca. 1920. Hawkins Played with Erskine 1941-42, then with Lucky Millinder, Jimmie Lunceford, and J. C.

b.

Heard's small band 1945-47. Since 1950 has been with Arnett Cobb. A forceful and direct musician,

whose

sometimes reminiscent of Trummy Young and sometimes of Dickie Wells. He only recorded a few brief solos, among them: with J. C. Heard, Heard but not seen, Bouncing for Barney style

is

(1946).

HARRIS, JIMMY b.

ca.

playing

Trumpet,

Since 1940 has been Erskine mostly with

1920.

Hawkins; inspired by Harry Edison. Record: with Erskine Hawkins, Needle points (1947). 116

ca.

1920.

Since 1944 has made a great many Harris is a good blues shouter, with a forceful dynamic style reminiscent of Joe Turner's,

records.

though he doesn't have quite such a good voice. His punching swing belongs to the "modern" epoch of jazz and is quite different from the easy grace of the old blues style. Records: Here comes the blues, Wynonie's blues, Baby look at you, In the evenin blues, Good morning Corinne (1945); Good rockin tonight Bloodshot eyes (1947); (1951).

HARRISON, JIMMY (JAMES HENRY) Trombone and singer, b.

Louisville, Ken., Oct. 17, 1900,

Was about 15 when picked up the trombone in Detroit, where his family had moved. After a year or two he began to play with small bands. In 1921 he returned to Louisville, but left again in 1922 for New York; on the way he stopped for a few days in Chicago where King Oliver's band, featuring Louis Armstrong, made such an impression on him d.

he

July 23, 1931. first

had a

on York he played in Fess Williams' band, then with a small group headed by June Clark

that

it

his style. In

decisive influence

New

HARRISON (trumpet) which included Count Basie on piano. In 1925 he was with Elmer Snowden. In 1926 he played with

Tommy

Ladnier in Billy Fow-

group, and toward the end of the year joined the Fletcher Henderson band which included Tommy Ladnier, Joe Smith, Buster ler's

Coleman

Bailey,

Hawkins,

and

Kaiser Marshall. Harrison remained

with Henderson off and on until 1931, but when the band went on tour he usually preferred to stay in New York and play with Charlie Johnson's group. Early in 1931 he joined Chick Webb and played with him until June of that year when he fainted on the stand and died a few weeks later in hospital from a stomach ulcer. Jimmy Harrison is definitely the

trombone

greatest of jazz.

some have

New

great all

in the history Orleans has produced trombones but they

been better

work than

in

ensemble

Harrison was the first great solo player, adapting his instrument to the trumpet style of King Oliver and Louis Armstrong. He worked with June Clark, a disciple of Armstrong, and with Ladnier, the greatest disciple of Oliver. His playing has the same conciseness

New

in solos.

as

that

of

the

great

Orleans trumpets, and is so with their style that you would almost think you were hearing Armstrong or Ladnier playing trombone. Like them he used very simple but admirably constructed phrases. His improvisations were full of melody and the execution filled

had a phenomenal swing; the consistently high level of his musical inventiveness ranks him among the great jazz musicians. His influence on other trombone players has been immense: Dickie Wells, J. C. Higginbotham, Benny Morton, Sandy Williams, of each phrase

Trummy

Young, Keg Johnson, AlTeagarden, Jack Tommy Dorsey, and perhaps even Tricky Sam, have all been influenced and inspired by him. Harrison made many records but takes long solos on only a few of them. He can be heard on: with Fletcher Henderson, Fidgety feet,

bert

Wynn,

Sensation,

Wang

tuang blues,

Wa-

bash blues (2d trombone solo), St. Louis shuffle, I'm coming Virginia, St. Louis blues, Goose pimples, Hop (1927); King Porter stomp (1928); Wang voang blues (1929); Keep a song in your soul (1930); My gal Sal (1931); with Charlie Johnson, The boy in the boat, Walk that thing ( 1928 ) with the Chocolate Dandies, Goodbye blues, Bugle call rag, Dee blues (1930); off

;

with Chick Webb, Heebie jeebies, Soft and sweet (1931). His genius shows at its brilliant best in the Fletcher Henderson records and the two made with Charlie Johnson.

As a singer, Harrison was inspired by the famous comedian and singer Bert Williams; his voice had a good tone.

He

sings

on Fletcher Hender-

Somebody loves me (1930); Sweet and hot (1931); and the Chocolate Dandies' Got another son's

sweetie

now

(1930).

117

HART -HAWKINS HART, CLYDE

Piano and ar-

ranger, b. Baltimore, Md., ca. 1915, d. New York, March 19, 1945, of tuberculosis.

Played

with

Stuff

Roy

Eldridge, Frank Newton, and John Kirby. His playing was reminiscent of Teddy Wilson's,

Smith,

and

sometimes also of Count A very good band pianist. Records with Stuff Smith, Upstairs; with Lionel Hampton, Drum stomp (1937); with Don Byas, What do you want with my heart (1944). Clyde Hart wrote the arrangement for Lionel Hampton's In the bag Basie's.

:

(1942).

HAWKINS, COLEMAN ("BEAN")

Tenor saxophone, Mo., Nov. 24, 1904.

b. Saint Joseph,

He started out at the age of 15 in the band that accompanied Mamie Smith, and came to New York with He then played Sweetman's band and

her.

in

Wilbur

in

Harlem

night

clubs. In 1922 he joined Fletcher Henderson and stayed with the band until 1934, when an English manager brought him over-

He

bands

in

New York and Los Angeles

night clubs, also with "J azz at tne Philharmonic." In 1948 he appeared in the "Semaine du Jazz" at the Theatre Marigny, Paris, and returned to Europe again in 1949 for a more extensive tour. Since 1950 he's been playing mostly in small New York night clubs. Coleman Hawkins is not only the greatest of all tenor saxes, but one of the most important figures in jazz. During the first period of his musical career he was much influenced by the trumpet and clarinet players of New Orleans and adapted his instrument to their style; in the early Fletcher Henderson records he sounds completely home playing solos beside at Tommy Ladnier, Jimmy Harrison, and Buster Bailey. At this time his tone was already incredibly full, but rather hard; his playing was staccato, with extraordinary power and bite. Around 1929 he entered his second phase; his tone became smoother and more mellow; the influence of Louis Armstrong

became

played in England for some months, then toured various European countries and gave a con-

predominant phrases, and

in

more

more

cert in Paris at the Salle Pleyel in

took on something of the grandeur of the Armstrong accent. From 1929

seas.

February 1935. For the next few years he continued to play in Switzerland, Holland, and France,

and returned to the United States in 1939. Here he formed a big band which he broke up and re-formed several times during the following years.

From 1943

as soloist

118

to 1945 he played with a number of small

lyrical,

to 1932,

was

still

the shape of his his playing became majestic, as

it

and even later, his style somewhat abrupt, but in

the course of the following years his phrasing became more legato,

more

sinuous, and his embroidery around a theme more subtle. His third period opened in 1939 with

the recording of his .masterpiece,

HAWKINS Body and soul, which made an immense impression on the jazz world. Hawkins' playing now became extremely intricate and legato in slow numbers, full of involved phrases and accidentals employed with admirable feeling for the melody; in fast tempo, on the other hand, his melodic line is often simple and there is sometimes a pronounced "growl" in his tone.

I

The

sheik

Araby,

of

My

blue

heaven (1940), My ideal, Esquire bounce, How deep is the ocean, Stumpy, The man I love, Sweet Lorraine (1943), Night and day,

Rainbow mist (another title for Body and soul ) Yesterdays, Feeling ,

Whatever differences there may be between Hawkins' first and later styles, at all

were twins, Chicago, Medi(1935), Honeysuckle rose, Out of nowhere (1937), Body and soul, She's funny that way (1939),

wish

tation

times his playing has

Three words (C.H. takes the two

zero, Disorder at the border, little

last

choruses),

Make

believe,

of

Stompin at the Savoy, On the sunny side of the street, Thanks for the Recollections memory, (1944), Leave my heart alone (1945), Cocktails for two, You go to my head, Say it isn't so (1946), In-

great tenor saxes have

dian summer (1947); with various bands, Mound City Blue Blowers, One hour, Hello hola (1929); with

shown the same

essential qualities:

lively invention, unfailing creative

and dominating swing, an attack of rare strength and preciability, solid

sion, a

moving

vibrato,

and a power

expression exceeding that of almost any other jazz musician. His influence is immense. Almost all the ideas

drawn some

from him— among the best

known being Herschel Evans, Chu Berry, Ben Webster, Budd Johnson, Joe Thomas,

Don

Byas, Ike Quebec,

Lucky Thompson. Best records

The

derson,

Fidgety blues,

feet,

:

Benny Carter, My buddy (1937); with Count Basie, Feedin the bean, 9:20 special (1941); with Cozy Cole-Earl Hines, Just one more chance (1944).

with Fletcher Hen-

stampede Sensation,

(1926),

F.D.Q.

The Whiteman stomp, Goose

HAWKINS, ERSKINE Trumpet and band

leader, b.

Ala., July 26,

own band

Birmingham,

1914. First

had

his

own name, The

Birmingham, then came to New York in 1935, since when he has been alternating between jobs at the Savoy in New York and touring. Hawkins is not one of the great trumpets but he can play with considerable virtu-

day you came along, Jamaica shout (1933), Honeysuckle rose (1934), Blue moon, Some of these days, I

osity in the high register. His band has always played with plenty of swing in a style resembling a mix-

pimples (1927), I'm feelin devilish ( 1928 ) Sugar foot stomp, House ,

of David blues (1931), Can you take it, It's the talk of the town,

Rhythm

crazy, I've got to sing a

torch song (

1934 )

;

(1933),

under

his

Hocus pocus

in

119

HAWKINS - HEARD Lunceford and Tuxedo junction (1939); After hours, Put

ture

of

Count

Jimmie

Basie. Best records:

yourself in

my

place (1940); Bicy-

Bounce ( 1942 ) Tippin in, (1945); Needle points (1947);

cle

;

Down home

jump, Steel guitar rag

(1951).

HAYMER,

HERBIE

Tenor

saxophone, b. New Jersey, 1915, d. 1949. Played with Red Norvo, Jimmy Dorsey, Woody Herman. A good musician, somewhat influ-

enced by both Coleman Hawkins and Chu Berry. Record: with Mildred Bailey, You're laughin at me (1937).

HAWKINS, LEONARD TrumPlayed with Eddie Heyward, Dexter Gordon, Lucky

pet, b. ca. 1920.

Thompson, and other small groups. Has a sensitive and attractive style, sometimes resembling Harry Edison's.

HAYES, "AL" (ALVIN COOPER) Trombone, 7,

b. Detroit,

1921. Played with

Mich., April

Snookum Rus-

the McKinney Cotton Pickers, Lionel Hampton (1943-46), Lips Page. Returned to Hampton in 1951. A rugged, powerful musician reminiscent of Trummy Young. Records: with Lionel Hampton, Walkin at the Trocadero, Real crazy (A.H. takes 1st trombone solo), Free press oui (1953, A.H. sell,

HEAD ARRANGEMENT

An

arrangement as opposed to one written down. "Head arrangements" oral

worked out during reThe band leader or one of

are usually hearsal.

the musicians plays or sings the phrases until everyone in the band catches on. Sometimes several musicians in the band work out an arrangement between them, each suggesting one or more ideas. Oral arrangements are sometimes very simple but often have such subtlety that they give the impression of being carefully worked out written arrangements. Recorded examples:

Duke

Ellington,

Hyde

Park

(1933); Earl Hines, Flany doodle swing (1937); Count Basie, Panassie stomp ( 1938 ) Lionel Hampton, Hamp's boogie woogie (1944). Almost any good band recorded before 1930 is playing a head arrangement (see ORLEANS). ;

takes

2d trombone

HAYES,

solo).

EDGAR May

Piano, b. Lex-

Played with the Blue Rhythm Band 193136, then formed a big band, and later headed various small groups in California. A good pianist with a simple, sure style. Records: with ington, Ken.,

his Quintet,

25, 1904.

Love me or leave me

(1937); with his Stardusters, Blues at dawn (1949).

120

NEW

HEARD, "J. C." (JAMES CHARLES) Drums, b. Dayton, 8, 1917. Played with Teddy Wilson 1939-40, Coleman Hawkins,

O., Oct.

Benny Goodman, Louis Jordan, then Cab Calloway 1942-45. He then got together a small group and

HEFTI - HENDERSON one of his chief jobs was at the Cafe Society, New York, 1946-47. In 1953 he toured "Jazz a * tne Philharmonic." He is a dynamic and exuberant drummer who adds tremendous lift to any group in which he may find himself. Records: with Don Byas, My melancholy baby, Avalon (1945); with Rex Stewart, Three horn parlay (1945); with Jonah Jones, Hubba hubba hub, Stompin at the Savoy ( 1945 ) with Ike Quebec, Topsy, Zig billion, Jim dawgs (1945); with Benny Carter, Diga diga doo ( 1946 ) with Johnny Hodges, Johnny's blues (1953). ;

;

NEAL

HEFTI, arranger, 29,

b.

Trumpet and

Hastings, Neb.,

Oct.

Was trumpet and for Woody Herman;

1922.

ranger

now dropped number

the trumpet.

ar-

has

Wrote

good orchestrations for Count Basie's band, among them Why not, Fawncy meeting you a

of

(1952).

HEMPHILL, SHELTON ("SCAD") Trumpet, b. Birmingham, Ala., March 16, 1906. Played with Chick Webb 1930, Blue Rhythm Band 1931-36, Edgar Hayes 1937, Louis Armstrong 193744,

Duke

the

best

rarely solos,

Smith desert

Ellington 1944-49.

One

of

trumpets"; had the chance of recording but accompanied Bessie beautifully in her Lonesome blues (1925). of

all

"first

HENDERSON, FLETCHER ("SMACK")

Piano,

band

leader,

arranger,

composer,

Cuthbert, York, N. Y., Dec. 29, 1952. Took, up piano at the age of 6. Studied chemistry and mathematics at the University of Atlanta, then in 1920 went to New York where he entered the world of jazz. He first formed a small group to accompany the singer Ethel Waters, then in 1922 organized a more important band of which the core was the Shrimp Jones group, to which he added various musicians. To begin with Henderson played nothing but commercial numbers, but he began to take a more and more important place in real jazz from 1924, the year in which Louis Armstrong joined the band (remaining until the autumn of 1925). By 1926 Henderson's band played mostly pure jazz, and from then until early 1928 it was, in the opinion of many musicians, probably the finest band ever known. It included three trumpets (Russell Smith, Joe Smith, Tommy Ladnier); two trombones Harrison and Charlie (Jimmie Green who was replaced by Benny Morton); three saxes (Coleman Hawkins, Buster Bailey, Don Redman who was replaced by Jerome Pasquall), Fletcher Henderson piano, Charlie Dixon banjo, June Cole tuba, Kaiser Marshall drums, and Don Redman doing the arrangements. This band remained at the top until 1934. On account of Henderson's gift for spotting talent, a large number of great musicians were successively members of the b.

Ga., Dec. 18, 1898, d.

New

121

;,

HENDERSON band— including; Rex Stewart, Bobby Stark, J. C. Higginbotham, Dickie Wells, Benny Carter, Edgar Sampson, Ben Webster, John Kirby, Walter Johnson. The band played

New York and on tour. At the end of 1934 Henderson dissolved the band but re-formed it a few months later and by 1936, with such musicians mostly at Roseland in

Chu

as

Berry,

Roy

Eldridge, Buster

John Kirby, and Sidney Catwas back in the top class. Dur-

Bailey, lett,

ing the next few years the band was gradually eclipsed by Count Basie, Jimmie Lunceford, and Chick Webb, and in 1939, Henderson broke it up and took over the piano in Benny Goodman's sextet. In the following year he formed yet another band but failed to recapture

From then until death Henderson had a hard time, getting together new bands and breaking them up again, writing arrangements for other bands, and returning for a while to play piano for Ethel Waters. In 1951 he tried for the last time to organize a band, but he had a severe stroke and was left paralyzed until his death the following year. his old position. his

The Fletcher Henderson band was of considerable importance in the history of jazz. It was the first big band of any standing. It was Henderson who adapted the New Orleans style to the language of the big band; his early records, 192429, are full of the spirit of New Orleans. During that period the

band had an immense 122

influence on

every other band, including

About

Duke

most Henderson let his style stray away from the New Orleans idiom and he ceased to be a forerunner, although through Ellington's.

1930, like

jazz musicians, Fletcher

the excellence of his arrangements he still retained some influence— from 1929 to 1931 many were written by Benny Carter but from 1933

by Henderson himself. Henderson made an enormous number of records, but very few of them give any idea of the real to 1934

quality of his band. He did not record really successfully for several reasons;

one was that he didn't

choose the best numbers from his repertory, and another that the

was some records of real value: The meanest kind of blues ( 1924 ) Sugar foot stomp The stampede, Jackass ( 1925 ) blues, The Henderson stomp, The chant, Clarinet marmalade, Hot mustard (1926); Snag it, Stockquality of the actual recordings

bad.

Still,

he

left

;

;

holm,

Stomp, Fidgety

The

sation,

wang

feet,

wang

Senblues,

Wabash

blues, St. Louis shuffle Victor-Bluebird version ) P.D.Q. blues, Livery stable blues, The Whiteman stomp, I'm coming Virginia, Goose pimples, Hop (

RCA

Somebody

loves me, your soul (1930); Sugar foot stomp, Just blues, The

off

(1927);

Keep a song

in

House

( 1931 ) of David blues King Porter stomp (1932); Can you take it, Rhythm crazy (1933); Shanghai shuffle, Down

New

south

camp

meeting,

Wrappin

it

HENDERSON - HEYWOOD up, Hotter than Hell topher Columbus, Stealin

1934 ) ChrisLou, Blue apples, You can depend ;

(

on me (1936). Henderson began

arranging comparatively late— in 1933— but he quickly made his way to the top, writing in a simple style which encouraged a real swing. His best arrangements are: Shanghai shuffle, Down south camp meeting, Wrappin it up recorded by his own band in 1934; and Blue skies, Sometimes I'm happy, and— above all— When Buddha smiles, recorded in 1935 by Benny Goodman. Henderson played a great part in Benny Goodman's success through the direct and swinging orchestrations which he produced. Fletcher Henderson

good

was

but a

very good accompanist, and occasionally a very solid soloist somewhat in the Fats Waller tradition —see for example his chorus in Stealin apples ( 1936 ) Early in his career he made many records accompanying blues singers and he frequently showed remarkable musicianship. Examples: with Bessie Smith, Bleeding heart blues, Midnight blues, Lady luck blues, Any woman's blues (1923); Hard time blues (1926); with Clara Smith, .

blues,

blues,

Don't

Awful moanin tell nobody

never

(1923).

his

own band. A good

pianist in the Earl Hines tradition

and a talented arranger. His best orchestrations

are:

HENDERSON, HORACE Ga.,

band

1904.

;

HENRY,

HEYWOOD

Clarinet

and baritone saxophone, b. probably in Alabama ca. 1910. A follower of Barney Bigard, he has been playing with Erskine Hawkins ever since 1935.

HERBERT, ARTHUR

Drums,

Played mainly with Coleman Hawkins, Eddie Durham, Wilbur de Paris. Records: with Coleman Hawkins, Fine dinner, Meet Dr. Foo (1939); with Sidb.

1915.

ca.

ney Bechet, Ain't gonna give nobody none of my jellyroll (1941).

HERMAN, WOODY and band Wis.,

May

a big

16,

Clarinet

Milwaukee, 1913. In 1936 formed

leader,

b.

band which enjoyed

a great

during the forties. This band shone because of its instrumental virtuosity, particularly in success

1944-46, but, generally, had

little

and

little

JR.

Pi-

swing. Pi-

leader, b.

Brother

Fletcher

for

Henderson, Happy feet (1933); Big lohn's special ( 1935 ) for Earl Hines, Indiana (1939).

of the real spirit of jazz

ano, arranger and

Cuthbert,

he formed

also a

pianist: not a virtuoso,

Irresistible

Fletcher Henderson. After heading several groups of his own, he became the pianist and one of the chief arrangers for Don Redman 1931-32, then did the same work for his brother, 1933-36. After that,

of

HEYWOOD, EDDIE, ano and arranger,

b. Atlanta, Ga.,

123

HICKS - HIGGINBOTHAM Dec. 4, 1915. Son of Eddie Heywood, a pianist of standing in the early days of jazz.

Heywood came

to the fore in 1939 while playing

with Benny Carter. In 1943 he had

own

his

six-piece

band which was

quite a success during the next few years. There are rhythmic surprises

Heywood's style which suggest Earl Hines, but there is also some of the comfortable assurance and fullness of Fats Waller. Heywood is a very gifted pianist, but as a band leader too often he goes in for flashy effects to catch the big public. in

He

wrote a number of original arrangements for his own small bands of which the best is Taint me (1944). His best piano solos are Sleep and Fish fry, recorded with Benny Carter in 1940. Other records: The man I love, On the sunny side of the street (1945).

HICKS,

ROBERT

See Barbe-

cue Bob

HIGGINBOTHAM, bone,

b. Atlanta, Ga.,

J.

C.

May

Trom-

11, 1906.

He came from

a musical family; played trombone. When he was still young, Higginbotham learned to play the instruhis

sister

ment

(like

also

many

of the great jazz-

men, without being able to read music). He had a job in a tailor shop in Cincinnati, but in 1924 he decided to become a musician. He played first in Buffalo. In September 1928 he went to New York to visit his mother; going to the Savoy Ballroom, he sat in with Chick 124

Webb's band

for a set

and made

such an impression that Luis Russell

engaged him. Higginbotham

played with Russell until 1931, spent some months with Chick Webb, and then played with Fletcher Henderson 1931-33. From 1934 to 1936 he was with the Blue Rhythm Band; then played with Louis Armstrong 1937-40. After that he joined Henry Allen's small group,

with whom he remained until 1948. Later on he played in a number of small bands.

Higginbotham

is

greatest trombones of

one

of

the

all

time.

He

by the New Orleans trombones and by Jimmy Harrison, as his first recordings show: Aunt

was

inspired

Hagar's blues, Speakeasy blues, I'm watching the clock with King Oliver (1928). He early created a style of his own, very original, using longer, more flowing phrases than anyone else, which he executed with a power and impressive attack that displayed his extraortechnique. dinary instrumental This was during his time with Luis Russell (1929-31), as these records show: Under the name of Henry Allen, It should be you,

Swing

name

out, Pleasin Paul;

of

Luis

under the

Russell,

Jersey

Doctor blues, Saratoga shout, Case on down. Like almost every other musician playing during the thirities, he was eventually influenced by Louis Armstrong's trumpet, and although lightnin,

own highly individual musical invention and the dramatic splenhis

.

HIGH -HIGH dor of his intonation remained the same, his playing became more subtle and restrained. Records of this period: with Henry Allen, Roll along prairie moon (1935); with Milton Mezzrow, Blues in disguise, That's how I feel today (1937); with Louis Armstrong, On the

sunny side of the street (1937); Let that be a lesson to you, When the saints go marching in (1938); with Coleman Hawkins, My blue heaven (1940); with Lil Armstrong,

Confessin

HIGH HAT

(

1945 )

The double cym-

bal operated by a pedal which most drummers have used since about

1930 (also called a "sock cymbal"). This cymbal in its early form was invented by the drummer Vic Berton; it was originally fixed near the floor. It was Kaiser Marshall who in 1926 had the idea of mounting it on a metal rod, whereupon it became known as "high hat." Separate when at rest, the two cymbals come together when the pedal is operated and produce a stifled sound rather like an ordinary cymbal when struck with a drumstick.

At

first,

drummers used

cymmarking

this

bal with the pedal only for the weak beat. Later they used it to build up a fuller foundation, striking the cymbals with a drumstick on the weak beat while closed and following that at once with two raps on them open, which had the effect of emphasizing the strong beat by means of the additional resonance. Such beats gave an im-

pression of being stressed, which is contrary to what should be done in

To avoid that sound, Chick Webb, who made the "high hat" popular and made better use of it

jazz.

than any other drummer, particularly stressed the weak beats with his other hand on the side drum. Jo Jones when he came to New York with Count Basie in 1936 finally won everyone over to the "high hat." Since about 1945, however, it has become less popular. The New Orleans drummers seldom use it and then only for a few beats.

Many

of the great jazz

mu-

overuse of the "high hat," the constant vibration of which blurs the precision of sicians

object

to

drumming. Besides Jones, the

Chick Webb and Jo drummers who have got

the best swing out of the "high hat" are: Lionel Hampton, Sidney Catlett, Cozy Cole, Walter Johnson, Alvin Burroughs, Keg Purnell,

and

Slick Jones.

HIGH SOCIETY

Very old

"tra-

ditional" piece; originally a march.

Played

in the

New Orleans parades,

and retained in the repertory of all bands playing New Orleans style today. The composition has been attributed to Alphonse Picou, but the only thing certain

is that Picou, the original piccolo part (dating from the time when

who adapted

High Society was a march)

to the

famous chorus which has been played by all clarinets since, whether verbatim or clarinet, created the

125

;

HILAIRE - HILL with slight variations, whenever they play the number. This difficult solo used to be something of a test in New Orleans, and only musicians who could play it well were considered to be among the good clarinet players. Best recordings: King Oliver (1923), Kid Ory (three versions, of which the best was recorded— and badly at that— in 1944 with Jimmie Noone and Zutty Singleton; the other two 1945), Louis Armstrong (1947, "Satchmo at Symphony Hall" concert).

ANDREW

HILAIRE,

b. La., ca. 1900, d. 1935.

lent

New

Orleans-style

Drums,

An

excel-

drummer

who

played in Chicago during the Doc Cook. With Jelly Roll Morton he recorded Black bottom stomp, Doctor jazz, twenties, notably with

Grandpas

spell,

and several others

ALEX

Piano, arranger,

(1926).

HILL, composer,

b.

Little

Rock,

Ark.,

April, 1907, d. of tuberculosis, 1937.

Played

in

Chicago

with

arranger for Claude Hopkins, Benny Carter, Andy Kirk, Milton Mezzrow, Fats Waller. Considered

as

to

have been one of the

arrangers in jazz. His best orchestrations unfortunately were never recorded, but among those finest

which were may be cited: Beau koo jack played by Armstrong ( 1928 ) Old fashioned love by Mezzrow 126

1934 )

;

Functionizin, Ain't

it

nice,

1934 ) Alex Hill wrote in the pure idiom in a style that encouraged real swing. On piano he was not a great technician but he played good blues and recorded (

.

jazz

one interesting blues

(1929).

solo,

Tack head

He composed

sev-

good numbers, among them Anything for you, Baby Brown, Dixie Lee, 'Long about midnight. eral

HILL,

BERTHA

("CHIPPIE")

Blues singer, b. Charleston, S. C, 1905, d. New York, N. Y., March 7, 1950. After touring in the South, she made quite a hit as a singer in Chicago during the twenties. After dropping out of sight for many years, she reappeared in 1946, singing with great success in New York and at the "Semaine du Jazz," Paris, 1948. Records: Pratt city blues, Pleadin for the blues, accompanied Armstrong Louis by (1926); Trouble in mind, Careless love, accompanied by a small band which included Lee Collins (1946).

Jimmie

Noone and other bands 1925-30, then went to New York and worked

by many

(

by himself leading a pick-up band

HILL,

DONALD

Alto

phone, b. ca. 1920. Played Louis Armstrong 1945-46, with various small bands in fornia. Plays slow blues in a like Eddie Vinson's. Record: Louis Armstrong, Back o' blues (1946).

HILL,

ERNEST

("BASS")

saxo-

with then Calistyle

with

town

Bass

and tuba. b. ca. 1905. Played with Benny Carter, Rex Stewart, Willy

.

HILL-HINES Bryant, Eddie South, and toured Europe several times. A powerful

performer, full of swing, in New Orleans style. Records: with Spike Hughes, Fanfare, Sweet sorrow blues, Fire bird (1933); with Benny Carter, Devil's holiday (1933).

HILL,

TEDDY

Tenor

saxo-

phone and band leader, b. Birmingham, Ala., 1909. Played with Luis Russell's band 1930-31 and had his own band 1933-40 which played frequently at the Savoy Ballroom Harlem; toured France with the Cotton Club Revue in 1937. This in

band was excellent in the thirties and numbered among its members famous

such

Cecil

Berry,

musicians

as

Chu

Dicky Wells,

Scott,

Roy Eldridge, Dizzy Gillespie, Bill Coleman, Frank Newton, Howard Johnson, and Richard Fullbright. Their style generally resembled that of Fletcher Henderson, with occasional touches of Chick Webb. They left few good records; these, which don't give any real impression of the band, are about the best:

Passionette,

Uptown

rhap-

At the rug cutters' ball King Porter stomp ( 1937 ) ( 1936 )

sody,

;

HINES, EARL ("FATHER HINES") Piano, band leader, composer, b.

Duquesne,

Pa.,

Dec. 28,

1905. His father played the trumpet,

his

mother

the

piano

and

organ. Hines began to learn classical piano when he was 9 and studied for three years. His ambition was to be a concert pianist,

but he didn't have the money to continue his instruction, so he switched to jazz, first appearing with a trio in Pittsburgh. He then joined Louis Deppe's band, with which he made several tours. In 1922 he went to Chicago where he played as soloist at the Elite No. 2 at the Entertainers Cafe. From 1926 to 1928 he played in that city alternately with Jimmie Noone at the Apex Club and Carroll Dickerson at the Sunset Cafe, interspersed with tours, and in 1927 he was in the band which Armstrong formed to replace Dickerson at the Sunset. In 1928 he took part in the famous recording sessions at which the great records of Armstrong's Hot Five were cut, and he played a number of solos on them. In December of the same year he got together a big band and for several years played at the Grand Terrace Cafe, Chicago, and toured the

and

country.

With

short interruptions

he kept a big band together until 1947. In January 1948 he joined Louis Armstrong's small band, with which he toured Europe twice— in 1948 for the Jazz Festival at Nice,

French Riviera, and 1949. Hines left Armstrong in 1951 to form his

own

small band. Earl Hines is one of the great jazz piano players. He invented a completely original style called "trumpet piano," playing powerful, sustained phrases, usually in octaves, with the right hand. When he went to Chicago, Hines heard

Armstrong and thereafter modeled 127

;

.

HINES own style on that of the great trumpet. Hines assimilated both the letter and the spirit of Armstrong's playing amazingly; there are many of his choruses which you would swear could only be a product of Louis' mind. This was particularly true during the years 1926-30, after which Hines' style became more complex and imaginative and the

A Monday

his

57

influence

got nobody, Caution blues (1928); Rosetta (1939); Boogie woogie on St. Louis blues, Sugar ( 1949 ) Deed I do (1950). Among his records with a band: with Jimmie Noone, Sweet Sue, Four or five times, Forevermore, Every evening ( 1928 ) with Louis Armstrong, West end blues, No papa no, Skip the gutter, Tight like this, Weather bird, Save

of

Armstrong

less

pre-

dominant.

The

dry,

headlong attacks

by what seem like interruptions of the rhythm— dizzy runs and bewildering cross-rhythms between the right hand and the left. He is the best example of the are followed

errant, audacious, inventive genius,

opposed to the comfortable solid someone like Fats Waller or James P. Johnson. Hines' influence has been so great that he has earned the nickname as

style of

of "Father" (of jazz pianists). After

1928 most pianos adopted Hines' some extent— Buck Washington, Horace Henderson, Zinky style to

Cohn,

Billy Kyle,

King

CoK Teddy

Wilson, Garnet Clark, Eddie Heywood, Claude Boiling are among his closest followers; in addition a number of other pianists have borrowed certain elements of his stvle —among them Art Tatum, Count Basie, Mary Lou Williams, Buddy Johnson, Edwin Wilcox, Camille Howard, Blind John Davis. Earl Hines has recorded a number of remarkable piano solos, for instance: Just too soon,

128

date, I Ain't

;

it pretty mama ( 1928 ) with his own big band, Harlem laments (1933), Maple leaf rag ( 1934 ) Rhythm Sunday, Pianology (1937), Piano man Boogie woogie on St. Louis ( 1939 ) blues, Tantalizing a Cuban ( 1940 ) recorded in Paris under his own name, Chicago, Honeysuckle rose, Snappy rhythm, Singin for my French brother ( 1949, the last is one of the few records on which Hines sings, in a style slightly reminiscent ;

Hines' solos are extremely interesting.

varieties,

Stowaway,

,

,

of Armstrong).

Hines' big band was among the very best during the decade 193343, and particularly so in 1939-40 when Alvin Burroughs on drums, Budd Johnson as saxophone-arranger, and Walter Fuller on trumpet gave the band a remarkable swing, with a direct style made up of short riffs reminiscent of Count Basie's, but played with tremendous feeling and an energy inspired

by Hines' own drive. The best records made by this group were: G.T. stomp, Indiana, Grand terrace shufFather steps in, Piano man, fle, Boogie woogie on

St.

Louis blues,

Number 19, Tantalizing Call me happy 1939 (

)

a Cuban,

; ;

.

HINTON- HODGES Hines composed a number of charming tunes, such as: Rosetta, Monday date, you can depend on me, Blues in thirds ( also called Cau-

band

tion blues).

13, 1903.

Lover, Blue and esoteric (1954).

HITE, LES leader, b.

Alto saxophone and

Du

Headed

a

Quoin,

band

111.,

Feb.

in Califor-

nia during the late twenties and

HINTON, MILTON b.

Bass,

thirties

Vicksburg, Miss., June 23, 1910.

in Chicago with Eddie Ersldne Tate, and then Eddie South again, between 1931 and 1935. From 1936 to 1951 he was almost constantly with Cab Calloway; he then played with various small bands in New York and in 1953 joined Louis Arm-

Played

which

included Lionel fronted by Louis

Hampton and was

Armstrong for a year, 1930-31.

South,

strong.

Hinton

is

one of the most gifted

of jazz basses.

He

has a fine vibrant

tone, a little muffled but firm;

he

has something of John Kirby's daring and musical richness. He adds body to a rhythm section by playing a great deal in the lower register. In his choice of notes he shows a fine sense of harmony. He plays with so much drive and swing that he can rock the house all by himself.

Records: with Lionel Hampton, Early session hop, Hot mallets, When lights are low, One sweet let-

Denison swing ( 1939 ) with Cab Calloway, Pluckin the bass (1939), Jonah joins the Cab, Tappin off (1941); with Coleman Hawkins-Walter Thomas, Look out Jack, Every man for himself ( 1944 ) with Ike Quebec, Tiny's exercises (1944), Basically blue, Zig billion, Jim dawgs, I.Q. blues (1945); with Jack Teagarden, After you've gone, ter from you,

HODES, ART

Piano, b. Niko-

Brought Chicago at the age of 6. Played with small Chicago and New Orleans-style bands in Chicago and New York. A musician of limited ability, but with a real love of the blues and tremendous sincerity. Records: with his own band, Get happy, Indiana ( 1942 ) laev, Russia,

Nov.

14, 1904.

to

HODGES, JOHNNY CORNELIUS ("RABBIT")

Alto and so-

prano saxophone, band leader, b. Cambridge, Mass., July 26, 1907. In 1926 played with Chick Webb in New York, then with Walter Johnson and Johnny Dunn. In April 1928 he joined Duke Ellington with whom he played constantly until early 1951 when he left to form a very fine small band of his own. Hodges was influenced by Sidney Bechet and Louis Armstrong. The influence of Bechet can be heard particularly on soprano sax, an instrument which Hodges plays less than the alto but on which he frequently produces the same long melodic curves as Bechet. With Bechet and Emmett Matthews, Hodges is probably among the 129

,

.

.

HOLIDAY most brilliant soprano saxes, but above all he's a great alto sax, with

the Ellington band); with his own band, Something to pat your foot to,

Benny Carter the best

Who's excited, Tea for two, Sideways (1951); with Teddy Wilson, I cried for you, Why do I lie to myself about you (1936), I'll dream

solos

in jazz. His develop with a serene ma-

jestic

assurance,

and sound

as

if

they came from an abundant, inexhaustible source. He never strives for complicated phrases or flashy effects; he is one of the most natural musicians. His phrases are beautiful and completely devoid of affectation, and his melodic development is always very coherent. Held notes, long inflections, a warm full tone, and the extraordinary reliability of his inspiration are also characteristic. He has influenced a number of other alto saxes, among them Willie Smith, Booker Pittman, Charlie Holmes, and Tab Smith.

A selection from his records: with Duke Ellington, The mooche Goin to town ( Brunswick version ) (1928), Flaming youth, Cotton ,

club stomp (RCA Victor version), Saratoga swing When (1929), you're smiling ( Brunswick version )

Double check stomp

(1930), It don't mean a thing (1932), Bundle of blues (1933), Cotton (1935),

my baby good night, Oh baby maybe someday (1936), The gal from Joe's, A gipsy without a song, Watermelon man ( 1938 ) Tortrait of the lion (1939), Never no lament (1940), Rockabye river (1946); under his own name, Swingin on the campus, Good gal blues (1939), Junior hop (1940), Squatty roo, Goin out the back way Kissin

,

(1941, recorded with a section of

130

tonight ton,

(

1938 ) with Lionel Hampbabe, Rhythm rhythm, ;

Whoa

On

the sunny side of the street (1937), Don't be that way (1939).

On all the above Johnny Hodges plays alto sax; he plays soprano sax on: with Duke Ellington, Blues with a feelin (1928), Rent party blues (1929), The sheik of Araby, Swing low (1932), Moonglow (1934); under his own name, That's the blues

man ( 1940 ) Hodges' small band, formed in 1951, plays melodious arrangements with a very direct swing, and has made several remarkable records such as Something to pat your foot old

to,

Castle rock

blues,

Who's

(

1951

)

,

excited,

A pound

of

Sideways,

Duke's blues, Johnny's blues

(

1953 )

HOLIDAY, BILLIE, known as "LADY DAY" Singer, b. Baltimore, Md., April

7,

1915.

Became

famous overnight through a series of records made with Teddy Wilson in 1935. Joined Basie's

and Artie Shaw's

band

in 1937

in 1938. In 1946

played in the film New Orleans with Louis Armstrong, was influenced by him and later by Lester Young, whose instrumental technique she adapted to her singing. A beautiful voice, quite a lot like Bessie Smith's.

Records Night and day, The man I love (1939); Don't explain (1945). :

;

.

HOLLAND - HOPKINS HOLLAND, HERBERT LEE ("PEANUTS") Trumpet and singer, Feb. 9, 1910. Played Alphonse Trent's band

Earl Hines

Thompson

(1949), "Sir Charles" (1954).

b. Norfolk, Va.,

at Buffalo in

1929-33; led his 38;

own band

.1933-

HOOKER, JOHN LEE and blues

singer, b.

Came

played with Coleman Hawkins

Ala.,

ca.

and

1949

when he made

1940, Fletcher

Henderson

Charlie Barnet 1941-46.

1941,

Went

to

Europe in 1946 with Don Redman and remained there, playing mostly in Scandinavia and France. A capable but uneven trumpet player, on whom Louis Armstrong has been the chief influence. Record: Flying

home (Club Francais du Disque, 1953).

1915.

Guitar

Birmingham,

fame

to

in

a remarkable series of records, singing the real blues in the old way and accompanying himself on the electric guitar in a very individual style with dramatic force and remarkable swing. His heel beating on the floor is an integral part of his rhythmic

accompaniment. Records Hobo blues, Hoogie boogie, Whistlin and :

moanin blues, Howlin wolf, Sally May, Boogie chillun, Anybody seen

HOLMES, CHARLIE ("PICKLES") Alto and soprano saxophone, b. Boston, Mass., 1910. Played for some time in Luis Rus-

my

band which became Armand closely copied Johnny Hodges. Record: with Henry Allen, It should be you ( 1929 )

Lee's house rent boogie (1952).

sell's

baby, Notoriety

woman

(

1949 )

Ground hog blues, Union station blues, High priced woman, John

strong's,

HONEY DRIPPER.

See Sykes,

Roosevelt

HONEYSUCKLE ROSE Composed by Fats Waller in 1929. Chorus of 32 bars with release. One of the most popular jazz standards. Waller himself recorded three completely different versions: two with his small band (1934 and 1937) and a piano solo (1941). Other good recordings: tenor saxophone solo by Coleman Hawkins (1934), Hawkins' All Star

Jam Band

(1937),

Count

Basie and his band (1936), piano solos

by James

P.

Johnson

(1944),

HOPKINS, CLAUDE

Piano and Washington, D. C, Aug. 3, 1903. Went to Europe with Josephine Baker in 1925. Directed a band of his own for the first time in New York at the Savoy Ballroom, Harlem, 1930, then moved to the Roseland on Broadway. After 1940 his popularity declined and he played mostly with small groups, some of them under his leadership. Hopkins is a pianist with a clearcut, melodious style, full of swing, and one of the best performers in the tradition of Willie "the Lion" Smith and Fats Waller. Between 1930 and 1935 his band was considered to be one of the best, but its quality never came over on rec-

band

leader, b.

131

.

HOPKINS - HOWARD ords. The best are: Washington squabble, Mystic moan (1933); Don't let your love go wrong

Lewis and Nancy Hamilton. Chorus of 32 bars without release. Not particularly melodious, but constructed

on a very fast-moving harmonic sequence, this number has mainly been played by musicians more in-

(1934).

HOPKINS, "LIGHTNIN'" (SAM)

terested in juggling with

b.

than in the creation of melodic variations; it is the kind of theme

Guitar and blues singer. probably Mississippi ca. 1915. Acquired a great reputation through a large number of recordings he

harmony

recalls that of John Lee Hooker. Records: Moonrise blues,

which lends itself to cerebral exercises and is a bop cliche. Nevertheless, there is one record of it which shows remarkable musicianship and swing: Lionel Hampton on vibraphone with rhythm section

Honey honey blues (1950); Baby

(1947).

Automobile, Central 209 (1952); Everybody's down on me, Freight train blues (1953).

and

made

after 1949.

One

est blues specialists

of the great-

come

to light

since 1950. His guitar playing some-

times

child,

HOWARD, CAMILLE 1920.

HOSKINS, JIMMY

Drums,

Moline, 111., Feb., 1911. Played for some time in Chicago, notably with Albert Ammons and Tiny Parham, then in New York with Lips Page, Coleman Hawkins, and b.

Henry

Allen.

A

solid

drummer,

of swing. Record: with Albert

mons, Boogie woogie stomp

(

full

Went

to California during the

pianist in Roy Milband. Plays good slow blues and boogie. Records: with Roy Mil-

forties

and was

ton's

ton,

Milton's boogie, R.M.

blues,

Camille's boogie; piano solos, X-

temporaneous boogie, Miraculous boogie (1950).

Am-

HOWARD, DARNELL

1936 )

net,

HOT An

Piano

singer, b. Galveston, Tex., ca.

violin

and

also

Clari-

saxophone,

many

years to denote the warm, vibrant intonations of jazz mu-

Chicago, 111., July 25, 1905. Played with James P. Johnson 192324, and went to Europe with him in

and their extemporized varion a theme. "Hot Jazz" connoted real jazz as opposed to commercial music. In recent years the word has been less and less

band accompanying the PlantaDays revue. Played with King Oliver 1925-26. After that he went to China, where he played with Teddy Weatherford. Returning to

used.

Chicago, he played with Erskine Tate and was a member of Earl Hines' band from 1930 to 1938. Later played with Fletcher Hen-

expression current for

sicians

ations

HOW HIGH THE MOON Composed 132

in

1940

by

Morgan

b.

the

tion

HUGHES -I CAN'T HUGHES, "SPIKE" (PATRICK)

derson 1938-40 and a number of small bands first in Chicago, then

Rritish jazz circles in the thirties

and warm tone of Jimmie also good on violin, have inspired Eddie

clear at

Noone. He and is said

is

to

times

several other these records

Someone

South. Records: clarinet, with Earl Hines, Wolverine blues, Darkness (1934); with Kid Ory, Weartj blues, Maple leaf rag, Original

Dixieland rag,

among

Nocturne and

stole Gabriel's horn.

HUMES, HELEN

Singer,

Was

with

the Rasie band 1938-41. Among the best jazz singers. Records If I could

Oh

violin,

musicians; are

b. Louisville, Ky., 1913.

Down home

one-step,

active in

and visited New York in 1933 where he directed a series of recordings, using members of Renny Carter's band plus Coleman Hawkins and

leans-style clarinet, playing with a fluid, lively,

Was

don, England, 1908.

among them those of Kid Ory and Muggsy Spanier. Howard is a remarkable New Orin California,

reminiscent

Lon-

Rass, arranger, composer, b.

didn't he ramble (1945); with Earl Hines, Cavernism

:

be with you, Million dollar secret (1949).

(1934).

I I

AIN'T by

GOT NORODY Com-

posed

Spencer Williams in 1908: 32 bars with release. One of Spencer Williams' best numbers,

this fine

piece only

became

really

popular about 1926. Rest recordings: Ressie Smith (1925), piano solo by Earl Hines (1928), Louis Armstrong (1929), piano solo by Art Tatum ( 1935 ) and with his trio (1944), and three quite different versions by Fats Waller (organ, 1927; with band, 1935; piano solo,

1937). I CAN'T BELIEVE THAT YOU'RE IN LOVE WITH ME

Composed

in

1930

by

Jimmy

McHugh, and one

of

his

best.

Chorus of 32 bars with release. Rest recordings: Louis Armstrong (1930); violin solo by Eddie South (1937); Cootie Williams Milton Mezzrow (1953).

I

(1937);

CAN'T GET STARTED Com-

posed in 1936 by Vernon Duke. Chorus of 32 bars with release. The most famous recordings are the various versions

made by Runny

Rerigan (1936 and 1937) but the best one is Lionel Hampton's (1939). Other good recordings: Teddy Wilson, piano solo (1941), Lester Young (1942), Ruck Clay133

I

CAN'T -I KNOW

LP "Buck

rus of 32 bars with release. Best

CAN'T GIVE YOU ANY-

recordings: Art Tatum Trio ( 1944 ), Ike Quebec (1944), Milton Mezzrow with Claude Luter's band

ton-Ruby Braff Meets Ruby"). I

(

1954, in

THING BUT LOVE in 1928

Composed

(1951).

by Jimmy McHugh. Chorus

of 32 bars without release. Louis

Armstrong largely made

this

num-

ber a success by virtue of his splendid recording in 1929; he made another remarkable version in 1938. Other good recordings: Ethel Waters (1933), Jonah Jones (1946), Milton Mezzrow (1953).

I

FOUND A NEW BABY

is by Ethel Waaccompanied by Joe Smith on trumpet and Clarence Williams on piano (1926). There are many

The

best recording

ters,

other recordings of this I

COVER THE WATERFRONT

Composed

1933 by Johnny Green. Chorus of 32 bars with release. Best recordings: Louis Armstrong (1941), Art Tatum, piano solos (1949 and 1954). in

IF I COULD BE WITH YOU ONE HOUR TONIGHT Composed in 1929 by James P. Johnson. Chorus of 18 bars; that is, 16 bars without release plus a 2-bar tag. One of the most charming numbers currently being played. The 12-bar verse is just as good but is seldom heard. There are four fine recordings of this number: Louis Armstrong (1930), piano solo by James P. Johnson himself (1944, one of the few records on which the verse can be heard); vocal by Milton Helen Humes (1950),

Mezzrow

(1951).

Com-

posed in 1919 by Spencer Williams, a wonderful old jam-session standard. Chorus of 32 bars with release.

none

is

really

number but

satisfactory;

since

1930 everyone has been playing it much too fast. The 1932 recording of the New Orleans Feetwarmers (Tommy Ladnier and Sidney Bechet) and the 1954 recording of Kid Ory are probably the best orchestral versions. I

GOT RHYTHM

Composed

in

1930 by George Gershwin. Chorus of 34 bars made up of 32 bars with release (A, A, B, A) plus a 2-bar tag following the final A. Played very often because of its great harmonic simplicity. By leaving out the tag most jazz musicians have reduced it to 32 bars. The best recordings are by Ethel Waters (1930), Louis Armstrong (1931), Fats Waller (1935), Lionel Hampton (under the title of Rhythm, rhythm, 1937), Art Tatum Trio

(1944).

IF

I

HAD YOU

Composed in Jimmy Camp-

1929 by Ted Shapiro, and Reginald Connelly. Cho-

bell,

134

I

KNOW THAT YOU KNOW

Composed

in 1926

by Vincent You-

.

I'LL mans. Chorus of 32 bars without release, often played by clarinet and piano soloists as a specialty

number Best

to

show

off fast variations.

Jimmie

recordings:

Noone

(1928), Rex Stewart with Barney Bigard (1939), piano solo by Art

Tatum

(1950).

I'LL BE GLAD WHEN YOU'RE DEAD YOU RASCAL YOU Com-

by Sam Theard. ChoLouis Armstrong made it famous when he recorded it in 1931. He made two more versions in 1941 and 1950, the latter posed rus

in 1931

of 16 bars.

with Louis Jordan.

I'M COMING VIRGINIA Composed in 1926 by Will Marion Cook and Donald Heywood. Chorus of 24 bars, A, A 2 A 3 the harmonic sequence of this piece is very moving and varied, and lends itself particularly to good variations. The ,

;

best recordings are by Ethel Wa(1926), Fletcher Henderson (1927), Benny Carter (1938), Art

ters

Tatum, piano

solo

(

1954 )

IN THE MOOD FOR Composed in 1935 by

I'M

LOVE

McHugh

Jimmy

Chorus

Fields.

and

Dorothy

of 32 bars with re-

Louis ArmColeman ( 1936 ), Hawkins (1944), Art

lease. Best recordings:

strong

(

1935

Coleman

),

Bill

Tatum, piano solo (1954). I

SURRENDER DEAR

Com-

posed in 1931 by Clifford and Barris. Chorus of 32 bars with release.

BE - IMPROVISATION Louis Armstrong

Best recording: (1931).

IMPROVISATION

Improvisaimportant place in jazz. Solos are almost always improvised. There are some solos which have been written or dictated, but they are rare exceptions. Of course when a musician often improvises on the same theme, tion

occupies

a

very

can "crystallize," because he remembers his best ideas and returns to them. Until the thirties, all the members of most small bands made "head arrangements" as they played, producing collective improvisations. Not many jazzmen could read music, and of course even today a band with pretensions to pure New Orleans style scorns the written note. One instrument, often the trumpet, takes the lead and sticks close to the theme (except when taking a break) until the final chorus. The clarinet, playing mostly in the upper register, plays an elaborate and active counterpoint against the trumpet. The trombone provides the bass part of the ensemble, and often fills in a pause or punctuates a phrase with glissandi, as does the sax, to a lesser extent. The instruments take solos in turn, the order of the breaks usually having been established by the lead man. In a good jam seshis variations

sion nobody leads; the music played by each member of the band inspires the next man, and on great occasions the same number is some-

135

,.

INDIANA - INTERLUDE times played all night, the on-thespot variations of one instrument giving rise to an even more spectacular break from another,

and so

on.

Armstrong in S kip the gutter ( 1928 ) Harry Edison in Count Basie's Every tub (1938), Barney Bigard in

Duke

Ellington's

Harlem

flat

blues

(1929).

Almost any good jazz ensemble recorded before 1930

is

playing a

collective improvisation. Excellent

examples are: Louis Armstrong with his Hot Five, Heebie jeebies (1926), with his Hot Seven, Willie the weeper, 12th st. rag, and the really beautiful Potato

head blues

(1927).

INGE,

Composed

in

1917

by Hanley and MacDonald, originally had the full title of Back

home

again in Indiana. Chorus of 32 bars without release. Good reBill Coleman (1937), Earl Hines' band (1939), Art Tatum, piano solo (1940), Mutt Carey-Baby Dodds (1946), Louis Armstrong ("Satchmo at Pasadena," 1951).

cordings:

INFLECTION The slight modionce it has been enunciated in order to increase its expression. Smaller than a glissando, an inflection has mostly a rhythmic value. Great swing can be derived from the good placing and execution of inflections. The use of inflection in jazz springs dification of a note

rectly

from the style of the old blues and there are several: sharp,

singers

flat, or a rapid repetition of both: these last, which are a kind of vibrato rallentando, may last for one or several bars. Examples: Louis

136

Clarinet, alto

much influenced Orleans style, who played in an active, melodious style full of sensitive intonation. Records: with McKinney's Cotton Pickers, You re driving me crazy (1930); with Don Redman, That blue eyed baby from Memphis (1933); with Bennie Morton, Tailor made ( 1934 ) cellent

INDIANA

EDWARD

saxophone, arranger, b. Kansas City, Mo., May 7, 1906. In 1930 played with McKinney's Cotton Pickers, with Don Redman 193140, and Andy Kirk 1940-43; after that he moved to Buffalo, N. Y., where he led a small band. An ex-

by

clarinet,

New

INSTRUMENTS.

See Band

INTERLUDE

musical frag-

ment

linking

choruses

When

an

of

A

two themes or two the same number.

interlude

change of key

it

involves

may be

a

called a

"modulation." An interlude may be an integral part of a number, as for example in King Porter stomp,

Royal garden blues, Jazz me blues; or it may be added by an arranger —Benny Carter and Jimmie Lunceford's arrangers are famous for the brilliant originality of their inter-

ludes.

found

Interludes in jazz

are

frequently

numbers composed

before 1927 or 1928, particularly in

,

INTRODUCTION - JACKSON rag time. After 1930 they became very rare, and such as are to be

found are generally arranger's additions.

INTRODUCTION played by a

IRVIS, ca.

Duke

soloist or

CHARLIE

Trombone,

THE TALK OF THE

IT'S

TOWN

Composed in 1933 by Levinson, Simes, and Neiburg. The chorus, consisting of 32 bars with a release, has a nice "singing" quality. Best recordings: Fletcher Henderson, mostly for Coleman Hawkins' tenor sax solo ( 1933 ) Coleman

Hawkins (1945), "Sir Thompson, again with Coleman Hawkins (1954), Art Tatum, piano solos (1949 and 1954). Charles"

1900, d. 1939. Played with

Ellington

1924-26,

Charlie

Johnson 1927-28, and Bubber Miley ca. 1930. Inspired by the New Orleans style, he played with simplicity

in 1932 by Duke EllingChorus of 32 bars with release. The best recordings were made by Ellington himself (1932 and 1945). ton.

Fragment

ensemble as a lead into a number. Usually 4 bars long. In vocal blues the 4 last bars of the theme are often played by the accompanist as an introduction for the singer. Up to about 1927, most jazz numbers had an introduction written by the composer; for example: Royal garden blues, Sugar foot stomp.

b.

DON'T MEAN A THING

IT

Composed

and

sensitivity.

with Fats Waller, Harlem minor drag (1929).

I

WISH

LIKE

MY

I

COULD SHIMMY

SISTER KATE

Com-

Records:

posed in 1919 by Louis Armstrong and Clarence Williams. Chorus of 18 bars (16 bars without release

The

plus a 2-bar tag). Best recording:

fuss,

EarlHines (1929).

J JACKSON, BESSIE.

1924 where he played with a number of small bands and accompanied various blues singers on rec-

See

Bogan, Lucille

JACKSON, "CHUBBY."

See

Jackson, Greig

JACKSON, "CLIFF" (CLIFTON) Piano, b. Washington, D. C, July 19, 1902. Came to New York in

ords.

Was

solo

pianist

at

Nick's

1940-43 and at Cafe Society 194351 in Greenwich Village, New York City. A pianist of the James P. Johnson-Fats Waller school who early in his career derived his style largely

137

.

JACKSON - JACKSON from Jelly Roll Morton; he has a powerful and impressive left hand. He is at his best in the blues and ragtime, and is a wonderful man in a band. Records: with

Tommy

Ladnier, Jada (1938); piano solo, Memphis blues (1945).

DEWEY

JACKSON,

Trumpet,

Louis, Mo., June 21, 1900. Played with the leading St. Louis b.

St.

M

arable's and bands, such as Fate Charlie Creath's, and often went with them on the Mississippi riverboats. A well-known trumpet, but no good recordings of him were ever made except: Tailgate ramble

and Washington and Lee swing (1950).

started singing in churches there.

Earl Hines heard her and was much impressed; offered her a job singing with his band. She declined, as she was not interested in singing secular music. She recorded her first gospel songs in 1935 but was never very widely known until about 1949, when she began to make a tremendous hit not only in America but all over the world. She toured Europe in 1952. Mahalia Jackson was somewhat influenced by Bessie Smith; has the same impressive power as the great blues singer, and a tremendous sincerity

and deep religious feeling all her own. She has perfect control and an unusually beautiful alto voice.

Some

JACKSON, FRANZ Tenor phone,

b. ca. 1915.

saxo-

Played with Jim-

mie Noone, Roy Eldridge, and Earl Hines. A good musician with a rather muffled tone and slight "growl." Records: with Earl Hines,

Easy rhythm

(

Bass. b.

New

York,

Oct. 25, 1918. Played with Scott,

Charlie

Barnet,

Woody Herman, and formed his own band in 1946. A bass player a remarkable technique.

with

instrumental

JACKSON, MAHALIA singer, b.

New

Gospel

Orleans, La.,

Dec,

Moved with her family to Chicago when she was 16 and 1911.

138

;

JACKSON, "PEE WEE"

("CHUBBY")

Raymond

;

,

JACKSON, GREIG STEWART Y.,

Even

(1947); Amazing Grace, Move on up a little higher ( 1949 ) What could I do, I'm glad salvation is free ( 1950 ) Shall I meet you over yonder, Go tell it on the mountain, In the upper room (1952).

1940 ) Jersey bounce

(1941).

N.

of her best records are:

me

(HARRY)

Trumpet. Played with

Earl Hines 1940-42, and with Jimmie Lunceford. Influenced by Harry Edison. Record: with Earl Hines, Comin in home ( 1941 )

JACKSON, PRESTON

Trom-

bone, b.

New

Went

Chicago in 1917 and rePlayed with Erskine

to

mained Tate,

Orleans, La., 1903.

there.

Carroll

Dickerson,

Louis

Armstrong 1931-32, and a number of small bands. A good musician

JACKSON - JACQUET though rather uneven. Records: with Louis Armstrong, You rascal You (1931); with Jimmie Noone, Sweet Georgia Brown (1936).

Wrote a number the

for

ish publication

Hot News (1935-

36) on the golden age of jazz in

New

Orleans.

JACKSON, QUENTIN

LEONARD

Some

JACOBS, PETE Drums, b.

of very lively ar-

French magazine Jazz Hot (1935-38) and the Britticles

Michigan water, sweet day, Cannon ball, You're such a pretty thing.

ing: Pretty baby,

Trombone,

Played

with

1930-37.

A

Claude

solid

1899.

Hopkins

drummer whose

brushes on the snare drum— firm and compact— develop a wonderful swing. Records: with Claude Hopkins, Don't let your lover go wrong, Everybody's shuffle (1934).

b. Spring-

Dec. 15, 1909. Played with McKinney's Cotton Pickers, Don Redman, Cab Calloway, toured Europe in 1946 with Don Redman, and in 1949 joined Duke Ellington with whom he still plays. A good man with the "wa-wa" mute, rather in the style of Tricky Sam. Records: with Duke Ellington, Fancy Dan, Jam with Sam (1951) field, O.,

JACOBS, WALTER. Walter"

See

'Little

JACQUET, ILLINOIS BATTISTE Tenor saxophone, b.

Broussard, La., Oct. 31, 1922.

Brought up in Houston, Texas. First played drums, then changed to soprano and alto sax. He didn't take up tenor sax until 1941,

JACKSON, TONY singer, b. d.

New

Chicago,

111.,

Piano and

Orleans, La., 1876, April 21, 1921. A

well-known piano, very popular in home town. He left the South in 1908, first for New York, and then about 1915 for Chicago. There in 1918 he led a band which included Sidney Bechet. According to those who heard him, he was the first great jazz pianist, and had a considerable influence on Jelly Roll Morton. The guitar player Bud Scott described him as "combining

his

the instrumental technique of Art Tatum with the swing of Fats Waller." Tony Jackson composed several pleasant numbers, includ-

when

he was hired by Lionel Hampton. From 1943 to 1944 he played with Cab Calloway, then formed his own band. During 1945-46 was in Count Basie's

band,

then

toured

with

"Jazz at the Philharmonic," and next headed another small group. Illinois Jacquet is a follower of

Herschel Evans, for presses

the

whom

greatest

he

ex-

admiration.

His style shows traces also of LesYoung and Hawkins, but Her-

ter

schel

Evans takes

first

place. Jac-

quet became known to the public

by the peculiar "squeal" he produces on

sax.

But when he plays

sincerely, either with concise, sim-

ple and

moving phrases reminis139

JADA-JAM cent of Herschel Evans, or with intricate phrasing, he is one of the finest tenor saxes; he's particularly good on the blues. Records: with Lionel Hampton, Flying home (1st version, 1942);

more

with Count Basie, Bambo, The king (1946); under his own name, Bottoms up, A ghost of a chance, Merle's mood ( 1945 ) Don't blame me, Jumpin Jacquet, Minor romp, You left me all alone, Jacquet bounce (1946); Robbins nest, Music hall beat, Goofin off (1947); with Wynonie Harris, Here comes the blues ( 1944 ) with "J azz at the Philharmonic," Blues (I.J. takes the 2d tenor solo-1946). ;

;

J

AD A

Bob

Composed

in

1918 by

Carleton. Chorus of 16 bars

with release.

A

improvisations.

good vehicle Best

for

recordings:

Tommy Ladnier (1938), Art Tatum, piano solo ( 1944 ) Erroll Garner, piano solo (1950). ,

JAMES,

ELMER

Bass. b.

Yon-

N. Y., ca. 1910. First played the tuba with June Clark and Chick Webb; then string bass with Chick Webb, Fletcher Henderson, the Blue Rhythm Band, Edgar Hayes, and Claude Hopkins. A follower of Pops Foster, with a touch of John Kirby, plays in good New Orleans style. Records: with Henry Allen, Rug cutter's swing (1934); with Fletcher Henderson, Wrappin it up, Shanghai shuffle (1935); with Tommy Ladnier, Weary blues; with Milton Mezzrow, Revolutionary blues (1938). kers,

140

JAMES,

HARRY

Trumpet and March 15, 1916. In 1936 played with Ben Pollack, joining Benny Goodman at the end of that year, and remained until 1939, then organized his own big band which he has band

leader, b. Albany, Ga.,

kept since.

Harry

A

James

brilliant technician,

always

has

been

pretty "commercial," trading on his

and playing in a very sentimental style. However, he's capable of playing good jazz, as may be heard on such records as: Lionel Hampton's Shoe shiner's drag, I'm in the mood for swing (1938); and Teddy Wilson's Just a virtuosity

mood

(1937).

JAMMIN'THE BLUES Title of the only completely "noncommercial" movie ever made about jazz. It is a short made by Gjon Mili in 1944, with Harry Edison, Lester Young, Illinois Jacquet, Marlowe Morris, Red Callender, John Simmons, Sidney Catlett, Jo Jones, as well as the singer and dancer Mary Bryant. The movie is as remarkable visually as

it is

for

its

JAM SESSION A sicians playing

on

music.

group of mu-

their

own

time

and improvising at length on a few numbers. Such sessions usually take place after hours at some night club.

The audience

consists

of a

few musicians who have dropped in to play or just to listen, and fans with enough enthusiasm to sit up all night to hear good, spontaneous, rock-house jazz. Until recently, the

.

JAPANESE -JAZZ expression "jam session" applied to such occasions, where the musicians are playing for each other, one instrument "cutting" the next or an entire ensemble swinging like mad. When jazz became very popular however, jam sessions were organized in concert halls and night clubs, with musicians hired to improvise. Naturally they aren't the real thing at is

by

a true jam session

an unplanned occaby people who just hap-

definition

sion joined

pen

all;

to

be

in the

mood

to swing.

JAPANESE SANDMAN

Com-

posed in 1920 by Richard Whiting. Chorus of 32 bars (A, A 2 B, A 3 ). Best records: Earl Hines (1935), Dickie Wells (1937), Art Tatum, piano solo ( 1954 ) ,

JAZZ

Musical style evolved in

the late 19th century by the American Negroes, derived from European-style folk music, vaudeville

music and popular songs.

The

origin of the

word

"jazz" has

been satisfactorily settled. Some have suggested that it comes from the French "jaser" (chatter), but that seems improbable, especially since in Creole French "j" is corrupted into "y." Some have suggested that the word comes from the name of a 19th century singer, Jazzbo Brown. This too is improbable, for no jazz musician of never

long memory supports it. In the opinion of elderly Negroes whose memory goes back many years, the word "jazz" is simply an

encouragement or exhortation to the musicians. "Jazz it," they cry, much in the sense of "get going," or, more precisely in onomatopoetic

the later sense, "swing

it."

There can be no doubt that "jass" or "jazz," a word which first appeared about 1910, was first used as a verb, and later came to be an

muwas not until much later that it came to be used as a noun. Whatever its origin or use, the word "jazz" certainly implies a form of music radically different from any other. It's distinguished by 1) adjective qualifying a type of sic. It

swing, the steady four-beats-to-thebar pulse, the unvarying rhythm behind jazz. The weak beats of the bar (second and fourth) are accented rather than the strong beats as in ordinary march music, etc. The word also applies of course to that

element of

lift,

drive,

and

spontaneity which is admittedly indefinable— "If you got to ask what it is, you ain't got it," is Louis Armstrong's famous remark. 2) A melodic style, and an original harmonic texture, derived from the blues. The melodic line of the vocal blues, while very simple, was characterized by the introduction of "blue" notes (q.v. ). To these characteristics the fact

must be added that in tion and execution are

jazz, crea-

closely re-

The performer often himself determines the musical substance lated.

he either insomeone theme with freedom and em-

of his interpretation;

vents the theme, or treats else's

141

a

JAZZ upon it. In jazz there is no rigidly fixed work which musicians play as it stands without broiders variations

any variation; there is a theme— point of departure which musicians

sence of their gious

certainly as old as the transportation of slaves to the United States.

treat freely either

Some

on

in

it

or

upon

it.

by improvising by basing an arrangement Even in the latter case the

music is not definitive, for there is always room in an arrangement for improvised solos, or for a musician to improvise a counter-melody.

arrangement for

it

is

is

seldom

An

definitive,

often modified from one

performance

is,

generally speak-

ing, collective music, not only in its

execution but also in its concepSince the musical text isn't fixed, every variation, every invention played by one musician in a band reacts upon all the others, inspiring them and giving them fresh ideas; thus in every number there tion.

is

some

collective creation.

Jazz has borrowed from European music the basic harmonic framework, and also a number of themes. The religious music of American Negroes was always full of European hymns. Later, jazz music borrowed from the music of Influences.

dances such as quadrilles, polkas, and also marches, largely of French origin, on account of the lively French influence which has persisted in Louisiana.

These influences

are,

obviously,

exterior to the musical substance itself.

Borrowed

themes

served

merely as a springboard for jazz musicians, and didn't affect the es-

142

of the songs, principally those

which a preacher preaches rhythmically accompanied by the Amens of the faithful and the beating of their hands as punctuation, have a slight resemblance to the songs or rhythmic recitals found in some

parts of

West

Africa.

A

record by is

an

isolation

of

the Rev. Kelsey, Little boy,

example.

to another.

Finally, jazz

art.

The existence of relisongs among the Negroes is

History.

Given the cultural

the Negroes before Emancipation, it isn't too surprising that an indi-

vidual musical style should have evolved. The earliest known blues come from the deep South, where the condition of the Negroes was the worst. Communication between the races was very slight and no literary, social, or musical traditions were interchanged. Very little specific "white" influence passed across the barrier, except for religion. If they hadn't sung blues, the Negroes

would have had no music

at all ex-

cept for hymns. It's impossible to give an exact date for the birth of jazz. It gradually grew out of the blues and spirituals. What is certain is that the first jazz bands came into being during the last years of the 19th century.

same way, no precise locan be assigned as the birthplace of a music created collectively by a whole people. New Orleans In the

cality

JAZZ and

the

nearby

dle, since

it

is

may

districts

legitimately be considered

its

cra-

there that the

new

music flourished and developed, and it is from this part of Louisiana that all the great early jazz

molded first

men

came— the

musicians this

who

music and gave

it its

orchestral form.

Jazz bands were at first street bands, whose services were hired for the announcement of a ball or other important event, for providing dance music at a picnic or for

accompanying

funerals.

A few

played in the big dance halls of New Orleans. These bands usually comprised a trumpet (or two), trombone, clarinet, guitar or banjo, tuba and drums (in parade bands there were two drummers, one on bass and one on snare drums); occasionally there

was a

as

a regular feature until bands became primarily dance bands, that is in the second decade of the 20th century. But before 1900 there were already jazz pianists who played as solo entertainers they were generally known as ragtime pianists. From New Orleans where it :

grew

its

first

through the

jazz

roots,

spread

on the MisLouis, bands

cities lying

sissippi as far as St.

being hired to entertain the passengers and play for dancing on the excursion boats plying on the river. The new music spread rapidly through the whole of the United

and particularly most of the best New Or-

States. After 1914,

in 1917,

1928. Then slowly the greatest musicians drifted to New York, and from 1929 that became the greatest center of jazz. After 1918 jazz became popular all over the world. But gradually, in America as well as Europe, "commercialized" jazz, "sweet" music, later bop and the frenzied,

til

baroque style called rock-and-roll were heard more and more often. For the past twenty years it has been hard to find authentic jazz. But today there's a growing public for the real thing, and even among the younger musicians, performers with a feeling for the true jazz idiom are no longer quite so rare.

"JAZZ

violin.

The piano was not introduced

went to Chicago, which then became the new capital of jazz and kept that title unleans musicians

AT THE PHILHAR-

MONIC"

Title of a series of con-

by Norman Granz; band playing in the concerts— really more a group of virtuosi than a band in the proper sense. The "virtuoso" spirit really makes these concerts a sort of "jam certs organized

name

of the

session"

on

stage,

consisting of a

which the musithe gallery and in

series of solos in

cian plays to

which instrumental

brilliance

too

often takes the place of inspiration.

Jazz in such conditions almost entirely loses its character of collective music. Furthermore bop musicians have often been mixed with, jazz musicians in the JATP concerts, with naturally disastrous results. A number of JATP concerts

143

;

.

JAZZ - JENKINS have been recorded and extracts

Webb

published; there are almost always fine passages on these records, but the over-all effect is generally disappointing. The best JATP records are Lester leaps in and Blues with King Cole outstanding on piano,

Fletcher Henderson

Jacquet and Jack on tenor saxophone. Illinois

JAZZ GILLUM. William

McVea

See Gillum,

JEFFERSON, "BLIND FERSON" Guitar and

JEFblues

singer, b. Galveston, Tex., ca. 1875, d. ca. 1930. Blind.

The

earliest blues

singer to have recorded. His sing-

ing and his guitar playing have an earthy flavor that no one else has ever produced. His blues are not all the regular 12-bar form which later on became the rule with blues singers. His records, made in Chicago between 1924 and 1928, represent most faithfully the primitive blues as they were sung with guitar accompaniment before the

Examples: Hangman's blues, Lockstep blues, Lonesome house blues, Sunshine special, Rabbit foot blues, Shuckin sugar blues, Black snake moan, Matchbox blues, Southern woman blues, Mosquito moan, Got the blues, Long lonesome blues, Booster blues, Dry southern blues, Chock house blues. birth of jazz

as

such.

1938,

Benny Carter

1931,

Chick

with

1932,

1933-34 and Webb again

1938-39, Cab Calloway 1940-48, Duke Ellington from time to time during 1952-53. One of the best first altos

known

in jazz. Influenced

by Benny Carter, he has a singing tone of extraordinary purity, and in solos he plays in a melodious style remarkable for the grace and flexibility of its phrasing. Records: with King Oliver, I'm lonesome sweetheart (1929); 1 must have it (1930); with Fletcher Henderson, Can you take it? ( 1933 ) Wrappin it up (1934); with Henry Allen, Rug cutter's swing (1934); with Chick Webb, Pack up your things and go to the devil (1938); with ;

Ella Fitzgerald, Strictly

low weep for

from Dixie

Cab Calloway, Wil-

(1938); with

me

(

1940 )

JELLY ROLL The word has a slang sexual connotation. It is the abbreviated title of a frequently played number, Ain't gonna give nobody none of my jelly roll ( q.v. ) nickname of Ferdinand Morton (q.v.).

JENKINS, FREDDY ("LITTLE POSEY") Trumpet, b. New York, N.

Y.,

Oct. 10, 1906. Played with

Horace Henderson, then joined

where

Duke he

in

Ellington's

remained

until

1928

band 1934.

own band. An uneven trumpet who played some fine choruses with Duke ElLater on organized his

JEFFERSON, HILTON July 30,

144

Alto

Danbury, Conn., 1903. Played with Chick

saxophone,

b.

lington,

for

example

in:

Jungle

.

JENKINS - JOHNSON jamboree ( Okeh-Parlophone version), Cotton club stomp (RCA

Victor-HMV

High

version),

life

(1929).

JENKINS, Norfolk,

GEORGE

Drums,

July 25, 1917. Played with Buddy Johnson, Cootie Williams, and several times with Lionel Hampton between 1942 and b.

Va.,

Drummer

with a lashing, inRecords: with Lionel Hampton, Air mail special, Chord a re bop ( 1946 ) 1946.

cisive beat.

JENKINS, Very good

MYRTLE

a number of ing blues singers,

Bumble Bee

my

pillow,

Piano.

and has made records accompany-

in blues,

Slim,

When

a

bands

member

Orleans at the beginning of the century and organized the Original Creole Band with which he went to California and Chicago. From 1918 to 1924 he played with King Oliver; afterwards played with a number of small bands in Chicago. Bill Johnson was among the earliest great bass players in jazz; it is he who laid the foundations of the powerful New Orleans style that Pops Foster and Wellman Braud brought to its height. Records: with Johnny Dodds, Blue clarinet stomp, Blue piano stomp, Bull fiddle blues,

Weary

city, Buck town washboard stomp

stomp,

Blue

New bricks in my money

(1928);

Heah me

Isabel,

I get

See Joseph

JOE, PLEASANT.

JOHNSON, BILL phone and arranger,

See Joseph Alto b.

saxo-

Jackson-

ville, Fla., 1912. Played 1935-44 with Erskine Hawkins, for whom he was one of the chief arrangers. His inspiration on alto sax came from Willie Smith. Records: with Erskine Hawkins, Lucky seven, Bear mash blues (1942).

JOHNSON, BILL (WILLIAM Bass b. New Orleans,

MANUEL)

La., Aug. 10, 1872. First played the harmonica, then the guitar, and took up the string bass in 1900.

known

of the best

New

in

with

notably:

(1936).

JOE, COUSIN.

Was

talkin,

My

Goober dance, Too Indigo stomp (1929).

little

tight,

JOHNSON, "BLIND" WILLIE Guitar and gospel singer, b. 1900,

Some

d.

date

The blind

ca.

Blind.

of his records, such as

erless children,

Dark

unknown.

Moth-

pilgrim,

was the night, Nobody's mine ( 1936 give an idea

fault but

)

,

of the old spiritual style such as

one seldom has a chance to hear.

JOHNSON, BOBBY

Banjo and

guitar, b. ca. 1905. Brother of the

Howard Johnson. Played with Charlie Johnson 1926-34 and Chick Webb 1937-39. One of the most solid accompanists on banjo and guitar, with a lively, biting swing. Records: with Charlie Johnson, The boy and the boat, Walk that thing sax

(1928).

145

.

JOHNSON - JOHNSON JOHNSON, BRUCE Washboard and singer, b. ca. 1905. d. ca. 1938. For many years leader of the Washboard Serenaders, with whom he

London

visited

in

1935.

Played

straightforward

style.

His arrange-

ments particularly lend themselves to swing; they are in the great Kanresembling those

sas City tradition,

of

Eddie Durham and the Count

washboard with remarkable swing.

Basie

Records: with the Washboard Serenaders, Lonesome road, Dear old southland, Black eyes, Nagasaki, St. Louis blues, Sheik of Arahy

ments have been recorded by Earl Hines' band: Father steps in, Riff melody, Number 19 (1939-40). Records of Budd Johnson on tenor saxophone: with Louis Armstrong, Some sweet day (1933); with Earl

(1935).

JOHNSON, "BUDD" (ALBERT)

style.

Several of his arrange-

Hines, I can't believe that you're

me

1937 ) Grand

Alto and tenor saxophone, clarinet,

in love with

arranger, b. Dallas, Tex., Dec. 14, 1910. Left home in 1928 for Kan-

race shuffle, Tantalizing a Cuban (1939), Call me happy, Deep forest (1940); with Lionel Hampton,

sas

City and played there until

Went to Chicago he played with Louis Armstrong, then with Jimmie Noone. In 1935 he joined Earl Hines' band and stayed with it until December 1942, apart from a short break in 1938. After that, Budd Johnson played with John Kirby, then with Al Sears who in 1943 made a nation wide tour of the United States playing in army camps. During 1944 he was with small groups on New York's 52d Street; in 1945 he played with Billy Eckstine, in 1946 with J. C. Heard, in 1947 with Cab Calloway. Since then he has worked more as an arranger than as an instrumentalist. In 1952 he toured American camps in Europe with Snubs Mosley. Budd Johnson was influenced by January

where

1932.

in 1933

Louis Armstrong, Coleman HawChu Berry, and Lester Young. His solos, though often very fast and brilliant, are pure jazz in a

kins,

146

(

,

ter-

Tom special, Flying home (1940); with J. C. Heard, Heard but not seen (1946); with Benny Green, La vie en rose (1950). Budd Johnson playing alto saxophone can be heard on Earl Hines' Till

Father steps in

(

1939 )

JOHNSON, "BUDDY" (WOOD-

ROW WILSON)

Piano and band

C, Jan. 10, 1915. Visited Paris with the Cot-

leader, b. Darlington, S.

ton Club Revue in 1937 as pianist in a washboard band called the "Tramp Band." Organized a big band in 1939 and has led it since that date at the Savoy in Harlem and on tour (mainly in the South).

Buddy Johnson

who can

is

an excellent

pi-

play as well in the style of Earl Hines as in the "blocked chords" of Milton Buckner. His band has never contained any stars but is made up of young musicians who really know how to anist

.

JOHNSON - JOHNSON swing; it has real punch and hard, sharp accent on the beat somewhat in Lionel Hampton's style. The only good records which Buddy Johnson's band has made are: One of them good ones (1944); Li'l dog (

1949 ) Shufflin and ;

JOHNSON,

LIAM GEARY)

rolliri

"BUNK" Trumpet,

(

1952 )

(WILb.

New New

Orleans, La., Dec. 27, 1879, d. La., July 7, 1949. Before

Iberia,

1900 played with the earliest of bands known, that of Buddy Bolden, and became one of the best-known musicians in New Orall jazz

When Bolden collapsed, Johnson took over the band that was famous as the "Eagle." Louis Armstrong, who heard him often, says "You really heard music when Bunk Johnson played the cornet with the Eagle Band." Johnson gave up music for nearly forty years. He leans.

was "re-discovered" by

enthusiastic

but misguided amateurs in 1941, made a number of records, played in California and New York, and enjoyed a second fame. Johnson was undoubtedly a remarkable musician in his youth, as all who heard him in New Orleans at the beginning of the century have said, but the records he made at the end of his

life

(the only ones he

ever

made were recorded when he was

Around 1920 played

in

Atlantic

City, then for years at Small's Para-

one of the best known night clubs in Harlem. Charlie Johnson's dise,

band was considered one

of the best in the twenties, but it made few records, and the only ones which show any quality are Boy in

the boat,

Walk

that thing (1928).

Although a pianist of repute, Johnson has not made a single record containing a solo. He composed several good numbers, such as Vi-

pers dream and Fat and greasy.

JOHNSON, FREDERICK.

See

Johnson, "Keg"

JOHNSON, FREDDY b. New York,

and arranger,

Piano N. Y.,

Elmer Snowband beside Jimmy Harrison and Rex Stewart 1924-25, then in Billy Fowler's band with Tommy Ladnier, Benny Carter and Jimmy ca.

1905. Played in

den's

Harrison. Two years later he accompanied Sam Wooding's band to Europe; in 1930 he left the band and made his home first in France then in Holland. He was a prisoner in Germany during World War II and returned to the United States in 1944 after two years in a P.O.W. camp. Since then he's played mostly in small night clubs in

he

New

York;

also runs a school of stage de-

Piano,

portment, singing, and microphone technique. A fine band pianist with a solid tempo and good harmonic sense. Records: with Benny Carter, Skip it (1937); under his own

composer and band leader, b. Philadelphia, Pa., Nov. 21, 1891.

name, The blue room, Jam with bacon (1939).

)

too old to evoke even a faint idea of his early greatness.

JOHNSON, CHARLIE

147

.

JOHNSON -JOHNSON JOHNSON, GUS

Drums,

Houston, Tex., Nov. 15, 1913. Played with Jay McShann 1940-42, with Cootie Williams 1948-49, and in 1950 joined Count Basie. Records: with Count Basie, Fawncy meeting you, Why not ( 1952 )

b.

JOHNSON, saxophone,

HOWARD

clarinet,

Alto Boston,

b.

Mass., ca. 1905. In 1932 he played

with one of the best bands in New York, Elmer Snowden's, then with

Benny

Carter.

From 1934

to 1939

he played in Teddy Hill's band with which he toured Europe in 1937. Played with Don Redman in 1945 and Dizzy Gillespie 1946-48. Remarkable as a first alto sax, Howard Johnson is also a very fine and talented improviser. His solos are

always clear and melodic. He plays with a most moving accent. Also a good clarinet, though he plays the instrument very seldom. Records: with Teddy Hill, rhapsody, Uptown Passionette fine blues

(1936); King Porter stomp (1937); with Dickie Wells, Nobody's blues but my own, Hot club blues, Dinah (1937).

JOHNSON, Trombone,

b.

"J. J."

(JAMES)

Indianapolis,

Jan. 22, 1924. Played with

Ind.,

Benny

Carter 1943-45, Count Basie 194546, Illinois Jacquet 1947-49,

Gillespie 1949-50

months

and then,

Dizzy

after six

with Oscar Pettivery good trombone and a soloist full of imagination, but he has recently come under the influence of bop.

ford.

148

A

in Korea,

JOHNSON, JAMES P. Also as JIMMY Piano and composer, b. New Brunswick, N. J., Feb. 1, 1894. d. New York, N. Y., Nov 17,

known

from his childhood— first with his mother, then with an excellent teacher who also gave him lessons in harmony. When still very young he played 1955. Studied the piano

in

Harlem night

clubs, in a style

based on that of Lucky Roberts. He got together a band with which he played at the Clef Club in New York, and as a soloist he worked a great deal in Harlem. Next he wrote the music for various revues and

worked as musical director for the shows with which he toured widely. He was never a member of a regular band for long, but divided his time between composing, revues and recordings. In 1921 he recorded his first piano solo for Okeh: Carolina shout (of which he had already cut a piano roll); this very well-known number is one of the classics studied by almost every jazz piano. In the following years

he made a number of records accompanying singers, chiefly Bessie Smith and Ethel Waters. One of his revues, Plantation days, was so successful that a European tour was arranged in which Johnson took part. When he returned to the United States in 1928 he went to Hollywood. He wrote the music for Yamacraw and appeared in a music

short— the

St.

Louis Blues with

The crash 1929 hit him hard, and from 1930 to 1938 he spent most of his

Bessie Smith as soloist. of

JOHNSON time composing "serious" music. In 1938 he returned and played a lot of piano— mainly in New York, and

number of recording sessions. In 1951 he had a stroke and became paralyzed. James P. Johnson is one of the great pianists in the history of jazz. He brought to the "ragtime" style participated in a

a richness quite unknown before. He created the style of piano playing with which his chief disciple, Fats Waller, had his great success. As a matter of fact it's almost impossible sometimes to distinguish

between Fats Waller and James P. Johnson in their recordings made during the twenties. His influence

was considerable on a number other pianists, such as

Duke

of

Elling-

Basie, Joe Turner, and Cliff Jackson. He was of course the

ton,

Count

first

of the

great "stride" pianos,

with a rapid powerful bass, clearcut rhythm, spontaneous swing, with a delicacy of touch even in the loudest numbers. Johnson has no competition in the invention of "riffs";

his

variations

are full of

melodic variations, he plays remarkable blues and is a great accompanist for vocalists. His best recorded piano solos are: Carolina

Keep off the grass (1921); Weeping blues, Worried and lonesome blues, You can't do what my shout,

rag (1943); Honeysuckle Keepin out of mischief now, I'm gonna sit right down and write myself a letter, Old fashioned love,

price rose,

Riffs,

Snowy morning

off

the

life

blues,

blues, Blue spirit blues,

Worn

out papa blues, You don't understand, Don't cry baby (1929); On revival day, Moan you mourners playing with a band: under ( 1930 ) his own name, After you've gone (1944); with Sidney de Paris, Everybody loves my baby, Who's ;

sorry

now

(1944).

James P. Johnson composed several numbers that are now jazz classics: Charleston,

Runnin If I

Carolina shout,

Old fashioned love, could be with you one hour towild,

Go Harlem, A porter's love song to a chambermaid, and several others that are excellent but less night,

well known: Snowy morning blues, Daintiness rag, Steeplechase (alias Over the bars), Mule walk, Gut stomp.

man

last

blues

(

did, Bleeding hearted1923 ) Snowy morning blues, ;

had

JOHNSON, "KEG" (FREDER-

(1927);

ICK)

Feelin blue (1929); Crying for the Carolines, You've got to be modernistic, Jingles (1930); Ca-

Nov.

All

Carolina shout, Keep

Over the bars (1944). He accompanied Ethel Waters in My handy man, Guess who's in town, Do what you did last night (1928); and Bessie Smith in Back water blues, Preachin the blues, Lock and key, sweet mistreater (1927); It makes my love come down, He's got me goin, Dirty no gooder's blues, Wasted grass,

that

Riffs,

I

is

gone

Trombone, 19,

b. Dallas, Tex.,

1908. Brother of the sax

player Budd Johnson. Played with Louis Armstrong 1933, Benny Car-

149

.

JOHNSON - JOHNSON ter 1933, Fletcher

Henderson 1934.

Since 1936 he has been almost constantly with Cab Calloway. Influ-

enced by

Jimmy

Louis

Harrison, he

Armstrong and is a very uneven

player but at his best claims a place among the best trombones of all. Records: with Louis Armstrong, Some sweet day, I wonder who, Basin St. blues, Snowball ( 1933 )

Lil Armstrong, Johnny Dodds, and Jimmie Noone; he then worked mainly as a soloist in small night clubs and from 1937 on made a

large

number

of records.

is a good blues singer of the "city" type as opposed to the more poignant, low-

down

"rural" style of the Missis-

sippi, Arkansas,

JOHNSON, LONNIE and blues singer, b. New La., Feb. 8, 1894.

Guitar Orleans,

Learned

first

to

play the violin, then the guitar. Played in New Orleans 1919-21 with his brother James Johnson, a violinist

and

pianist.

Then went

to

Louis and played 1925-26 in Charlie Creath's band on the riverboats. After winning the first prize in a blues contest in St. Louis, he was given a contract by the Okeh St.

Company and cut a number of records which sold very well. Went to Chicago, then New York, and recorded with Louis Armstrong and Duke Ellington, although he was never a regular member of their bands; two of his Okeh records with Ellington were issued under the name of Lonnie Johnson's Harlem Footwarmers, as Ellington couldn't use his

own name owing

to his ex-

clusive contract with another rec-

ord company. After the 1929 crash he gave up music and made a living working off and on in a tire factory at Galesburg and in a steel foundry at East St. Louis. Some years later he returned to Chicago and played in the small bands of 150

He visited

England in 1952. Lonnie Johnson

and Texas

singers.

the same: he plays jazz guitar rather than pure blues; but has a solid New Orleans style and ranks among the really great guitarists. His instrumental technique is remarkable and his tone beautiful; he has a lot of swing and plays fast, fluent phrases with the greatest ease. Whether in the blues or other numbers, his music has the nostalgic atmosphere of the great jazz men of the South. Since 1947 he has used the electric gui-

His guitar

tar

which

is

is less

suited to his style.

Records: vocal, Love story blues Sweet woman you cant go ( 1926 ) wrong (1927); Blue ghost blues (1938); Heart of iron (1942); Guitar solos: Playing with the strings, Stompin 'em along slow, Blues in G (1928); bands: with Louis Armstrong, Savoy blues, I'm not rough ;

Mahogany hall stomp (1927); (1929); with Duke Ellington, Hot and

bothered

(

Okeh-Parlophone

version, 1928).

JOHNSON, MANZIE

Drums,

Virginia ca. 1905. Played with June Clark, Don Redman, Willie b.

Bryant, Joe Sullivan, Frank

New-

JOHNSON - JOHNSON Influenced by the New Ordrummers. Plays with a steady, vibrant swing; he has a neat, crisp roll and exceptional punch. Records: with Don Redman, Doin what I please ( 1932 ) with Lil Armton.

leans

;

When

strong,

I

went back home

(1937), Sixth street (1939); with Ladnier, Really the blues

Tommy (

1938 )

;

with

Ladnier-Mezzrow

Quintet, Royal garden blues, Ev-

erybody loves my baby, Ain't gonna give nobody none of my jelly roll (1938); with Sidney Bechet,

The

mooche (1941).

JOHNSON, MERLINE.

See

gie specialists; his strong touch and tremendous swing make his playing exceptionally dynamic. He has no superior as a performer of slow blues and can play remarkable piano in any style. Records: piano solos: Vine Street bustle, Some day blues, Barrelhouse breakdown (1939); Just for you (1941); Central Avenue drag, 66 Stomp, St. Louis Yancey special, boogie,

Swanee

river boogie, P.J. boogie (1946-50); with Joe Turner, Goin away blues, Roll 'em Pete (1938), Piney Brown blues (1940), It's the same old story, Little bittie girl

(1944).

Yas Yas Girl

JOHNSON, ROBERT JOHNSON, OSIE arranger, b.

Drums and Washington, D. C, Jan.

played drums at school in Washington. Played with Earl Hines 1951-52, and toured Europe in 1954 with Illinois Jacquet's band. A gifted drummer with plenty of swing when he avoids certain arhythmic figures borrowed from bop. Wrote the arrangement for Benny Green's Blow your horn. 11,

1923.

First

JOHNSON, PETE

Piano,

Kansas City, Mo., 1904. Played for years in his home town, usually along with the blues singer Joe Turner, with whom he went to New York in 1938 and appeared in a jazz concert at Carnegie Hall. Then

b.

was a big success

in night clubs

with Joe Turner, playing piano duets with Albert Ammons, and with small bands. One of the best boo-

singer

and

Blues

guitar, b. Mississippi ca.

1900, d. 1938. Typical representa-

of the

tive

old

country style of

blues and spirituals both in his singing and his playing. Records:

32-20 blues, Last fair deal gone

down

(1936).

JOHNSON, WALTER

New

Drums,

Feb. 18, 1904. Played mostly in New York through the twenties, with Elmer Snowden 1924-25 and Billy Fowler 1926, then started his own band. Played with Fletcher Henderson 1930-34, 1936b.

37,

York, N.

Y.,

and on several further occa-

during the following years. Joined Claude Hopkins in 1940 and James Rushing in 1950; also played with other lesser-known bands. One of the best cymbal men, and the first to use them throughout an entire piece,—he can create a subtle sions

151

.

.

JOHNSON -JONES beat with intense swing. Records: with Fletcher Henderson, Can you take it, Minnie the moocher's wedding day, Happy feet ( 1933 ) Sing ;

sing sing, Jim

town

depend on me

(

blues,

You can

JONES,

1936 )

JOHNSON, WILLIAM COLEMAN. See Coleman, Bill JONES, and

CLAUDE

singer,

b.

deep South. Records: Lonesome bed blues (1937); Private talk blues (1939); My baby says she loves me, Bed side blues (1941).

Boley,

Trombone Okla.,

ca.

He

HANK

Piano and ar-

ranger, b. Pontiac, Mich., July 31, 1918. Began as a classical musician

and became a professional jazz pianist when he was about 20. Went to New York in 1944 and came into prominence when he was playing

studied law at Wilberforce College but gave it up to join McKinney's Cotton Pickers during the twenties. Later on he played with Fletcher Henderson 1930-31,

Lips Page. with Subsequently played with Andy Kirk 1945, John Kirby 1946, Coleman Hawkins

with Don Redman 1931-33 and again in 1940, Chick Webb 1934, Cab Calloway 1935-39 and again

with "J azz a t the Philharmonic." An accomplished musician, whose style is simple yet harmonically rich— in contrast to that of the majority of his contemporaries. The best of the disciples of Art Tatum,

1900.

Duke

Ellington 1944-48.

in

1943,

An

excellent technician with a

good

Jones plays in a style sometimes complex, sometimes simple, with supple, charming phrasing. Records: with McKinney's Cotton full tone,

Pickers,

The way

I

feel

(1932); with Chick Webb, Don't be that way (1934); with Louis Armstrong, Perdido street

saki

and

Piano

blues singer, b. Memphis, Tenn., early in the century. His piano of

exemplary purity,

is

di-

by the blues guiHis high, taut voice is typical of the counter-tenors of the

rectly inspired tar.

152

who

influenced him considerably. Records: piano solos, Tea for two, Yesterdays, The blue room ( 1947 )

JONES, JIMMY

Piano, b.

Mem-

Dec. 30, 1918. His family moved to Chicago when he was 2. He learned the guitar at 13 and shortly afterwards took up the pi-

phis, Tenn.,

ano.

Began

his professional career

age of 18, then played in the Stuff Smith Trio from 1943 to 1945. Went to New York with Stuff Smith, then played with J. C. Heard at the

blues (1940).

style,

and made several tours

today

(1929); with Fletcher Henderson, Just blues ( 1931, C.J. plays the 1st chorus); with Don Redman, Naga-

JONES, CURTIS

1946-47; accompanied Ella Fitzgerald in 1948

and several small bands. The harmonic richness of his playing shows the influence of Duke Ellington and Art Tatum. But Jimmy Jones often departs from the real language of

;

JONES -JONES under the influence of modern European music. Records: with Stuff Smith, Skip it (1944); with

jazz

Coleman Hawkins,

Spotlite ( 1946 ) with J. C. Heard, Heard but not seen (1946).

Johns

Time

idea,

Good morning

blues,

Don't you miss your baby (1937); Sent for you yesterday, Every tub, Swinging the blues, Panassie stomp ( 1938 ) Clap hands here comes Charlie (1939); out, Topsy,

;

is mad, Love jumped Rockin the blues, Broadway, Stampede in G minor ( 1940 ) Com-

The world

JONES, "JO" (JONATHAN) Drums, b. Chicago, 111., Oct 7, 1911. At 13 went to Alabama and there began his career as a musician. In 1935 joined Count Basie in Kansas City and got to be well known when he went to New York with that band the following year. He remained with the Count until 1944 when he was drafted into the

out,

;

ing out party (1941); One o'clock boogie, Don't you want a man like me, House rent boogie ( 1947 ) with Buck Clayton, The hucklebuck (1953); How high the ft (1954). ;

JONES, "JONAH" (ROBERT ELLIOT) Trumpet, b. Louisville,

army. He returned to Basie after discharge in 1946 and stayed until 1948, when he left and toured with "Jazz at the Philharmonic" and Illinois Jacquet's band. He then settled in New York and played with several small bands, including those of Lester Young and Joe Bushkin.

Ken., Dec. 13, 1909. Played trumpet at the age of 12 in his school band which included Dickie Wells and also Elizabeth Bowles, whom he eventually married. In 1928 he played on the Ohio and Mississippi river boats. In 1929 he was in Horace Henderson's band with Roy

Joe Jones is a drummer of the highest class, mainly influenced by Chick Webb. He is one of the great

Eldridge.

his

experts on the "high hat" cymbal; he gets a wonderful sound out of it with plenty of supple, vibrant swing. He's a remarkable technician, playing the drums with a dynamic mastery which is seldom heard. Very inventive, he often improvises the most unexpected and daring breaks which give great lift and drive to his performance. He has had considerable influence on

big band drummers since 1938. Records: with Count Basie, Roseland shuffle, One o'clock jump,

He went

to

Buffalo in

1930 and played with Stuff Smith, Jimmie Lunceford, and Lil Armstrong who, struck by the resemblance between his style and that of her ex-husband, called him "Louis Armstrong the Second." In 1935 Jonah Jones played with McKinney's Cotton Pickers in Detroit. Returning to Buffalo he rejoined Stuff Smith and went with him in February 1936 to New York

where he was a great

success.

He

stayed with Stuff Smith until 1940,

when he played

for a

few months

with Benny Carter and Fletcher Henderson until, at the beginning 153

.

JONES - JONES he joined Cab Calloway he remained almost constantly until 1951. Then he played in Earl Hines' small band. In 1954 he played in Paris and in of 1941,

with

whom

Belgium.

Jonah Jones was very much influenced by Louis Armstrong, particularly the Armstrong of 1930-32, whose style he has assimilated to a remarkable degree, even partly acquiring his intonation. Lil Armstrong's nickname for him is hardly an exaggeration. A remarkable technician, he plays the fastest phrases with impressive precision, power and attack, but never sacrifices the purity of his music for virtuosity. In all his solos there is an expressive force, a tension, a bite that stimulates the musicians he's playing with. Records: Smith, with Stuff You'se a viper, Taint no use, Here comes the man with the jive, Old Joe's hittin the jug, It ain't right (1937); with Lionel Hampton, Drum stomp ( 1937 ) with Lil Arm;

(1938); with Georgia White, Sensation blues, You ought to be ashamed of yourself, Late hour blues (1939); with Cab Calloway, Jonah joins the cab, Special delivery, Hey doc, Take the Sixth street

strong,

A

"A" train, with Lil (1945);

smooth one (1941);

Armstrong,

under

Hubba hubba Savoy

1945 ) thing but love (

JONES, 154

;

his

Confessin

own

name,

hub, Stomping at the I can't give you any( 1946 )

MAGGIE

Blues singer.

b.

A

1900.

ca.

name

big

New

in

York in the early twenties,

made

a

number

she

of records, notably

Screamin the blues, Good time flat blues ( 1924, accompanied by Louis Armstrong on trumpet).

QUINCY

JONES,

Trumpet,

composer and arranger, 111.,

March

14, 1933.

b.

Chicago,

Went

to

Eu-

rope in 1953 with Lionel Hampton's band. Has free lanced in New York since. Quincy Jones is a gifted arranger. Some of his arrangements are Kingfish and Gabby s gabbin, which were recorded by Lionel

Hampton

(1951).

JONES,

REUNALD

("JONESY")

Trumpet,

b. Indianapolis, Ind.,

22, 1910.

Played with Chick

1931-34,

Don Redman

Dec.

Webb

1936-38,

Willie Bryant 1938, Jimmie Lunceford 1946, Count Basie 1952-54. A good musician, full of spirit, who

has never had the opportunity of showing his best on records. He can be heard on: with Chick Webb, Get together,

Stompin

at

the

Savoy

Milton Mezzrow, Sendin the vipers (playing the "growl" passages), Old fashioned (1934);

with

love (1934).

JONES,

RICHARD M.

and composer,

b.

Piano

Donaldsonville,

June 13, 1889. d. Chicago, III, Dec. 8, 1945. Between 1908 and 1917 was one of the best-known

La.,

pianists in the Storyville section of

New

Orleans.

Went

to

Chicago in

1919 and worked for Clarence Williams' music publishing firm. Made

.

. .

JONES -JORDAN a number of records accompanying blues singers. Composed excellent blues and similar tunes: Jazzin babies blues, Trouble in mind, Southern stomps, Riverside blues, Red

wagon.

JONES, "SLICK" (WILMORE) Drums,

b.

Roanoke, Va., April

Started

1907.

13,

playing profession-

band,

1925 in John Lockslayer's but never really became

known

until ten years later

ally in

small bands. Slick Jones has a very personal style— particularly in his use of the "high hat" cymbal; which he plays in a very slick and incisive way, striking it rapidly instead of

echo as most drummers do. with brushes

it

He

also excellent

is

on the snare drum: his crisp attack and his firm, precise beats develop a tremendous swing. Records: with Fat Waller, Hallelujah, Things look rosy now, Taint good, Swingin dem jingle bells, Nero, Please keep me in your dreams, One in a million, I'm sorry I made you cry (1936), Roo hoo, Honeysuckle rose Darktown (1937), strutters ball (1939), Oh Frenchy, Swinga dilla street, Hey stop kissin my sister, Taint nobody's bizness if I do (1940), Pantin in the panther room ( 1941 )

JOPLIN, SCOTT

Composer and

ragtime piano, b. Texarkana, Tex.,

New

24, 1868. d. 1,

York, N. Y., of the

Composer

1917.

Maple leaf rag ( 1899 ), named the Maple Leaf Club, Sedalia, Mo., where Joplin was playing at the time. Also wrote a numafter

ber of other well-known rags including Original rags (1897); The (1902); The chrysan(1904); Fig leaf (1908); Euphonic sounds ( 1909 ) entertainer

themum

when

he was with Fletcher Henderson. From 1936 to 1943 he played almost constantly with Fats Waller. After Waller's death he joined Louis Jordan, Gene Sedric and various

letting

Nov. April great

JORDAN, LOUIS phone, b.

Brinkley,

Alto

band

singer,

Ark.,

July

saxoleader,

8,

1908.

Played with Charlie Gains 193235, then with Kaiser Marshall and Chick Webb 1936-38. In 1939 he

formed quickly

a five-piece band became very popular.

that Jor-

dan is wonderful in the blues, which he sings with a touch of humor, and in fast numbers that he tackles with a lot of verve and intense swing. Records: under his own name, What's the use of getting sober,

It's

shame (1942),

a low

down

dirty

'em fat like that (1944), Salt pork West Virginia (1945), Choo choo ch' boogie, Inflation

day night

7 like

blues (1947), Satur-

fish fry

(

JORDAN, TAFT

1949 )

Trumpet and

singer, b. Norfolk, Va., 1915.

Was

playing professionally in his home town at the age of 14, in the band of Ben Jones. Afterwards went to Philadelphia where he played with Doc Hyder. In 1933 he joined

Chick

Webb and

remained

until

that leader's death in 1939, except

155

JOSEPH -JUST few months in 1935 which he spent with Willie Bryant; Ella Fitzgerald then took over and Jordan remained with her until the band for a

broke up in 1942. Then he led various small bands in Harlem, and played with Duke Ellington 194347. Taft Jordan was considerably influenced by Louis Armstrong, then, to some extent, by Rex Stewart and Harry Edison. Although he played some fine solos with Chick Webb, it wasn't until he joined Duke Ellington that he became a great trumpet, with a sensitive, moving tone. He sings in Louis Armstrong's style. Records: with Chick Webb, True (1934), That naughty waltz, Squeeze me (1937), Who ya hunchin (1938); with

Duke

Ellington,

My

honey's lovin

arms, Suddenly it jumped, Trumpets no end (T.J. plays 1st chorus), Jam-a-ditty (1946).

boats.

York

Made

a brief stay in

New

made much 1945 when he

in 1937, but never

of a hit there until

sang in several night clubs and cut several records. In 1948 he returned to New Orleans. Cousin Joe's style is typical of the southern Negroes, with a deep, throaty attack punctuating the phrases. He composes the lyrics to most of his blues himself. Records: with Milton Mezzrow, Levee blues, Saw mill man blues (1945); under "Cousin Joe," If I just keep still, Death house blues (1945).

JUMP

The

expression

was

in-

troduced about 1938 as a synonym for "swing." It has never had any particular

significance

and

ready falling into disuse.

It

is

al-

has a

general slang meaning ("the joint jumping"— the party is really warming up ) from which came the use in connection with jazz: a "jump number" being a tune played in a particularly bouncing rhythm affected by many bands in the late is

,

JOSEPH, PLEASANT and blues

Guitar

singer, b. Wallace, La.,

Dec. 21, 1907. Best known as "Cousin Joe," but also as "Pleasant Joe" and "Smiling Joe." Moved to New Orleans when he was 12, and while still very young sang spirituals in the Baptist Church sitting on his mother's knee. Then switched to the blues and sang on the river-

156

thirties.

JUST YOU JUST

ME

Com-

posed in 1929 by Greer and Klages. Chorus of 32 bars with release Best recording: Lester

Young (1943).

;

KAMINSKY - KEEPIN'

K KAMINSKY,

MAX

As

Trumpet,

Brockton, Mass., Sept. 7, 1908. Considerably influenced by the New Orleans style. Has played with Milton Mezzrow, Tommy Dorsey, Artie Shaw, Eddie Condon and other Chicagoans; since the mid-forties with Dixieland groups generally under his name. Records: with Art b.

Hodes, There'll be some changes made, Clark and Randolph ( 1944 ) under his own name, Eccentric (1944).

KANSAS CITY The Kansas City was developed between 1927 and 1935 by such bands as those of Benny Moten and Count Basie. It is the most straightforward and direct style to have been developed style

outside

New

that the

marked

Orleans. It is mostly in rhythmic accent that the two differ— the chief variation being difference

the strong and the

between

weak beat

of

New Orleans is subdued into a more even "bounce rhythm" in Kansas City; furthermore, in New Orleans jazz the emphasis is on collective improvisation, whereas in Kansas City the preference is for ensemble riffs or solos backed by riff accompaniment. Basie's records, such as One o'clock jump, Swingin the blues, Doggin around, are typical of Kansas City style.

far as soloists are concerned,

is no typical Kansas City the expression applies to a band style, an arranger's style, a way of interpreting an orchestra-

there

style;

Eddy Durham, Budd Johnson, Buster Harding, and, often, Jimmy Mundy, have written Kansas City arrangements. Besides Count Basie, the groups of Andy Kirk and Jay McShann have been the most representative big bands playing in this style; but thanks to Basie's influence, Kansas City style has affected interpretations of many well known bands such as those of Earl Hines, Erskine Hawkins, and Cootie Williams. tion.

KAZOO A cigar-shaped tube with a parchment membrane inside which vibrates when the instrument is blown— frequently used in jug and washboard bands. It makes the same noise as a comb and paper, as used by Red Mc-

much

Kenzie

(q.v.).

KEEPIN' OUT OF MISCHIEF Composed in 1931 by Fats

NOW

Waller, and one of his most charming. Chorus of 20 bars without release. Best recordings: Louis Armstrong (1932), Fats Waller, piano solo (1937), Vic

Dickenson

(1954).

157

.

.

KELLY - KID KELLY, GUY

Trumpet,

b. La.,

1900. d. 1939. Played in

ca.

New

Orleans with the original Tuxedo Band then went to Chicago where he worked and recorded with Albert Ammons and Jimmie Noone. In spite of his Southern origins, Kelly didn't play real New Orleans style; was influenced by Chicago jazz. Records: with Jimmie Noone, The blues jumped a rabbit, Sweet Georgia Brown ( 1936 ) Jazz

KENTON, STAN band

Piano

and

leader, b. Wichita, Kan., Feb.

19, 1912.

Formed

Brought up his

band

in California.

in 1941; this

was

the prototype of all "progressive" bands, playing pretentious, pseudosymphonic music, that has no relation to real jazz.

KEPPARD, FREDDIE

Trum-

New

Orleans, La., 1883. d. Chicago, 111., 1932. After becoming well known at home, Keppard

pet,

b.

went on tour with the Original Creole Band, organized by the bass player Bill Johnson, and then got

as one of the great New Orleans trumpets, playing with extraordinary power. According to musicians

who heard him his few records, made when he was already in decline, give

no idea of

his real value.

KERSEY, KENNY

Piano, b.

Ontario, Canada, April 3, 1916. His father played the cello and his mother was a music teacher.

Harrow,

Went

to Detroit

when very young,

and on to New York in 1936. Played with Lucky Millinder 1938, Frank

Newton 1939, Roy Eldridge 1939Teddy Hill, Henry Allen 1941,

40,

Cootie Williams 1942, Andy Kirk, Roy Eldridge again, and "Jazz at the Philharmonic." A very gifted but somewhat uneven musician, influenced by Earl Hines and Teddy Wilson. Records: with Henry Allen, K.K. boogie (1941); with Dizzy

Kerouac (1942, "Dizzy Gillespie at Minton's"); with Jack Teagarden, After you've gone, Blue and esoteric (1954). Gillespie, Stardust,

LP

KESSEL, BARNEY

Electric gui-

together his own band. In 1916 he refused to record, fearing that other musicians would be able to copy his technique. He settled in

Muskogee, Okla., Oct. 17, 1924. Played with Ben Pollack, Artie Shaw, and "Jazz at the Philharmonic." A capable but uneven per-

Chicago about 1916 and played with Lawrence Dewey, Jimmie Noone, Erskine Tate, Charlie Elgar and the well-known band of Charlie "Doc" Cook. Then he had a band of his own again and was very active up to 1927, but his last years showed a steady decline due to tuberculosis. Keppard is accepted

former. Record: with "Jazz at the Philharmonic," Vol. XV, Jam ses-

158

tar,

b.

sion blues

(

1952 )

KID DOUGLAS.

See Memphis

Minnie

KID SHOTS. Louis

See Madison,

.

KINCAID - KIRBY KINCAID,

DEAN

Tenor saxo-

hire him; as a result he played with

Houston, Tex., March 18, 1911. Played with Ben Pollack, Bob Crosby, Woody Herman, and Tommy Dorsey, for whom he wrote very good and straightforward arrangements; one of his best is Boogie woogie recorded

Henderson until 1933. Played with Chick Webb 1933-35, returned to Fletcher Henderson for a while in 1936 and joined Lucky Millinder toward the end of that year. In 1937 he formed his own small band which played for years at the Onyx Club, New York, and was very successful until 1945. After that he had bad luck and during his last years Kirby found little work. John Kirby was one of the great-

phone and arranger,

by

Tommy

Dorsey

b.

in 1938.

KING PORTER STOMP

Com-

posed by Jelly Roll Morton in 1906

and named pianist

whom

Porter King,

after

met

Jelly Roll

in

a

Mo-

and held in high esteem. It is a rag made up of three themes of 16 bars, the last separated from the two others by a 4-bar interlude. Jelly Roll Morton recorded it several times as a piano solo, of which the bile

Vocalion-Brunswick version of 1926

General-Commodore of many band versions, the two made by Fletcher Henderson for Columbia in 1928 and the

1939 are the best. Of the

and 1932 are the most successful ( the latter issued under the title of New King Porter stomp). Fletcher Henderson's arrangement of King Porter stomp was also a number featured in Benny Goodman's repertory and was recorded several times

(notably in Victor )

KIRBY,

JOHN

1935 for

RCA

Bass, tuba,

band

leader, b. Baltimore, Md., Dec. 31,

1908, d. Calif., June 14, 1952. First

learned trombone before switching to tuba.

Went

to

New

York where

Jimmy Harrison heard him

in 1929

and advised Fletcher Henderson

to

est bass players of all time. He created a new style which was copied by most of the bass players between 1930 and 1940. After the era of Pops Foster and before that of Jimmy Blanton, John Kirby reigned su-

preme on

bass,

and

his

influence

can be felt in the succeeding work of Blanton and his disciples. Kirby's instrumental technique was remarkable, and he played with incomparable precision. His playing was full of contrasts; sometimes he swung 2 beats to a bar with supreme ease; sometimes he played fast in four-four time with extraordinary punch; the notes streamed from top to bottom of his instrument with the audacity which an infallible ear allowed him. His most daring inventions never disturbed the harmonic framework and always made the greatest possible contribution to a sure foundation for the rest of the

band. His full, pure tone with its big sound provided a solid base for

any rhythm section

played. John Kirby good on tuba.

in

was

which he also very

159

,

;

KIRK - KNIGHT Records: with Fletcher HenderNew King Porter stomp ( 1932 )

son,

Can you take it (1933), Stealin apples (1936); with Milton Mezzrow, Apologies, Sendin the vipers, 35th and Calumet, Old fashioned with Chick Webb, Stompin at the Savoy, Don't be that way, Blue minor, That rhythm man (1934); with Teddy Wilson, What a little moonlight can do, A sunbonnet blue, Twenty four hours a day, I wished on the moon, Eeny meeny miney mo, If you were mine ( 1935 ) Why do I lie to myself about you (1936); with Lionel Hampton, Buzzin around with the bee, Whoa babe, Stomplove

(1934);

Byas, Harold Baker, Howard McGhee, Mary Lou Williams, and Floyd Smith. Records Walkin and :

swingin, Steppin

Bearcat (1936); In the groove Floyd's guitar blues ( 1939 ) ( 1937 ) McGhee special (1942). pretty,

shuffle

,

KIRK,

WILBUR

Drums,

b. ca.

1912. Played for several years with

Noble Catlett,

Inspired by Sidney and played very well in his

Sissle.

style. Records: with Sidney Bechet, Bechet parades the blues, After

you've gone, V-disc blues

(

V-Discs,

,

Bhythm rhythm (1937); with Buster Bailey, Dizzy debutante (1937); with Coleman Hawkins, Make believe, Just one of those things (1944). Kirby can be heard playing tuba on: with Fletcher Henderson, Keep a song in your soul (1930); with the Chocolate Dandies, Got another sweetie Now, Dee blues, Bugle call rag ology,

(1930).

KIRK,

ANDY

Band

1943).

Made arrangements Count

band

that be-

came extremely popular during the following years, and which, playing in New York in the thirties, ranked as one of the best bands in the Kansas City style, without quite Count

Basie's.

The band has included such excellent musicians as Dick Wilson, Don 160

for

Cootie

Basie,

Teddy

Hill,

Williams,

Buddy Johnson and Benny Goodman. Record: with Chick Webb, Heebie jeebies (1931).

leader,

Newport, Ken., May 28, 1898. Settled in Kansas City in 1929 and

attaining the class of

Piano

style related to that of Fats Waller.

KNIGHT, MARY

b.

there organized a big

DON

KIRKPATRICK,

and arranger, b. Charlotte, N. C, June 17, 1905. Played with Chick Webb 1926-33, then with Elmer Snowden, and with Don Redman 1933-37. In 1953 joined Wilbur de Paris with whom he has remained since. A solid band piano with a

b.

Orange, N.

J.,

Gospel singer,

ca. 1920.

One

of

the most brilliant Negro religious singers

known on

records.

her best recordings:

Among

Gospel train

(1948), Sit down servant, Does Jesus care (1952); and duets with Sister Rosetta Tharpe, Didn't it

Up above my head I hear music in the air, My journey to rain,

the sky (1947).

;

.

KNOWLING-KYLE KNOWLING, RANSOM b. ca. 1910.

Bass,

Played mostly in Chi-

cago with blues singers and

made

a great number of records. No one on bass has ever played purer blues. He plays a sober, solid style, mostly uses the lower register and produces a deep and very "blue"

tone from it. Records: with Big Bill Broonzy, Ride Alberta ride, She never, Just wondering, That's alright baby, Woodie ivoodie ( 1939 ) with Sonny Boy Williamson, Sonny boy's cold chills, Shake the

Mean

boogie,

Willow

old

tree blues,

with Jazz

highway (1946), Sugar gal

Gillum,

Jazz

(

1947 )

Gillum's

Take one more chance with me, Look what you are today, Gonna

Benny Goodman;

in 1944 he played Dorsey; then started up his own band again and made several tours with "Jazz at the Philharmonic." Krupa was influenced first by Zutty Singleton and Baby

with

Tommy

Dodds,

later

by Chick Webb. An

unrivaled technician, but doesn't play with the swing of the best oldtime drummers. Records: with Fats Waller, Lookin good but feelin bad (1929); with the Benny Goodman Quartet, Dinah ( 1936 ) Tea for two (1937); with the Benny Goodman band, Sing sing sing (1937); with Lionel Hampton, Jivin the ;

vibes (1937).

blues,

take

my

KYLE, BILLY

Piano, b. Phila-

delphia, Pa., Aug. 14, 1914. Played

rap (1947).

with

KONITZ, LEE

Alto saxophone, Chicago, 111., Oct. 13, 1927. Played with Claude Thornhill 194748, Miles Davis 1948, Lennie Tristano, Stan Kenton 1952, and his own small group since 1954. A typical "cool" musician, with an unattractive tone. His music doesn't swing at all and has very little in common with authentic jazz. b.

Tiny

Bradshaw

ca.

1935,

Lucky

Millinder 1936-37, John Kirby 1937-43, was drafted but rejoined Kirby 1945-46. From 1946-

47 he played with Sy Oliver, and then worked in recording studios and radio until he joined Louis Armstrong in 1953. Influenced by Earl Hines in his attack and in certain accents in the left hand, but his right hand—with its single notes instead of Hines' octaves— is quite

Has great invention and swing. Records: with O'Neil Spencer Trio, Baby won't you please original.

KRUPA, GENE

Drums and

bandleader, b. Chicago, 111., Jan. 15, 1909. Made his debut there in 1927 and played with the McKenzieCondon band. Went to New York in 1928, played with Red Nichols 1929-30, various bands, with Benny Goodman 1935-38, then had his own band. In 1943 he rejoined

come

home

(1938); with Rex Cherry, Diga diga doo, Solid rock Madeleine (1940), (1947); with Louis Armstrong, Atlanta blues ( 1954 ) piano solos, BeStewart,

;

tween sets (1939); need you ( 1946 )

I

want you

161

I

LACEY-LADNIER

LACEY, WILLIE JAMES Guib. ca. 1910. Made numerous

tar,

records accompanying blues singers. Influenced by Big Bill Broonzy, but his style is nearer that of a jazz guitarist than the pure blues specialist. Usually uses electric guitar which he plays with a great deal of swing. Records: with Jazz Gillum, You got to run me down

(1947); with Sonny Boy WilliamSugar gal, Alcohol blues

son,

(1947).

LADNIER,

TOMMY

b. Florenceville, La.,

leans,

May

near

28, 1900. d.

Trumpet, New Or-

New

York,

June 4, 1939. Began to play trumpet at the age of 10 but had to borrow an instrument every time as his parents were too poor to buy him one. In 1917 went with his mother to Chicago and earned a N.

Y.,

living selling soft drinks.

came

He

be-

a professional musician in 1921 and toured in vaudeville and circuses; this line of work took him to St. Louis where he lived for some time. Returning to Chicago he played with Milton Vassar 192224, then with King Oliver and with another band which included Louis Armstrong. He made a number of records with Lovie Austin, mostly accompanying blues singers, and made a big name for himself in

162

Chicago where many called him "King of the Blues." In 1925 he joined Sam Wooding's band for a major European tour and played in Germany, Denmark, Sweden, Spain, Russia,

back to

New

and France. He got York in the summer

of 1926 and joined Billy Fowler, whose band included such musicians as Benny Carter, Jimmy Harrison and Prince Robinson. Before the end of the year he joined Fletcher Henderson and remained with him a little over twelve months, making a number of records. Then he once more went on a European tour with Sam Wooding. He left Wooding, settled in Paris for a while and played with a number of small bands. Then in 1930 he joined Noble Sissle and returned with him to the United States,

but

left

Sissle

in

1932 to

up a small band with Sidney Bechet— the Ladnier-Bechet New Orleans Feetwarmers which played for some months at the Savoy Ballroom in Harlem. At the end of this job, disgusted by the commercialism which was steadily invading jazz, he left New York and went to live in Connecticut, where for five years he earned a living by giving trumpet lessons and playing in small-town bands. In the autumn get

of 1938 he returned to

New

York

;;

.

LADY and with Milton Mezzrow made a series of records in which he played better than ever.

He

music world and

all his

by

astonished the old friends

and

successful hired for the first jazz concert at Carnegie Hall to play with Sidney Bechet. In the following year his plans for the this

brilliant

comeback.

He was

formation of a mixed band with Milton Mezzrow were cut short by

sudden death. Next to Louis Armstrong and King Oliver, Tommy Ladnier is the greatest trumpet in jazz. He played in pure New Orleans style, much influenced by Oliver whom he sometimes resembled most remarkably. His swing was so great that it sometimes approached Armstrong's. His playing was remarkable for its power and fire, the sad and poignant beauty of his tone, the purity and simplicity of his melodic invention. There were two main periods in his musical career: in the first (1921-32) a lot of emotion and boldness of invention were expressed within the framework of his

the classic New Orleans style; in the second he simplified his playing, creating a new form of New Orleans style, more "poised," easier, yet with an even greater swing and incomparable mastery. Records: with Ollie Powell, Play

(1923); with Ida Cox, Graveyard dream blues, Worried man blues, Kentucky man blues with Ma Rainey, Bad luck ( 1923 ) blues, Barrelhouse blues, Walking

that thing

;

blues,

Lucky

rock

blues,

Ma

Rainey s mystery record ( 1923-24 ) with Lovie Austin, Steppin on the

Heebie jeePeepin blues (1924-25); with Fletcher Henderson, The chant, Sweet thing, Clariblues, Travelin bies,

Mop

blues,

blues,

net marmalade (1926), Snag it (T.L. takes first 2 choruses), Tozo, Fidgety feet (T.L. takes last chorus), Wang wang blues (Harmony version), Wabash blues (T.L. takes

2d trumpet

solo ) St. Louis shuffle, P.D.Q. blues, Livery stable blues (T.L. takes 2d chorus), I'm coming Virginia (T.L. takes all the trumpet passages except the 1st chorus), Goose pimples ( 1927 ) with Bessie ,

;

Smith, Foolish man blues, Dying by the hour (1927); with the New Orleans Feetwarmers, Sweetie dear

(1932); with Milton Mezzrow, Revolutionary blues (1938, T.L. plays lead in 1st and 3d choruses ) under his own name, Really the

Weary blues, When you and were young Maggie ( 1938 ) with Ladnier-Mezzrow Quartet, Royal garden blues, If you see me comin, Gettin together, Ain't gonna give nobody none of my jelly roll ( 1938 ) blues,

I

;

with Rosetta Crawford, Stop

it

Joe,

My man

jumped salty on me, Double crossing papa ( 1939 )

LADY BE GOOD

Composed

about 1930 by George Gershwin, now a jazz standard. Chorus of 32 bars with release. Best recordings:

two by Count

Basie, the first in 1936 with a small group, originally published under the name of JonesSmith Inc., the second in 1939 with

163

;

.

LAFTTTE-LAWSON his big

bone

band; Dickie Wells, trom-

solo (1937).

LAFITTE, phone and

GUY

Tenor saxo-

clarinet, b.

Saint-Gau-

dens, France, Jan. 11, 1927. Played with the Jimmy Rena Trio, Mac-

Kac, and toured Europe with Big Bill Broonzy in 1951 and Milton Mezzrow 1951-52; played with Bill Coleman 1952-53. He has picked up the jazz tradition to a remarkable degree and is, next to Alix Combelle, the best tenor sax from with Milton Records: Europe. Mezzrow, Blues jam up (1951); Royal garden blues, Sweet Georgia Brown (the last two recorded dura concert in the Salle Pleyel, Paris, 1952).

various small bands including that of Earl Hines in 1953. A gifted but uneven performer. Records: with Lionel Hampton, Hamp's got a

Muchacho

duke,

azul,

Hawk's nest

(1947).

LANG, EDDIE

Guitar. Real Salvatore Massaro. b. Philadelphia, Pa., 1903, d. 1933. Made a number of records with the violinist

name

Joe Venuti, the Beiderbecke-Trumbauer group and various studio bands. A good technician but had only mediocre grasp of jazz. Records: by his own orchestra, Freeze an melt (1929); with Joe Venuti's Blue Four, Dinah (1928).

LANGLOIS, ISIDORE b.

New Orleans,

Guitar,

La., ca. 1910.

Went

pianist in Stockholm.

Europe during the thirties. An excellent band musician. Records: with Big Boy Goodie, You and I baby, It's a sin to tell a lie, Who's

U.

sorry

LAINE, "BOB" (LASSE) Sweden, 1910. While young showed great gifts b.

Piano,

still

very

as a jazz

Came to the 1928 and played with Joe Manone, Louis Venuti, Wingy Prima and Ben Pollack. Since the mid-forties has been playing as a single. Influenced by Fats Waller and Art Tatum. One of the best white jazz pianists for his easy, incisive touch and his melodious S. in

Records: with Ben Pollack, Cuddle up a little closer, My wild Irish rose, Can't you hear me calling Caroline style.

Alice blue gown,

to

b.

ca.

1925.

Hampton

Tenor saxoPlayed with

1947-48, then with

15,

1923.

Edmund

Hall 1946. Influenced by with Wilson. Records: Dickie Wells, Linger awhile ( 1943 ) with Coleman Hawkins, Stumpy (1944); with Edmund Hall, Ellis Island (1946).

Teddy

LAWSON, YANK

LANE, MORRIS

Piano,

May

Baltimore, Md.,

Played with Lucky Millinder 1944,

b.

164

1939 )

(

LARKINS, ELLIS b.

(1937).

phone, Lionel

now

Trenton,

Mo.,

Trumpet,

May

3,

1911.

Played with Ben Pollack 1932-34, Bob Crosby (who took over Pollack's men) 1935-38, Tommy Dorsey

;

.

.

LAZY-LEDBETTER 1938-40, and again with Crosby 1941-42. Since mid-forties has concentrated on broadcasting and recording work in New York. Plays in a pleasant, direct style. Records: with Bob Crosby, Pagan love song

(1936); (1938).

band

At the jazz

ball

the 1st trumpet leads the brass. The lead man should have a full, singing tone, should be accurate, and should bring out the quality of the tune. In New Orleans bands, the trumpet is usually the leader of the melody section, but actually the lead may be played by any one of the instruments and for someone unac-

"LAZY" Relaxed playing, devoid of any apparent effort. Slow blues should always be played lazily. Recorded examples: Louis Armstrong on trumpet, final chorus

quainted with jazz it is sometimes difficult to tell who's directing the band.

of

Muggles (1928); Tommy Ladnier on trumpet, Really the blues

HUDDIE

(1938); 1st trumpet solo of Cootie Williams and Tricky Sam on trom-

LEDBETTER, HUDDIE, called "LEADBELLY" Guitar, blues and

Sweet chariot (1930); Barney Bigard on clarinet and Johnny Hodges on alto sax in Ellington's Bundle of blues ( 1933 ) Milton Mezzrow on clarinet in his Swingin with me ( 1953 )

folk singer, b. Mooringsport, La.,

bone

in Ellington's

LAZY RIVER

Composed

in

1931 by Hoagy Carmichael and Sidney Arodin. Chorus of 18 bars ( 16 bars without release plus a 2-bar tag). One of the best Hoagy Carmichael tunes. Best records: Louis Armstrong (1931), Buck Clayton (1953).

LEAD

The main part in a muensemble, the one which gives out the melody. To "take the lead" sical

is

to take the

first

or

main

part.

The

the musician who leads the band or a section of it: the 1st alto saxophone is the leader of the saxophone section,

"lead

man"

or "leader"

is

LEADBELLY.

ca. 1888, d.

1949.

See Ledbetteb,

New York, N. Y., Dec. 6,

Moved

to

Texas when he was

5 and played first the accordion, then the guitar. The famous Blind Lemon Jefferson taught him to sing the blues and made several tours with him. Leadbelly had a very adventurous life; was in jail from 1918 to 1925 for homicide, and again in 1930 for attempted homicide. The governor of Louisiana pardoned him in 1934 after hearing him sing. It was from 1935 on that he made most of his records. He played the 12-string guitar. Leadbelly was a great singer but his repertory was oddly varied, ranging from the finest negro songs to the most insipid commercial numbers. Records: 'Fore day worry, Packin Street Fannin (1935); (1939); T.B. blues (1940); Good morning blues ( 1943 )

trunk

165

.

LEROY'S -LINDSAY

LEROY'S BUDDY.

looked around for and finally found

See

Gaither, Bill

washing cars in a Chicago Helped by Hammond, Lewis was then able to make music his career and became one of the best known boogie woogie pianists. in 1935,

garage.

LEVY, JOHN leans,

La.,

New Or-

Bass. b.

1912. Played with the

Smith Trio 1943-45, then with bands including small (since 1948) that of George Shear-

Stuff

various ing.

A

brilliant

technician

whose

swing, much influenced by Jimmy Blanton, Though deeper, his massive tone is something like John Kirby's. Records: with Stuff Smith, Look at me, Skip

playing

it,

is

full of

Midway, Desert sands (1944);

with

Don

Byas, Fruit salad, Spots

(1945).

LEWIS, b.

New

GEORGE

Clarinet,

made

a

number

of records

and appeared in the film New Orleans. A good but inconsistent boogie woogie pianist. His best records are the various versions

he has made of Honky tonk

train

blues (1929, Paramount-Riverside; 1936, RCA Victor; 1936, Decca),

and Yancey good

whistles

special blues,

(1936).

He

accompanying

himself on the piano, as in Whistlin blues (1936). He sometimes also plays the celeste.

LEWIS,

MEADE LUX

Piano.

Lived

b. Louisville, Ken., 1905.

in

Chicago during the twenties and there about 1928 recorded a piano solo, Honky tonk train blues, which passed unnoticed at the time but later caught the attention of John

Hammond,

LEWIS,

NOAH

Harmonica, b. with a band called the Cannon Jug Stompers

ca.

1900.

that

made

Played

a

number

of records ac-

companying the blues singer Sleepy John Estes, among which the best are: Mailman blues, Jailhouse blues, Drop down mama ( 1934 ) Married woman blues, Who's been tellin you Buddy Brown blues (1941). ;

LIMEHOUSE BLUES

Session" )

the jazz

critic,

interested in Lewis,

166

has

Orleans, La., July 13, 1900.

Played and recorded with Bunk Johnson in the forties. Later on led his own band which played in New Orleans and occasionally in New York. Enthusiasts of the "New Orleans Revival" have attributed to him greater merits than he can honestly be said to possess. Records: under his own name, Bugle boy march, Pallet on the floor (1950, LP "George Lewis Jam

him

He

since 1936

and got he

whom

Com-

posed in 1924 by Phil Graham. Chorus of 32 bars without release. Best

Duke

recordings:

(1931), Fletcher

Chu Berry

Ellington

Henderson

(1934),

(1937).

LINDSAY, JOHN Bass and trombone, b. Algiers, La., Aug. 23, 1894. d. Chicago, 111, July 3, 1950. Played with a number of well-

;;.

.

LITTLE - LONESOME known New Orleans them those

bands,

among

John Robechaux and Armand Piron. Went to Chicago in 1924 and played trombone with King Oliver. After that he concentrated entirely on the string bass, playing with Carroll Dickerson, recording with Jelly Roll Morton, Armstrong playing with Louis 1931-32, and then with various small Chicago bands including Jimmie Noone's. A robust straightforward musician, Lindsay is a of

typical representative of the

New

Orleans style. His best records are those he made with Jelly Roll Morton: Doctor jazz, Black bottom stomp, Original jelly roll blues, Grandpa's spells, Cannon ball blues (1926); but he also plays well on: with Louis Armstrong, All of me and Sidney Bechet, Stompy ( 1931 ) Jones, Save it pretty mama ( 1940 ) ;

LITTLE BROTHER.

See

Waters, such

Sad

See Eldridge,

LIVINGSTONE, ULYSSES Guitar, b. Bristol, Tenn., Jan. 29, 1912. Played with Benny Carter,

Pete Johnson, Illinois Jacquet, and "Jazz at the Philharmonic," A good accompanist, he can also play pleasant solos in a straightforward style. Records: with Pete Johnson, Some day blues, Vine street bustle ( 1939 ) with Benny Carter, Slow freight (1940); with Illinois Jacquet, Bottoms up, Ghost of a chance ( 1945 )

LIZA Composed in 1929 by George Gershwin. Chorus of 32

Webb

See Jenkins,

See Dixon, Tyrell

Harmonica and blues to

the limelight in through an out-

the early fifties standing series of records,

under

his

Chick

CRIPPLE

CLAR-

b.

Piano and blues singer, Chicago, 111., ca. 1900. Has spent

whole

number

Came

(1934),

(1938).

ENCE

LITTLE WALTER (WALTER singer.

distance call

Standing around crying, Evans shuffle (1953). Uses an electric harmonica. Plays real lowdown blues with amazing drive.

his

JACOBS)

Long

letter blues,

LOFTON,

T.

Louisiana blues,

Tatum, piano solo

Freddy

LITTLE

as:

(1950);

Roy David

LITTLE POSEY.

Muddy

others as an accompanist to

bars with release. Best records: Art

Montgomery, Eurreal

LITTLE JAZZ.

the wall, Mean old world, Sad hours, Blues with a feeling ( 1952, '53, '54 )

life

there and

made

of records, both solos

a

and

accompanying blues singers. A typical example of the primitive blues pianist, playing entirely by "inRecords:

stinct."

1939 ) (1943). (

;

I don't

Streamline train

know, Policy blues

some

own name, such

LONESOME ROAD

as:

Lights out, Quarter to twelve, Off

in

Composed

1930 by Nat Shilkret and Gene 167

.

LONGNON - LOW-DOWN there ever since. A musician of repute who has never had the chance of making any good

Austin. Chorus of 32 bars with re-

remained

Louis Armstrong (1931), Fats Waller, organ solo (1938), Sister Rosetta Tharpe

records.

lease.

Best

(1938),

Jimmie Lunceford

records:

(1939).

LOVINGOOD, BURROUGHS

LONGNON, GUY b.

Paris,

France,

Trumpet,

July

1924.

16,

Played with Claude Luter. Influenced by Louis Armstrong and Harry Edison. With a warm and vibrant tone, Longnon is a moving and inventive trumpet who ranks among the best white jazz men and

who

Piano, b. probably near St. Louis, Mo., ca. 1900. Played with Dewey

Jackson and other bands on the Mississippi

bells, Old fashioned love (1951); with Sidney Bechet and Claude Luter, Dans les rues d' Antibes, As-tu le cafard? ( 1952 ) with Sidney Bechet, It's no sin ( 1952 )

particularly

Jingle

;

LOVE, PRESTON phone,

Alto saxo-

Played with Lucky Millinder 1944, with Count Basie almost constantly from 1945 to 1948, and with various small bands. A musician with a very direct swing who plays good blues. Records: under his own name, Strictly cash, September song b.

ca.

1920.

(1951).

LOVELESS LOVE. less

Love

LOVETT, "BABY" New Orleans, La., ca. to

See Care-

Drums, 1900.

b.

Went

Kansas City in 1922 and has 168

up

a pianist of high class, but he has made any records in which he shows to advantage.

never

one of those

Gave

in 1942

has come nearest to assimilating the feeling of authentic New Orleans music. Records: with Milton Mezzrow and Claude Luter, Blues as we like 'em, is

riverboats.

and became a post office employee in Chicago. Musicians who know him consider him

music

LOW-DOWN applied above

An

all to

expression the blues, and

to slow blues which a coarse, earthy interpretation whether by a singer or instrumentalist. "The trouble with white folks singin' the blues is that they can't get low-down enough," Bessie Smith once said. Singers such as Blind Lemon Jefferson, Big Bill Broonzy, Kokomo Arnold, Sleepy John Estes and Muddy Waters, Bessie Smith, Ma Rainey and Clara Smith always sing the blues lowdown. The jazz musicians who play the best blues are those who can get this quality into their playing such as King Oliver on trumpet and call for

Kid Ory on trombone in Black snake blues (1927); Louis Armstrong on trumpet in West end blues (1928); Cootie Williams on trumpet and Tricky Sam on trombone

in

Duke

Ellington's

chariot (1930); Johnny

Sweet

Dodds on

;

LUCIE - LUNCEFORD clarinet in the

New

Orleans

derers' Perdido street blues

Wan-

1926 ) Ladnier on trumpet with

Tommy

(

Milton Mezzrow in If you see me in (1938); Sammy Price on piano in Mezzrow-Bechet's Tommy's blues (1947).

comin

LAWRENCE

LUCIE, b.

Emporia, Va., Dec.

First learned piano.

Guitar, 18,

Made

1907.

his pro-

debut with June Clark in Played with Benny Carter 1932-33, Fletcher Henderson 1934

fessional

1931.

and again 1947, Lucky Millinder 1934-36 and again in 1939, Coleman Hawkins 1939-40, Louis Armstrong 1941-43. Essentially a band musician, much esteemed for his Records: with Spike Hughes, Fanfare, Arabesque, Sweet

solid

beat.

How come you do me like you do (1933); with Fletcher Henderson, Down south camp meeting Sue,

(1934).

LUNCEFORD, "JIMMIE" (JAMES

MELVIN)

and band

leader, b. Fulton, Miss.,

June

6,

Saxophone

1902, d. Seaside, Ore., July

learned guitar, then flute. Started out with a band in Nashville, Tenn. In 1926 he formed a band in Memphis, Tenn., which almost from the beginning included two great musicians who were responsible for a great part of the band's success: Willie Smith on alto sax and Jimmy Crawford on drums. Lunceford became known to the world of jazz in 1934 when he replaced Cab Calloway at the Cotton Club in 12, 1947. First

sax, clarinet,

and

New

York; the reputation of his steadily during the following years. In 1937 Lunceford toured Scandinavia. In 1942-43 he lost most of his best musicians and the quality of his band declined. After his death the band was taken over by two of its oldest members

band grew

and called "The Jimmie Lunceford

Band under the direction of Edwin Wilcox and Joe Thomas"; in the following year Wilcox and Thomas separated, Wilcox keeping the core of the old band.

Lunceford was a good

instru-

mentalist, but except in the early

years he didn't play much; just directed his band, which was one of the best— particularly between 1935 and 1940. In Sy Oliver, Lunceford had one of the most original arrangers, and it was Oliver who

created the style of the band. This style had three characteristics: first, a swing based on strong, emphatic syncopation; second, melodic and subtly written ensembles with the use of countermelodies between sections. For instance, the trombone section, with baritone sax added, sometimes played counterpoint against the trumpet and sax sections, similar to that of the trombone to the trumpet and clarinet in the New Orleans ensembles. This is one of the reasons why Sy Oliver is described as having adapted the New Orleans style to big bands. Thirdly and finally, a new tempo halfway between slow and medium which lent itself particularly well to swing largely

169

;

LUTER and was so characteristic of the band that it was called "Lunceford tempo"— a tempo used in turn by all

of the band's playing is extremely high. Their best records are: Stomp it off, Rhythm is our business (1934);

larly

Four or

collective spirit in the Lunceford band; a musician like Eddie Durham, for example, while in the band would write arrangements very much like Sy Oliver's, which he's never produced before or since. Two other Lunceford musicians,

Sleepy time gal, Oh boy, Stvanee River, Avalon, Hittin the bottle, My blue heaven (1935); Organ grinders swing, On the beach at Rali Rali, Harlem shout (1936); I'll see you in my dreams, For dancers only, Rosin, Rut on your old grey bonnet, Pigeon walk, Annie Laurie (1937); Margie, Down by the old mill stream, Ry the River Sainte Marie (1938); Taint

the other big bands, particuLionel Hampton's and even those of Duke Ellington and Count Basie. One remarkable thing is the

Edwin Wilcox and

Willie Smith,

wrote orchestrations reminiscent of Sy Oliver's. The Lunceford band in its heyday contained a number of eminent musicians: Eddie Tompkins and Sy Oliver, trumpet; Trummy Young, trombone; Willie Smith and Joe Thomas, sax; Moses Allen, bass; James Crawford, drums. The last named, with Sy Oliver and Willie Smith, contributed more than any other musician to the particular flavor of the band. Willie Smith was for Lunceford not only a brilliant soloist on alto sax and clarinet but also an ideal first alto who led the whole saxophone section with plenty of drive and punch. The band had an ensemble virtuosity and a discipline quite out of the ordinary, and played the most subtle tonal and rhythmic contrasts with astonishing verve. A number of Lunceford records are partly spoiled by "commercial" vocals, first by Henry Wells and then by Dan Grisson, but in spite also

170

of that the general level

five

times,

Runnin wild,

what you do, Le jazz hot, Raby won't you please come home, Rlue blazes, Easter parade, Well alright then, Relgium stomp, Think

me

daddy, Uptown blues, I got it, Monotony ( in your flats, Okay for baby ( 1940 ) Hi spook, Yard dog mazurka ( 1941 ) Keep smiling keep laughing be of

little

Wham

1939 )

;

happy (1942).

LUTER, CLAUDE band 23,

Clarinet and

leader, b. Paris, France, July

1923.

which

Formed

a

band

in 1945

for several years played in

a cellar in the Latin Quarter of Paris, the "Lorientais." Represented

France in the

first

International

Jazz Festival in Nice, 1948. Subsequently headed his band in the Vieux-Colombier, Paris, leaving it from time to time to give concerts. Since 1950 he has often played with Sidney Bechet, and also in late 1951 and early 1952 with Milton

Mezzrow.

LYTTLETON - McCOY one of the white muhas assimilated most of the real jazz spirit in general and Luter

the

is

who

sicians

New Orleans

He was

first

band, Gate mouth, Old school, Cus-

tom racket blues (1948).

style in particular.

LYTTLETON, HUMPHREY

influenced by Johnny

Dodds, from whom he picked up both the powerful vibrato and his emphatic, emotional style. From 1949 on, the influence of Bechet became marked. Luter 's band plays very much in the style of King Oliver during the great years 192224, particularly in the early period when Pierre Merlin and Claude Rabanit were on trumpet. Records: Luter with rhythm section, Riz a

Moustache stomp (1948), Rag de dent ( 1951 ) with his whole la Creole,

;

Trumpet,

May New

b.

Windsor,

England,

by the Orleans style in general and 23,

1921. Influenced

Louis Armstrong in particular. Had own band in 1948 and played in the International Festival of Jazz at Nice, France, the same year. Continues to lead his own band, with his

his

own

ten a

club, in

number

articles

London. Has writ-

of most interesting

on jazz in various English and has published his

periodicals,

autobiography.

M McCLENNAN, TOMMY tar

and blues

Miss.,

Gui-

Yazoo City, April 1908. Went to Chicago singer, b.

and made a number of records around 1940. He has a hoarse but very pleasant voice. His guitar playing is in Classic Mississippi style. Records: Bottle it up and go,

Whiskey head woman,

New

high-

way (1939); Black Minnie, Drop down mama (1940); T ravelin highway man (1941).

McCONNEL, "SHORTY" (MAURICE) Trumpet, b. ca.

jazzman with a powerful style influenced by Harry Edison, but has turned toward bop. Records: with Earl Hines, Stormy Monday ising

blues,

Second balcony jump

(

McCORD, CASTOR ALFONSO Tenor saxophone, b. Birmingham, Ala., 1907. A good solid musician if not a spectacular soloist, who played with Louis Armstrong and the Blue Rhythm Band.

McFERRIN, HORATIO. 1920.

1942).

See

Baron, El

Played with Earl Hines in the early

and shortly afterwards in Lester Young's small band. A prom-

forties

McCOY, CHARLIE mandolin,

b.

ca.

Guitar and

1900,

d.

1951.

171

.

McCOY-MAC Brother

Made

a

of

McCoy,

Joe

number

of records

guitar.

accom-

panying blues singers and was a member of the Harlem Hamfats. Played remarkable blues of exemplary purity. Records: mandolin, with Bumble Bee Slim, Lost confidence blues, Wrecked life blues (1934); with Big Bill Broonzy, Lowland blues ( 1936 ) guitar, with ;

Bumble Bee

Dead and gone

Slim,

mother (1934); with Sonny Boy Williamson,

Black panther blues

(1941).

McCOY, JOE singer,

was the

b.

ca.

first

Guitar and blues

1900,

1951. Joe of the blues

d.

husband

Memphis Minnie, whom he accompanied on a number of rec-

singer

Played with the Harlem HamWas also known as "Kansas Joe" and "Big Joe," but this last name has also sometimes been used by another singer and guitar player, Joe Williams ( q.v. ) ords.

fats.

McCOY, MINNIE. McGARITY, Athens,

Trombone,

July

22,

1917.

Benny Goodman 1940-42, Raymond Scott 1942-43, and again with

Goodman 1940-47. Since, has mostly played in broadcasting and recording studio bands in New York. Plays in an easy style, somewhat like Jack Teagarden.

McGHEE, BROWNIE 172

blues

lover blues.

McGHEE, HOWARD Trumpet and arranger,

b. Tulsa, Okla.,

March

Brought up in Detroit. Played with Andy Kirk, Charlie

6,

1918.

Barnet,

Hampton, Billy Coleman Hawkins, and

Lionel

Eckstine,

headed several small bands. An inventive trumpet, full of swing and feeling in the tion,

McGhee

Roy Eldridge

tradi-

spoiled his gifts as

a jazz musician when, around 1945, he started to toy with bop and imitated Dizzy Gillespie. Whenever he is teamed with real jazz musicians, he can still play very well. Record: with Andy Kirk, McGhee special (1942, McGhee wrote the arrangement as well as played the trumpet solos).

McHUGH, JIMMY

Played with Ben Bernie 1938-40,

and

Woman

Composer,

Boston, Mass., July 10, 1894. Has written many very good numbers in a style reminiscent of Louis Armstrong's: among them: On the sunny side of the street, I can't believe that you're in love with me, Exactly like you, Baby, I must have that man, Porgy, I can't give you anything but love (the last four from the famous Blackbirds revue). b.

LOU

Ga.,

ords, among them: The death of Blind Boy Fuller, Sportin life blues,

See

Memphis Minnie

b.

Tenn., 1914. A good blues man in the style of Blind Boy Fuller. Since 1940 has made a number of rec-

singer,

b.

Guitar

Knoxville,

"MAC KAC" (ANDRE REILLES) b.

Toulouse,

Drums and France,

guitar,

May

29,

.

.

MACKEL - McKINNEY 1920.

The most

drummers; lot

of

swing.

Records:

Boy Goodie, Blue gie,

gifted of

French

also sings scat with a

with Big

drag, Dizzy boo-

Big boy boogie

(

1946 )

MACKEL, "BILLY" (WILLIAM) Guitar and arranger, b. Baltimore, Md., Dec. 28, 1910. Played first with various bands in his home town, then with Lionel Hampton 1944-48, returning to him again in 1950. With Charlie Christian and Tiny Grimes is one of the great performers on electric guitar. His support of a rhythm section is absolutely solid, his intuitive sense as an accompanist is extraordinary, and his solos abound with ideas and swing. He plays exceptionally good blues. Records: with Lionel Hampton, Million dollar smile, Tempo's boogie (1944); Vibe boogie (V-Disc, 1945); Chord a re bop, Limehouse blues (1946); Helpless (1951); Walkin at the Trocadero, Free press oui, Blue Panassie (1953).

McKENZIE, "RED" (WILLIAM)

the twenties McKenzie directed studio bands in the recording of quite a few discs, among them Liza

and Sugar (1927) released under the title of McKenzie and Condon's Chicagoans. One of his better records is Dark town strutters' ball (1931), played by what was then called McKenzie's Celestial Beings.

McKIBBON, AL cago,

111.,

Bass. b. Chi-

Lucky Heard 1946-

1919. Played with

Millinder 1944,

J.

C.

and with Dizzy Gillespie's big band more or less regularly 194750. A good technician, with a lot

47,

of drive. Records: with

C. Heard, J. but not seen, Bouncing with Barney (1946); with Johnny Hodges, Something to pat your foot to, You blew out the flame in my heart ( 1951 )

Heard

McKINLEY, RAY

Drums,

Fort Worth, Tex., June 18, 1910. Played with the Dorsey brothers, with Jimmy Dorsey's own band, with Glenn Miller and then had his own band. One of the few whites who have approached the easy masb.

Singer,

b. St. Louis, Mo., 1902, Feb. 7, 1948. A professional jockey in Cuba, he never had time to learn an instrument, but he was always crazy about music; blew on a comb-and-paper and formed a small band called the Mount City Blue Blowers. Despite his near-

tery of the great jazz

d.

Records:

amateur status, and in spite of the mediocrity of his singing, he became one of the prime movers of the Chicago Style boom. During

became one

with

the

Cuban

drummers. Armstrong,

in the closet,

Hurdy

When Beuben

swings

The skeleton gurdy man,

Louis

(1936).

McKINNEY'S COTTON PICKERS Formed in 1921, this band 1927 took it over and wrote excellent arrangements. Records have preserved for us few of the best in

when Don Redman

173

.

McPARTLAND - MADISON really

good examples of

this

band's

about the best are: Gee good to you, Miss Hannah,

quality; ain't I

The way I feel today, made in 1929— among

I'd love it, those playCarter, Coleman

ing being Benny Hawkins, Joe Smith, Sidney de Paris, Kaiser Marshall, and a remarkable pianist who is either Fats Waller or James P. Johnson.

McPARTLAND, JIMMY TrumChicago, 111., March 15, 1907. Influenced by Bix Beiderbecke. Plays with various Chicago and Dixieland-style bands. pet,

b.

McRAE, TED

Tenor

saxo-

phone, b. Philadelphia, Pa., 1906. Played with Elmer Snowden, Chick

Webb,

Cab Calloway, Louis Armstrong. Somewhat Ella Fitzgerald,

influenced

by Coleman Hawkins

A capable but uneven performer. His best records are: with Teddy Wilson, Rhythm in my nursery rhymes, Life begins and Chu Berry.

when

;

(1942).

McVEA, JACK Tenor and baritone saxophone, b. Los Angeles, Calif., 1914. His father, Isaac McVea, played the banjo and had his own band. Played with Charlie

Eddie Barefield, Claude Kennedy, Lionel Hampton, and formed his own band about 1943. Eccles,

On

baritone sax he's influenced by Harry Carney, and on tenor he plays in a very simple, direct style. Records: with "Jazz at the Philhar-

monic," (J.

McV.

Blues,

Lester

leaps

in

takes the 1st tenor sax

solo in each

number, 1946 )

you're in love (1936).

McSHANN, JAY ("HOOTIE") Piano and band leader,

b.

Mus-

kogee, Okla., Jan. 12, 1909. At the age of 20 he settled in Kansas City and there organized a band that he brought early in 1941 to New York, where he became quite well known. He is an extremely talented pianist, particularly when playing the blues which he often interprets in the boogie woogie idiom; his style is a little like that of Pete Johnson. During the years 1940-42, when

174

Charlie Parker, Bob Merrill, Gus Johnson, and Gene Ramey were members of the band, he was at his best and the band actually approached the great Basie orchestra in style. Records: piano solos, Vine Street boogie, Hold 'em Hootie with his own band, Swing( 1941 ) matism, Dexter blues, Sepia bounce

MADISON, LOUIS, called "KID SHOTS" Trumpet, b. New Orleans, La., Feb. 19, 1899, d.

New

Orleans, 1948. As a child, learned drums at a reform school where

both he and Louis Armstrong were confined at the same time; later learned trumpet. Played in the Tuxedo Band directed by Oscar Celestin with some of the most famous New Orleans musicians— Frankie Dusen, Big Eye Louis Nelson, Alphonse Picou. Can be heard on the

LP "American Music

645."

).

.

MAHOGANY - MAPLE MAHOGANY HALL A famous

MANNE, SHELLEY New York, N. Y., June

and sporting house on Basin Street, New Orleans, kept by Lulu White, where many of the

b.

musicians used to play before 1917 when Storyville ( q.v. was closed. The building was fi-

harmonic."

dance

hall

finest jazz

nally demolished in 1950.

Mahog-

any Hall stomp by Spencer Williams was named after it; Louis Armstrong recorded five excellent versions: in 1929, 1933, 1936, 1946

and 1947, the at

Symphony

latter in

LP "Satchmo

Hall."

MALCOMB, HORACE b. early in the century.

Piano,

Played in

Chicago during the thirties, joined the Harlem Hamfats, and made a number of records accompanying blues singers. Plays very pleasant blues. Records: with Johnny Tem-

Mean baby

blues, Sundown Washboard Sam, Block and tackle, She's makin a fool out of me; with Jazz Gillum, You are doing me wrong ( 1937-41 )

ple,

blues; with

MAN I LOVE, THE

Coleman Hawkins (1943), Tatum Trio (1944), Lionel Hampton ( 1949 ) Don Byas ( 1951 )

ings:

Art

,

MANDOLIN dom used

Instrument

for jazz except in

sel-

some

11, 1921.

Has played with Woody Herman, Stan Kenton, and "Jazz at the Phil-

MANONE, "WINGY"

(JOSEPH)

Trumpet, b. New Orleans, La., 1904. As a child was run over by a streetcar and lost his right arm; hence the nickname. He learned trumpet when very young. After playing in Louisiana and Texas, spent some years in Chicago, and then moved to New York where he

gained a considerable reputation heading small Dixieland bands.

Moved to California after 1940. One of the few white musicians who has really assimilated the New Orleans style. His playing has considerable ups and downs but he is capable of playing very well. Records:

The got

Never had no lovin (1934); Capri, The blues have

isle of

me

(1935).

MAPLE LEAF RAG

Composed

1924 by George Gershwin. Chorus of 32 bars with release. Best record-

in

Drums.

Composed

by Scott Joplin, named after the Maple Leaf Club, Sedalia, Mo. One of the most famous rags, comin 1899

prising three themes

each of 16 bars in typical ragtime style. Best recordings: New Orleans Feetwarmers (1932), Earl Hines and

band (1934), Teddy WeatherKid Ory ( 1937 (two versions, 1945 and 1954), Wil-

his

small bands and occasionally for the accompaniment of blues singers. The best mandolin player is Charlie McCoy, who plays remark-

ford, piano solo

able blues.

Piano greats").

lie (

"the Lion"

1950,

on the

)

,

Smith, piano solo "Reminiscing the

LP

175

.

MARABLE - MARSHALL MARABLE, FATE band

leader,

b.

Piano and Paducah, Ken.,

with

Slim

Gaillard,

Slim's

jam

(1945).

Dec. 2, 1890, d. Jan. 17, 1947. From 1907 until 1940 headed bands which played either in New Orleans or on the Mississippi steamboats. He is of course a key figure in the history of jazz: an impressive number of great musicians, including Louis Armstrong, Baby Dodds, Pops Foster, Gene Sedric, and Al Morgan, played with Fate arable when they were starting out and developed under him.

Chicago, 111., Jan. 5, 1907. Played with the other "Chicagoans" in his home town and with Wingy Manone. In 1936 formed his own band. Since the mid-forties has not been active as a musician. Record: under his own name, I know that you know (1941). Joe Marsala composed a number of popular songs; Don't cry Joe is one of the best.

MARES, PAUL New Orleans, La.,

ca. 1920.

M

Trumpet, b. d. Aug.

1900,

18, 1949. Played on the Mississippi steamboats in 1919 and went to Chicago the following year. Played trumpet with the New Orleans Rhythm Kings from 1921 until the band broke up in 1924. Had a pleasant New Orleans style. Returned to New Orleans and retired from music; eventually opened a restaurant in Chicago. Record: Nagasaki

(1935).

MARGIE Composed in 1920 by Con Conrad and Russel Robinson. Chorus of 32 bars without Best

Duke

recordings:

release.

Ellington

(1935), Jimmie Lunceford (1938),

Louis Armstrong

(

1954, in his

LP

"The Glenn Miller Story").

MARMAROSA,"DODO"

Piano,

Pittsburgh, Pa., Dec. 12, 1925. Played with Gene Krupa, Charlie

Barnet, Artie Shaw. Gradually gave jazz for bop. His best record

176

is

Clarinet, b.

MARSHALL, JOE

Drums, b. of James Crawford in the Lunceford band in February 1943. After Lunce-

Took the place

death in 1947 Marshall stayed with the band under Wilcox and Thomas; when these two sep-

ford's

arated, he went with Joe Thomas. Played with Johnny Hodges 195152.

An

energetic and solid drum-

mer, much influenced by James Crawford. His best records are those made with Johnny Hodges, Sideways, A pound of blues, Who's excited, Tea for two ( 1951-52 )

MARSHALL, "KAISER" (JOSEPH)

Drums,

b.

Savannah,

New

York, Ga., June 11, 1902. d. N. Y., Jan. 5, 1948. In 1922 played

Harlem night spot with the Shrimp Jones group which, with the addition of several more players, became the Fletcher Henderson band at the end of that year. Kaiser stayed with Henderson until 1929, when he toured for sev-

in a

b.

up

MARSALA, JOE

MARSHALL - MEMPHIS eral

months

in

Europe. Then he

organized his own band. In 1937 he toured Europe again with Bobby Martin's band. On his return to New York he played with Edgar Hayes, with Vernon Andrade and various small bands. Kaiser Marshall was one of the earliest really great drummers. It was he who developed the use of the "high hat" cymbal. He was a great virtuoso on cymbals and executed breaks and solos on them with tremendous swing. Like the New Orleans drummers, whom he often resembled, Kaiser Marshall liked a strong accent on the afterbeat. Records: with Fletcher Henderson, The Whiteman stomp, I'm coming Virginia Come on baby (1927), (1928); with Milton Mezzrow, Ole Miss, Old school, Perdido street stomp, Jelly roll (1945); Tommy's blues, I want some, Kaiser's last

break,

Funky

butt (1947).

Mo.,

Oct. 24, 1920. Cousin of the great bass Jimmy Blanton. Played with

Lionel Hampton in 1942, then with Stuff Smith; joined Duke Ellington in 1948 and remained with him until the end of 1954. Plays very much like Jimmy Blanton. Records: with Duke Ellington, Mood indigo Things ain't what they used ( 1950 ) to be, B sharp blues (1954). ;

MASSENBERG, "SAM" (JACK) Trumpet. Played with the Savoy 1938-42;

style in the

has

a

Harry Edison

b. Paducah, Ken., April Played with Ben Pollack 1929-34, then with Bob Crosby who

27, 1909.

took over the leadership of that band. Since mid-forties has mostly free-lanced in broadcasting and recording bands in Los Angeles. Record: with Bob Crosby, Come back sweet papa (1936).

MATTHEWS, EMMETT prano saxophone, Played for several Waller.

pleasant vein.

One

ca.

b.

spells

So1905.

with Fats

of the best soprano

with an incredibly dramatic style. Records: with Fats Waller, I got rhythm, Fat and greasy (1935); with Steve Gibson, Nat's boogie woogie (1948). saxes,

and decisive

MATTHEWS, GEORGE bone,

b.

West

Indies,

ca.

Trom1915.

Played with Willie Bryant 1936, Chick Louis Armstrong 1937,

Webb,

MARSHALL, WENDELL LEWIS Bass. b. St. Louis,

Sultans

MATLOCK, "MATTY" (JULIAN) Clarinet,

Ella

Fitzgerald

1938-41,

Lucky Millinder 1945, Count Basie 1945-49. A good technician with a beautiful delicate tone, but not swing. Records: with Count Basie, Lazy lady blues (1946);

much

Basie's

basement (1947).

MEMORIES OF YOU posed

in 1930

Com-

by Eubie Blake and

Andy Razaf Chorus .

of 32 bars with

Louis Arm(1930), Lionel Hampton ( 1939), Art Tatum, two piano solos (1945 and 1954).

release. Best recordings

:

strong

MEMPHIS MINNIE and blues

singer,

b.

Guitar

Algiers, La.,

177

MEMPHIS - MERRYWEATHER 24, 1900. When she was 7 her family settled near Memphis. At 10 learned die banjo; at 15 took up the guitar and began to sing in the streets of Memphis; in those days she was called "Kid Douglas." Shortly before 1930 a talent scout heard her singing in a Memphis barbershop and signed her up to make some records. It was then that she became known as "Memphis Minnie." She married Joe McCoy, a little-known guitar player known as "Kansas Joe," and went to live in Chicago. Some years later she married another guitar player, Er-

June

known as "Little Son good singer, Memphis Minnie is above all a remarkable instrumentalist on guitar, playing the blues in the same style and with the same purity as, for example, nest Lawler

A

Joe."

Big

Broonzy. Records: Nothing in rambling, Boy friend blues (1940); Looking the world over (1941); Mean mistreater blues Fish man blues, Lean meat ( 1945 ) Bill

;

wont

fry (1946).

MEMPHIS SLIM (PETER CHATMAN) Piano and blues singer,

b.

Ark.,

Sep.

16,

1918.

Brought up in Memphis, Tenn., went to Chicago in 1939 and there

made

a

number

of records as ac-

companist of various blues singers such as Big Bill Broonzy and Washboard Sam. Then formed a small band with which he made many records. Not a great singer, but plays superb blues on piano in a particularly pure low-down style, 178

inspired by Roosevelt Sykes and Joshua Altheimer. Records: with Washboard Sam, Gonna hit the highway, Get down brother, I've been treated wrong; with Big Bill Broonzy, I'll never dream again, Rockin chair blues, Gettin older every day, That number of mine (1940), San Antonio blues, Saturday evening blues (1947).

MERRILL, BOB

Trumpet and

1920. Played with James McShann 1941-42; since 1945 has spent several years in Cootie Williams' band. Sings on Cootie Williams' Wrong neighbor-

blues singer, b. ca.

hood (1946).

MERRYWEATHER, MAJOR ("BIG singer,

MACEO") b.

Tex.,

Piano and blues

March

30,

1905,

Chicago, 111., Feb. 26, 1953. From 1940 made a number of records accompanying blues singers, d.

and some under his own name on which he sings. In 1946 had a stroke that paralyzed one arm and thereafter was miserably broke until his death. Big Maceo was a fine singer, but above all he was a great blues and boogie woogie pianist. In slow blues he combined the styles of Leroy Carr and Memphis Slim. He had no equal in playing fast blues. His left hand played a boogie woogie of amazing power, while his right swung the most impeccable riffs. The full, round tone he obtained from the piano was indescribable.

Records:

on

piano,

Chicago

.

METCALF - MEZZROW breakdown (1944), Texas stomp, Detroit stomp (1946); with Big Broonzy,

Bill

When

Roll

dem

I get to thinkin,

best go,

bones,

You got

the

Oh baby

Sonny Boy

(1945); with Williamson, Early in

the morning (1946); as singer: accompanying himself, Tuff luck blues, Worried life blues (1942),

Winter time blues

(

1944 ) Big road ;

(1945), Come on Home, Maceo's 32-20 (1946); accompanied on piano by Eddie Boyd, I lost my little woman, Broke and hungry blues, If you ever change your ways (1947). blues

METCALF, LUIS

Trumpet.

Louis, Mo., Feb. 28, 1905. Played with Duke Ellington 1926-

b.

St.

28, Luis Russell 1928-29, Fletcher

Henderson 1935, and led several bands of his own. Much influenced by Louis Armstrong, he plays in a vigorous style with a heavy vibrato. Records: with King Oliver, I've

got that thing, Call of the The trumpet's prayer ( 1929 )

freaks,

MEZZROW, "MEZZ" (MILTON) saxophone, band leader, composer, arranger and writer, b. Chicago, 111., Nov. 9, 1899. First learned the flute, then the Clarinet,

alto sax in the prison band at Pontiac in 1917. When he came out he haunted the night spots of Chicago where he heard all the great musicians newly arrived from New Orleans. Learned the clarinet and decided to become a jazz musician,

making

his

professional

start

in

1923. Played with a quartet in a Chicago night club belonging to Al Capone, then around Chicago and in Detroit. Returned to Chicago in 1926 and met the "Chi-

cagoans," the McKenzie-Condon Group, playing and recording with them. In 1928 went to New York

where he played with Ben Pollack; and the following year he went to Paris where for some weeks he played in the Ermitage Mosrue Caumartin. Returning he toured with Red Nichols and played with various white bands; then, disillusioned by the commercialism invading jazz, he gave up music for some time. In 1933 he toyed with the idea of forming a big band; but in December 1937 he succeeded in quite another venture— the formation of one of the first "mixed" bands, which played at the Harlem Uproar House. Unfortunately this band didn't last. In 1938 he revived the true New Orleans style in a remarkable series of records with Tommy Ladnier. Jailed in 1940 for peddling marijuana, he came out in 1942 and played with small bands on New York's 52d Street. In 1945 he founded the "King Jazz" label for the recording of blues and New Orleans-style music. His autobiography, Really the Blues, apcovite,

to the U. S. A.,

peared in 1946. Two years later he got together an excellent band of

New

Orleans-style

musicians,

played at the International Festival of Jazz at Nice on the Riviera, and toured France. In 1951 and the 179

;

MEDDLETON - MILEY following years he toured France again and visited other European countries

and North

Mezzrow

Africa.

not only one of the great clarinets but one of the great white jazz musicians. He has assimilated the traditional style so perfectly that when he plays you think you're listening to a clarinet from New Orleans. He was influenced primarily by Jimmie Noone and Louis Armstrong, and also by Johnny Dodds. He plays really beautiful blues. His wonderfully warm, vibrant tone is very moving. He has an acute sense of ensemble playing which makes him an in-

comparable

is

clarinet to

lective improvisation,

have in coland he has

the gift of bringing out the best in

a band. Records:

Sendin

pers, Apologies, 35th

the vi-

and Calumet

(1934); Blues in disguise (1937); on with the come on (1938); If I could he with you, Clarinet marmalade, Blues jam up (1951); Really the blues, Sweet

Comin

Georgia Brown (LP Vogue, recorded at a concert in the Salle Pleyel, 1952, Really the blues

was

wrongly titled Gone away blues); heading various bands, Big butter and egg man, Wrap your troubles in dreams, Rose room, Swingin

Mezz (1953), Moonglow (1955); with the Ladnier-Mezzrow Quintet, Royal garden blues, Ain't gonna give nobody none of my jelly roll (1938); with the MezzrowBechet Quintet, Gone away blues, with

Old

school,

(1945);

180

Jelly

Tommy's

roll,

Ole Miss

blues,

I

want

some (1947); with Claude Luter's band, Black and blue, If I had you, Old fashioned love, Christopher's with Fats Waller, ( 1951 ) Sweetie pie (1934); with Lionel Hampton, Wailin Panassie, Elmer the stockbroker, Blues for the Hot a-rockin

;

Club de France (1953). Mezzrow composed a quantity

of

among

them: Swingin with Mezz, Dissonance, Sendin the vipers, Blues in disexcellent

pieces,

guise, Really the blues,

blues,

Out

gonna do Paris,

the

of it

blues,

Gone away

gallion,

Ain't

Serenade to

and, with Stuff Smith,

My

thoughts.

Mezzrow's autobiography is a remarkable work about jazz and the American negroes. He has also written a number of articles which display a rare critical sense for such magazines as Jazz Record, Harpers Bazaar, and the Bulletin du Hot Club de France.

MIDDLETON, VELMA

Singer Mo., Sept. 1, 1917. Since 1942 has been with Louis Armstrong. Records: with Louis Armstrong, Since I fell for you (1947); Big butter and egg man, Baby it's cold outside ( 1951 ) St. Louis blues, Loveless love, Hesitating blues (last three on LP, "Louis Armstrong Plays W. C.

and dancer,

b. St. Louis,

Handy," 1955).

MILEY,

"BUBBER"

(JAMES)

Trumpet, b. Aiken, S. C, 1903. d. Welfare Island, N. Y., 1932. Went to New York at the age of

MILEY 6.

While

still

a child

he sang

in the

cians,

streets to help out the family funds.

Cootie

At 14 took trombone and trumpet lessons. Soon afterwards he served for eighteen months in the Navy. In 1919 he became a professional musician and toured with a band accompanying the singer Mamie Smith. Later on he had his own band in New York. In 1923 he joined Elmer Snowden's band which soon became Duke Elling-

Bobby

ton's.

Stayed with Ellington until

early 1929; in the spring of that

year he went to Paris with Noble Sissle's band, but soon returned to New York where he played in the orchestra at the Lafayette Theatre with Zutty Singleton. In 1930 he once more formed a band of his own with which he played in New York and on tour until a few months before his death. Bubber Miley was one of the great jazz trumpets. In the use of "growl" and the "wa-wa" mute he

was in a class by himself. With this mute he produced the most colorful and dramatic effects; could his trumpet speak. He have been the first to use the rubber plunger mute. But his playing was no less remarkable without a mute; his style was direct, powerful and solid, sometimes vigorous, sometimes lazy, like the music of the great New Orleans trumpets. Miley often sounded like King Oliver and Tommy Ladnier, and probably was considerably in-

really is

make

said to

fluenced by the former. In his turn, he influenced a number of musi-

among them Tricky Sam, Benny Carter, Freddy Jenkins, and he also was largely re-

Williams, Stark,

Sy Oliver;

sponsible for creating the style of

Duke Ellington's band. He was a talented composer and, usually in collaboration with Ellington, wrote

numbers such as: Black and tan fantasy, East St. Louis toodle-o, Doin the voom voom, Blues I love to sing, Blue bubbles, Black beauty, Goin to town. Records: with Duke Ellington, Animal crackers, Immigration blues, The creeper (1926), East St. Louis toodle-o, Hop head, Down in our alley blues, Blues I love to sing, Black and tan fantasy (RCA Victor version), Creole love call, Red hot band (1927), Sweet mama, Take it easy (Okeh-Parloseveral excellent

phone muted

solos

Victor (other

title

version,

B.M.

plays

Jubilee stomp version), Harlem )

,

(

the

RCA twist

East St. Louis toodle-o), Got everything but you, Tishomengo blues (B.M. plays the muted solo), Yellow dog blues, Move over (Okeh version), The mooche (Brunswick and OkehParlophone versions), Louisiana, Diga diga doo (RCA Victor version), Blues with a feeling, Going

town (1928), Doin the voom voom, Tiger rag ( 2d side ) Flaming youth (1929); with other bands, with the Texas Blues Destroyers, Lenox Avenue shuffle, Down in the mouth blues ( 1924 ) with King Oliver, St. James infirmary (1930); to

,

;

181

.

.

MILLER - MILLINDER with Jelly Roll Morton, If someone would only love me (1930).

lacking the real touch of a master. Record: with Albert Wynn, Down

by the levee (1928).

MILLER, EDDIE

Tenor saxo-

clarinet, b. New OrJune 23, 1911. Became a professional musician in 1930 and joined Ben Pollack's band with which he remained until 1934. In 1935, with most other ex-members of the Pollack group, he joined the Bob Crosby band and stayed until 1943, when he formed his own band. A good soloist who tried to adapt the tenor sax to the New Or-

phone and leans, La.,

leans style in a

manner

similar to

MILLER, "TAPS" (MARION JOSEPH) Trumpet, dancer, singer, composer,

b.

Indianapolis,

Ind.,

Was

intended for the ministry, but the attraction of a theater next door to his home made him change his mind: he had a chance to see a good many topnotch dancers and finally couldn't resist the idea of going into show July 22, 1915.

business himself. Began his career in 1927 and hit the big time in 1940,

Bud Freeman. Record: with Bob

when he danced with

Crosby, Pagan love song

well-known bands, including Count Basie's. The Count wrote Taps Miller 1944 ) in his honor Visited

MILLER, GLENN

(

1936 )

Trombone

a

number

of

(

and band

leader, b. Clarinda, Iowa,

Europe with Milton Mezzrow

March

1904. Killed in an air ac-

Composed the well-known number Wham, and sings scat in a style reminiscent of Leo Watson.

1,

somewhere across the EngChannel toward the end of

cident lish

World War

II

(Dec. 1944) In 1936

formed a band which was tremendously popular up to and during the war, but was not of great importance from the point of view of real jazz.

MILLER, "PUNCH" (ERNEST) Trumpet,

Raceland, La., Dec. played on the Mississippi riverboats with Fate Marable; the following year he went to Chicago where he played with various bands, including that of Erskine Tate. After that he toured, returning from time to time to Chicago. Much inspired by Louis Armstrong. A capable jazz musician but

On

trumpet he was influenced by

Louis Armstrong and Harry Edison. But primarily he is a great tap dancer; with his feet he can swing out rhythmic figures like those of Baby Dodds on drums. Record: tap dancing with Milton Mezzrow, 1 aint got nobody ( 1953 )

b.

24, 1897. In 1925

182

in

1953.

MILLINDER, "LUCKY" (LUCIUS)

Band

leader, b. Annis-

Aug. 8, 1900. In 1933 he headed Ralph Cooper's band and took it to France. In the following year he led the Blue Rhythm Band Many well-known musi(q.v. ). cians were from time to time members of his band, which always had ton, Ala.,

.

MILLS - MODERN a lot of swing and was very pop-

azul,

ular; his records give only a faint

Goldwyn stomp, Red top, Giddy up, Mingus fingers (all 1947, the

idea

of

the band's

capabilities—

with the exception of the remarkable Apollo jump (1944).

Midnight sun, Hawk's

last his

own

arrangement).

MINOR, DAN MILLS, LINCOLN

Trumpet. b. Chrisfield, Md., 1910. Has played notably with Benny Carter and

Gene

Sedric.

MILTON, ROY band

leader,

b.

Drums,

singer,

him and

his

pianist

Camille Howard, plays simple, unpretentious arrangements which are designed to flow with plenty of swing. His repertory is made up mainly of blues. Records: Rainy day, Confession blues (1946, dcuble-sided version ) Milton's boogie, R.M. blues, Camille s boogie, Oh baby, Sad feeling, Playboy Wties (1952). ;

MITCHELL, GEORGE pet, b. Louisville, Ken.,

MINGUS, CHARLIE b.

Bass and

Nogales, Ariz., 1922.

Played with Louis Armstrong, "J azz at the Philharmonic," Lionel Hampton (1947-48), and Art Tatum. Influenced by Jimmy Blanton, he ranks as one of that great bass player's best followers. He has a fine, full tone and plays with a sure but supple swing. Records: with Lionel Hampton, Muchacho

TrumMarch 8,

1899. Played in Chicago in 1919 with Tony Jackson, then with Carroll Dickerson, Doc Cook, Lil Armstrong, Earl Hines. Gave up jazz in the early thirties. Influenced by King Oliver and Louis Armstrong, George Mitchell played in a calm style with an on-the-beat swing, and ranks among the best New Orleans trumpets. Records: with the New Orleans Wanderers, Perdido street blues, Too tight ( 1926); with Roll Morton, The Chant, Jelly Smokehouse blues, Sidewalk blues,

Dead man

blues, Original Jelly Roll

Grandpas jazz, Cannon ball blues (1926), Jungle blues, Wild man blues, The blues,

arranger,

Trombone,

Kansas City, Kan., 1907. A good, dependable New Orleans-style performer. Played with Bennie Moten, Andy Kirk, and Count Basie. Record: with Count Basie, Gone with what wind ( 1940 ) b.

Tulsa, Okla., ca.

1915. Since the forties has headed a small band in California. A solid drummer, Milton sings pleasant blues; in other types of numbers his vocal style shows the influence of Louis Armstrong. His small band,

well led by

nest,

Doctor

spells,

pearls, Beale Street blues

MODERN

An

(1927).

adjective from

time to time used to describe new forms of jazz. In 1926 the music of Louis Armstrong and his Hot Five was described as the modern style in contrast with what had gone before. In the early thirties Fletcher 183

.

MOLE - MONTGOMERY Henderson, Duke Ellington, and McKinney's Cotton Pickers were said to play "modern jazz" as opposed to the New Orleans style. In 1937 it was the turn of Jimmie Lunceford and Count Basie to represent the moderns. Later the styles of Coleman Hawkins with his disciples, then Lester Young and his, were considered the height of modernity. The word "modern" ap-

time being, to "prothe styles popularized by Dave Brubeck, Stan Ken-

plies, for the

gressive" music;

Dizzy Gillespie, and others.

ton,

MOLE, "MIFF" (MILFRED) Long

Trombone,

b.

March

1898. Played with the

11,

Original

Memphis

Island, N. Y.,

Goodman.

A

Red Nich-

Five,

and Benny

Paul Whiteman,

ols,

good technician, but

not one of the greats.

MONCUR, GRAHAM b. ca. 1900.

Bass.

Sultans 1938-42.

A

fine driving

by the

New

mu-

Orleans

by John Kirby. Records: with Teddy Wilson, Spreadin rhythm around, Sugar

and

specifically

plum ( 1935

you're

in

)

Life begins when Rhythm in my

;

love,

nursery rhymes

1936 ) Quebec, Topsy (1945). (

MONDAY DATE

;

with Ike

Composed by

Earl Hines in 1928. Chorus of 32 bars with release. Best recordings: Louis Armstrong Earl (1928); Hines, piano solo ( 1928, two versions, the Okeh-Columbia one is

184

Louis

better);

Armstrong

(1939, 1948, recorded at the Jazz Festival at Nice, France, and is-

sued by L'Association Francaise de Gramophile, 1951, the LP "Satchmo at Pasadena"); Claude Boiling, piano solo (1952, Milton Mezzrow concert at the Salle Pleyel).

b.

MONK, THELONIOUS Piano. New York, N. Y., 1918. Between

1939 and 1943 played often at MinHarlem with Joe

ton's night club in

Guy and Kenny

Clark.

Monk

influ-

enced the musicians who were soon and is himself to create bop, classed as a

bop

pianist. It

would

be truer to say that he was an initiator of bop— for whereas his music harmonically resembles bop, rhythmically it is not. He is an eccentric musician who has strayed far from jazz, but has never completely turned his back on it as the bop players have.

Played with the Savoy

sician inspired style

the

MONTGOMERY, "LITTLE BROTHER" (EURREAL) and 17,

Kentwood,

singer, b.

1907. Played

first

in

Piano

May

La.,

New

Or-

leans, then settled in Chicago.

remarkable

blues

"singing" style

and

is

specialist.

A

His

full of freshness

piano blues played in New Orleans in the early days of jazz. Records: Shreveport farewell, Crescent city blues, Parish street jive ( 1936 ) typical

of

the

MONTGOMERY, "MONK" (WILLIAM)

Bass. b. Indianapolis,

Ind., Oct. 10, 1921. Brother of

John

MONTGOMERY - MOORE "Wes" Montgomery

(q.v.).

Hampton

with Lionel

Played

1950-53.

solid musician, full of swing,

A

who

the electric bass. Records: with Lionel Hampton, Blue Panassie, Free press oui, Real crazy uses

MONTGOMERY, "WES" Guitar, b. Indianapolis, (JOHN) March 6, 1925. Played with

Ind.,

Hampton

1948-50.

His

put him among the great specialists on electric guitar. Records: with Sonnie Parker, Pretty baby, Hamp's

swing and

gumbo

the sound track of that film the latter

(1953).

Lionel

New Orleans style. He appeared with Fats Waller's small band in Stormy Weather, and can be heard in the ensembles of Moppin and boppin and That ain't right from

his invention

(1949).

MOODY, JAMES

Tenor and

saxophone, b. Savannah, Ga., March 26, 1925. Played with Dizzy Gillespie 1947, spent the next years in Europe ( 1948-51 ) and since his return to the U. S. has led his own band. A good musician, but one who has moved away from jazz under the influence of bop. alto

MOONGLOW

Composed by

Will Hudson in 1934. Chorus of 32 bars with release. Best records: Ethel Waters (1934), Duke Ellington (1934), Art Tatum, piano solo (1934), and with his Trio (1944), Lionel Hampton (1949), Milton

Mezzrow

(1955).

MOORE, "SLIM" (ALTON) Trombone, b. ca. 1910. Played with Horace Henderson 1941, Benny Carter 1943-46, Louis Armstrong 1947, Dizzy Gillespie 1946 and 1948. Strongly influenced by the

(

1943,

on V-Disc).

MOORE, "BIG CHIEF" (RUSSELL) Trombone. An Indian of the Pima tribe, b. on the Indian reservation at Kamatke, Ariz., Aug. 13, 1912. He first learned piano and then trumpet from his uncle, a music teacher in Chicago where Big Chief went to live in 1924; then he switched to trombone. Returning to the Indian reservation in 1930, Big Chief found that he couldn't get along there any more, had even half forgotten his native language; so he went to California where, in 1935, he joined Lionel Hampton's band. In 1937 he was in New Orleans with Papa Celestin. Then played with various big bands, including Noble Sissle's, and with Louis Armstrong 1945-47. In 1949 played with Sidney Bechet at Jimmy Ryan's in New York and went to Paris for a Jazz Festival. Toured Europe with Milton Mezzrow in 1953. Influenced by Louis Armstrong, Big Chief is a remarkable technician with good, ample tone and a considerable vibrato, but the quality of his performance varies. Records: with Milton Mezzrow, Swinging with Mezz, Wabash blues

(1953).

MOORE, "BILLY" (WILLIAM, JR.)

Arranger,

b.

Parkesburg,

185

.

.

MOORE - MORGAN W.

Va., Dec. 1917. Between 1939 and 1941 wrote a number of arrangements for Jimmie Lunceford which resemble in style those written by Sy Oliver for the same band.

His

considerable talent is best in the following records by Jimmie Lunceford: I got it, Bel-

shown

gium stomp (1939); Monotony your

flats

in

(1940).

MOORE, FRED ("SMACK-ADAB")

Drums, occasionally

sings.

Washington, N. C, Aug. 20, 1900. Learned drums at the age of 12. Played with Charley Creath in St. Louis, with King Oliver about 1930 and with various small bands in New York during the forties. From 1952 to 1953 played with Wilbur de Paris and toured Europe with Milton Mezzrow 1954-55. A solid

b.

New Orleans

drummer

in

nickname

arises

infirmary:

"Now when

style.

The

from the additional lyrics with which Fred embellishes his famous rendition of St. James I die, I

want

bury me in a sardine can, Just about twenty-five or thirty blackjacks in my hand, So I can just ooze my way, sweet Mama, Right smack and dab into the Promised Land." Records: with Art Hodes and Sidney Bechet, Dark

you

to

town

strutters'

down yonder Memphis blues

ball,

in

Shine,

New

Way

Orleans,

(1945).

MOORE, OSCAR

Guitar,

Dec. 25, 1916. Played in the King Cole Trio 193947. A capable but uneven performer b.

Austin,

186

Tex.,

who

uses the electric guitar. Rec-

with Lionel Hampton, Jack ( 1940); with King Cole, Route 66 (1946). ords:

the bellboy

MOORE,

See Moore,

"SLIM."

Alton

MORAND,

"KID" (HERBERT)

Trumpet, b. New Orleans, La., 1907 and died there 1952. Played in Chicago in various small bands and between 1930 and 1940 was a member of the Harlem Hamfats. Records: with Johnny Dodds, Piggly wiggly, Forty

and

tight

(

MORELAND, MORRIS

1929 )

Drums.

Played with the New Orleans Feetwarmers in 1932 and with Sidney Bechet in 1938. A vigorous performer in New Orleans style. Records: with New Orleans Feetwarmers, Sweetie dear, I found a new baby, Shag ( 1932 )

b. ca. 1905.

MORGAN, AL Orleans,

La.,

Bass. b.

Aug.

19,

New 1908.

and drums at the and bass when he was 10. First appeared as a musician in his home town in 1925 and played arable's band on the with Fate Learned age of

clarinet

9,

M

Mississippi

riverboats

After a short stay in

New

1926-29. Orleans,

where he made his first recordings with Lee Collins and Davey Jones, he went to New York in 1929 and was immediately appreciated. From 1932 to 1936 played with Cab Calloway, with whom he

made

a European tour.

Then moved

.

MORGANFIELD - MORTON California where in 1937 he headed a small band which for some time worked with Fats Waller. The next year he joined to

Les Hite. In 1939 returned to New York and played for nearly two years in Zutty Singleton's quartet. Since 1942 he has been playing

mainly with the Sabby Lewis group apart from some months with Louis Jordan in 1944-45. His powerful tone, his energetic swing,

and the

versatility of his playing

put him

among

the best artists of the string bass to come out of New Orleans, along with Pops Foster and Wellman Braud. Records: with Fats Waller, Lookin good but feelin bad, I need someone like you (1929); with the Chicago Rhythm Kings, Oh Peter, Margie, Bugle call rag (1932); with Cab Calloway, Gotta go places and do things

band. On trumpet he can be heard with Dinah Washington, Evil gal

know how to do it (1943); and he made an excellent arrangement of Chop chop recorded by blues, I

Lionel

Hampton

in 1944.

MORRIS, JOSEPH

See

C.

Columbus, "Chris"

MORRIS, and organ,

MARLOWE

Piano Played with

b. ca. 1918.

the Spirits of Rhythm 1939-40, then mainly with Al Sears 1943, the

Sidney Catlett Quartet 1944, and Tiny Grimes 1946. Appeared in the movie Jammin the Blues. Records: with Lionel Hampton, Martin on every block (1940); with Tiny Grimes, Flying

home

1946 )

(

MORTON, BENNY. ton,

See Mor-

Henry Sterling

(1932).

MORTON, "JELLY ROLL" MORGANFIELD, McKINLEY. See

Muddy Waters

(FERDINAND) singer,

band

Piano, composer,

leader,

b.

Gulfport,

Los Angeles, Calif., July 10, 1941. Born of a family of French origin (until the age of 11 he spoke only French), he applied himself at an early age to music. At 7 played guitar and at 10 piano, and finally stuck to the piano. From 1902 on, he played in the night clubs and sporting houses La., Sept. 20, 1885, d.

MORRIS, GENE

Tenor saxo-

phone, b. ca. 1922. In 1948-49 played with Lionel Hampton. Plays with a tough, strong tone, good attack, and makes a large use of inflections (q.v. ) executed with plenty of swing. Records: with Lionel Hampton, Chicken shack boogie, Benson's boogie (1949).

of Story ville,

out of his

MORRIS, JOE Trumpet and ranger,

b.

Montgomery,

1920. Played with Lionel

1943-47, then headed his

Ala.,

arca.

Hampton own small

New

Orleans.

home by

Turned

his family, in

which he was a black sheep because of his line of work and the low dives in which he played, he earned a living by music and gam187

MORTON bling— cards,

billiards,

and shoot-

ing crap. By 1912 he was in St. Louis where he got together a band and went on tour. A year later he was in Chicago which, again, he left to tour, returning after four years spent in every form of gambling and speculation, with music sandwiched in between. After 1917

he lived mainly in California. For a while he ran a night club in Los Angeles, where he organized a first five- then ten-piece, of Orleans musicians. Then he went to San Francisco, and with a Trio made more tours, including Canada. Arriving in Kansas City

band,

New

he wrote his great Kansas City stomp in honor of the boss of a night club where he was working,

in 1919,

and

his

even bettter known The

pearls as a tribute to the beauty of

one of the girls there. In 1922 returned to Chicago where he formed the Red Hot Peppers band which he took on a number of tours, and at the same time had a music publishing business as a sideline.

He

went to New York in 1928 and for two years led a very active musical life. At this time he earned more than in any other period of his career. He wore diamonds, and even had one set in his teeth. That phase ended with the Wall Street crash.

For some years Jelly Roll lived in obscurity in Washington, playing in small night clubs. In 1937 Alan

Lomax

got

him

to record a long

series of reminiscences for the

Folk

Song Archives of the Library of Congress on the epic period of New 188

jazz, and these were later issued in twelve albums under the

Orleans

The Saga Toward the end title of

of Mr. Jelly Lord. of 1938 Jelly Roll

to New York and made a number of records with a pick-up band which included Sidney de Paris, Sidney Bechet and Zutty Single-

went

He

band and retired to California and a music publishing firm; he died on the coast of asthma aggravated by heart trouble. Jelly Roll Morton was one of the ton.

tried to get a regular

together, but failed,

earliest great jazz musicians, as well

as

one of the most important. Traces be found in the

of his style can

playing of almost every pianist of the succeeding generation, those of the Earl Hines school as well as Fats Waller's. He was in many ways the equal of any pianist who has ever played jazz. His playing was clear, melodious, and well phrased, his variations full of grace and developed with impeccable taste. His invention appeared to be inexhaustible and it was almost impossible for him to play a chorus that was anything but first rate. Brought up on ragtime, he played simple, very "pianistic" piano with remarkable

independence

between

his

two

hands. His tempo didn't have the same assured solidity as that of Fats Waller or Earl Hines, but he

played with great swing, and, what is more, it was pure New Orleans swing. His best recorded piano solos are: Grandpa's spells, Kansas City stomp, The pearls, Perfect rag (1923); King Porter stomp, The

.

.

MORTON - MORTON pearls (1926); Pep, Seattle hunch (1929); Original rags, Mister Joe,

King Porter stomp Tiger rag, State and Madison, Sweet Peter (the last three in the "Saga of Mr. Jelly Lord," 1937). Morton also plays remarkable pi-

The (

crave,

1939 )

;

ano in a trio with Barney Bigard and Zutty Singleton: Turtle twist, Smilin the blues away ( 1929 ) and a solo, Mamie's blues, a slow blues largely sung by himself ( 1939 ) He also recorded a series of good numbers in the purest New Orleans style with studio bands, of which the most successful are: with his Red Hot Peppers, Black bottom stomp, The chant, Smokehouse blues, Dead man blues, Original jelly roll blues, Doctor jazz, Grandpa's spells, Cannon ball blues ;

Wild man blues, Jungle The pearls, Beale st. blues, goat stomp, Hyena stomp

(1926), blues, Billy

Kansas City stomp, Georgia ( 1927 ) swing, Shoe shiners' drag (1928); with his New Orleans Jazzmen. ,

Oh

didn't

he ramble (1939).

Jelly

Morton composed a quantity numbers characteristic of the

Roll of

New

Orleans era; they are full of melody and lend themselves pre-eminently to jazz interpretation, great

of which some have become famous: King Porter stomp, Wolverine blues, Shoe shiners' drag, Original jelly roll blues, Jungle blues,

The

Kansas City stomp, Mr. Grandpa's spells, Don't you leave me here, Shreveport stomp, and in collaboration with Louis Armstrong, Wild man blues. pearls,

Jelly Lord,

MORTON, GEORGE and tap dancer,

Singer

b. ca. 1910. Sings

in a vocal style resembling Louis

Armstrong's.

Blue

the

Joined

Rhythm Band 1931-32, with whom he may be heard on their recorded Moanin, Sugar blues

(

1931

)

MORTON, "BENNY" (HENRY STERLING) York, N.

Trombone,

Y., Jan. 31, 1907.

New

b.

Between

1924 and 1930 played mostly with

few months in Fletcher Henderson's band alongside Jimmy Harrison. Returned to Fletcher Henderson early in 1931, but at the end of the same year joined Don Redman with whom he remained almost Billy Fowler. In 1927 spent a

constantly until 1937. Played with Count Basie 1937-40; subsequently

with Benny Carter, Joe Sullivan, Teddy Wilson, and various small bands, several of which he led. Morton was much influenced by Jimmy Harrison, particularly in the structure of his phrases. In the early thirties his style

later his

was very

way

staccato,

of playing

but

became

legato, more flowing and less powerful. A very gifted musician, a little erratic but capable of playing the most remarkable choruses. Records: with Fletcher Henderson,

more

Sugar foot stomp (Columbia and Brunswick versions, 1931, B.M. The takes 2d trombone solo), of David blues, Comin and (1931, the last named originally issued as by the Baltimore

House

go in Bell

Hops); with Don Redman,

got rhythm

I

(1932); Exactly like

189

MOSS - MULLIGAN you ( 1936 ) with Henry Allen and Coleman Hawkins, My Galveston gal (1933); with Count Basie, Out the window (1937); with Buck Clayton, I cant get started (1954, in the LP "Buck meets Ruby"). ;

BUDDY

Guitar and MOSS, blues singer, b. S. C, ca. 1905. His guitar style is reminiscent of Blind Boy Fuller's. Records: You need a woman, I'm sittin here tonight (1941).

MOTEN,BENNIE

Bandleader, b. Kansas City, Mo., Nov. 13, 1894. d. 1935. First played trumpet, then

He formed a small band in Kansas City in 1922. Then in 1929

blues singers. His style is typical of the singers of the deep south and no one can sing more low-down,

poignant blues. Muddy Waters plays with a bottle neck on the little finger of his left hand. Owing to the fact that he uses an electric guitar, he doesn't get a pure "blue" tone like Big Bill Broonzy's or Blind Lemon Jefferson's, but his phrasing and its execution are pure blues. Records: I feel like going home, Streamline woman, Train fare

home, Canary bird, Little Anna Mae, Gypsy woman, Walkin blues, Rollin

Long

stone,

Too young a fool,

distance

call,

know, Honey bee,

to

My

Louisiana

piano.

Still

got together a big band which un1934 was the best in the city

She moves me, Country boy, Early morning blues, All night long, You gonna need my help I say, Sad letter blues, Standin round

til

and included a number sicians such as Count

of fine

Basie,

muBen

fault,

blues,

and cryin

(all

1949-52).

Webster, Jack Washington, Walter Page, Eddie Durham, and Jimmy Rushing. Soon after 1930 this band

New

York and gave Harfirst taste of the "Kansas City Bounce," the style Count Ba-

went to lem its

sie was to take to such heights a few years later. Records: Moten's

New

swing,

Orleans,

Lafayette

MUDDY WATERS

(McKIN-

(1932).

LEY MORGANFIELD) and blues ca. 1912.

He

settled in

Chicago in

1947 and since 1949 has

whole

Guitar

singer, b. Stovalle, Miss.,

series of records

made

b.

Mayhew,

When

Miss.,

Trum-

May

11,

very young moved to Chicago. Played with Lips Page, Benny Carter, Cab Calloway, and with Louis Armstrong 1946-47. In December 1949 joined Lionel Hampton's band and except for a brief interlude in 1953 has remained with it ever since. An excellent band musician who can also produce clean and simple solos. Has not shown to advantage on any 1916.

still

records.

a

which have

now earned him a great reputation. Muddy Waters is one of the great 190

MULLENS, EDWARD pet,

MULLIGAN, GERRY saxophone,

band

composer,

Baritone arranger,

leader, b. Philadelphia, Pa.,

MUNDY - MUSKRAT April 6, 1927. Played and wrote arrangements for Gene Krupa (Disc jockey jump, 1947), then Miles Davis 1948. Thereafter was with Elliott Lawrence 1950, and Claude

Moved

Hawkins; also by the orchestrations of Sy Oliver. He is one of the greatest arrangers in the business;

how

knows

write music that makes for a really swinging inter-

to

room

to California in

pretation. His style, generally sim-

1952 where he started to make himknown, leading a small band. He is on the "cool" side, but unlike his one-time associate, Chet Baker, is a really accomplished musician.

ple and direct, introduces a combination of marvelous riffs for each section of the band and is perfectly

Thornhill. self

MUNDY, JIMMY

Tenor saxo-

phone and arranger,

b. Cincinnati,

Count Basie, for example, has recorded a number of his finest arrangements: Miss thing, Rock-a-bye Basie (1939); Super suited to

who

(1940); Tune town shuffle, merchant, Coming out

chief

Ohio, June 28, 1907. When he was only 6 his mother made him learn the violin; later on he learned practically every instrument and finally opted for the tenor sax. After moving to Chicago in 1926, he played with Erskine Tate and then with Carroll Dickerson. After that, joined Earl Hines and remained with him almost continuously from 1929 to 1936, and it was during this period that he began writing arrangements. From 1936 to 1939 he was

rangements without losing his essential swing, for example, recorded

Benny Goodman's

by

chief arranger,

then worked for Gene Krupa, at the same time doing arrangements for other bands, such as Count Basic's. In November 1939 formed his own band but it didn't stay together long; in the following years he returned to writing arrangements for Basie and Goodman. After two years in the

(1943-45), he

armed

forces

continued writing arrangements for various bands. Jimmy Mundy has been influenced by his two favorite soloists, Louis Armstrong and Coleman

Feather party

That rhythm

(1941);

man

(1943, V-Disc), One o'clock boogie (1947); and this same style is

noticeable in a

ments that

number

Mundy

Maple

of arrange-

wrote for Earl

rag (1934); (1935); Easy rhythm (1940); Jersey bounce, Up jumped the devil (1941). Mundy can also write more complex arHines:

leaf

Japanese sandman

Basie, Fiesta in blue

Blue

skies,

Queer

MURPHY, "TURK" and band

(1941);

street (1945).

Trombone

leader, b. Palermo, Calif.,

Played almost conWatters' Yerba Buena Jazz Band 1940-49, then formed his own group which took an important part in the "New OrDec.

16, 1915.

stantly

with

Lu

Turk trombone style was strongly influenced by Kid Ory. leans Revival" in California.

Murphy's

MUSKRAT RAMBLE posed in 1925 by Kid Ory,

Comwho 191

MUTE - MYERS used

several

famous

traditional

New

Orleans march motifs dating certainly from the 19tii century, on

which Jelly Roll Morton also drew for some of his own numbers. It is made up of two themes, each of 16 bars, without release.

One

of the

and best-known standards played by New Orleans-style bands. best

The

best record is the original: Louis Armstrong and his Hot Five, with Kid Ory (1925). Other good

two versions (1945 and 1954), Louis Armstrong (1947, concert "Satchmo at

hand, a glass or a bottle— to imitate the

sound

of a

human

voice.

A

hat can also be used— either a felt derby, to soften the tone, or a metal one to give it a peculiar edge.

MY BLUE HEAVEN

Com-

posed in 1927 by George Whiting and Walter Donaldson. Chorus of 32 bars with release. Best recording: Jimmie Lunceford (1935),

Coleman Hawkins (1940).

recordings: Kid Oiy,

Symphony

Hall), Milton

Mezzrow

(1953).

MUTE

Accessory placed in the bell of a trumpet or trombone to modify its tone. Originally they were wood or copper, later they were made of papier-mache, alu-

minum types:

with

or plastic. There are several the straight mute, a cone flat base; the Conn mute

(named

maker) which is pear-shaped with a rounded base; and the "wa-wa" mute with a movable base. There are also "plunger" mutes made of metal or rubber which are so named because they look like the plumbing instrument. In fact the first mute was an ordinary plunger used by Bubber after

its

Miley. Players frequently vary the position of these plungers in order

make their instruments "Wa-wa" mutes were made to

"talk."

to ob-

tain those effects that the early

Ne-

gro trumpet players obtained with anything available— such as their

192

MYERS, "BUMPS" Tenor

saxo-

A

good musician who, since 1943, has been playing mostly with Benny Carter in

phone,

b.

ca.

1920.

California. Records:

with Big Sid

Love for sale (1945); with T-Bone Walker, Prison blues Catlett,

(1950).

ERNEST

MYERS, ("SERIOUS") singer, Pa.,

arranger,

Oct.

7,

WILSON

Bass, banjo, drums, b.

1906.

Germantown, First

learned

drums, then clarinet and trombone, and in the early twenties played

drums

in a

band which accompa-

nied Bessie Smith. In 1925 took up the banjo and guitar. In 1931 joined King Oliver's band as banjo and arranger and went on tour. He next learned to play string bass and in 1932 played it with Ladnier and Bechet's New Orleans Feetwarmers. In 1933 went to France with Lucky Millinder's band. When they returned to the United States this band was managed by Willie Bryant and Myers remained with him

;

NANCE - NANTON 1934. From that year until 1937 he played bass with the Spirof Rhythm. Went again to its France in 1937 and played with until

Willie Lewis until 1939.

On

his re-

turn to the United States played for

some time with Sidney Bechet

then with Duke Ellington 1945-46. Since then has played with a number of small bands. Myers is a bass player with a supple, deli-

and

and easy swing. He some remarkable solos with the bow and often shows a great cate, sensitive,

plays

sense of musical humor. Records:

with Beale

Bill st.

Coleman,

Rose

room,

blues (1937); with Oscar

Aleman, Russian lullaby (1939); with Sidney Bechet, Indian summer, Preachin blues ( 1940 ) I gonna give nobody none of my ;

roll

ain't jelly

(1941).

N NANCE, "RAY" (WILLIE RAY-

MOND)

Trumpet,

violin, singer,

tap dancer, b. Chicago, 111., Dec. 10, 1913. Got together his own band in 1932; played with Earl Hines 1938, Horace Henderson 1940, and joined Duke Ellington later the same year.

Except for a few brief periods, he left Ellington since. Ray Nance's trumpet style is versatile and he can play melodious and moving solos, sometimes full of

hasn't

humor. He uses the "wa-wa" mute and "growl" a great deal. He is also one of the rare jazz violinists. Records trumpet, with Duke Ellington, :

Take the

A

train (1941),

Someone

with

Johnny Hodges, Things ain't what they used to be (1941); with Barney Bigard, C (1942);

blues ( 1941 ) with Earl Hines, Life with father (1944); violin, with Duke Ellington, C jam blues ( 1941 ) with Earl Hines, Design for jivin ;

(1944).

NANTON, "TRICKY SAM" Trombone, b. New York, (JOE) N. Y., Feb. 1, 1904, d. San Francisco, Calif., July 21, 1946. Started out playing in small Harlem night clubs. Mainly with the Frazier Harmony Five 1923-24, Elmer Snowden, and Cliff Jackson 1925. In 1926 he joined Duke Ellington and remained with him. Tricky Sam is

unique among trombone players. Although his style was close to that of the early Southern trombones, his playing

was

so distinctive that

impossible to confuse with any other musician. His use of the "wa-wa" mute, inspired by Bubber Miley's trumpet technique, gave

he

is

own. His trombone seemed to talk, often to cry, and sounded a great deal like his solos a flavor all their

a human voice. With a mute, Tricky Sam obtained effects which were dramatic, poignant, and sometimes very humorous. His melodic

193

;

NAVARRO - NELSON style

Porgy ) Harlem speaks, In the shade

cise

of the old apple tree (1933); Sad-

was simplicity itself; very conand on the beat, like the old New Orleans trumpet players'. He had so much expressive force in his playing that he could say as much with a few notes as other trombones with a whole phrase. He played the blues to perfection, and had tremendous swing. It is said that the nickname "Tricky Sam" was given to him by Otto Hardwicke because of the intriguing effects he could get with a mute. Although he was so well known as a specialist with the mute, Tricky Sam's open-horn solos were also splendid. On the early Duke Ellington records, dating from 1927-29, he can often be heard playing without a mute, and the power of his attack, the ample, full, somber beauty of his tone are most striking. Records: with Duke Ellington, The creeper (1926); Black and tan fantasy, Blues I love to sing, Washington wobble, Red hot brand Jubilee stomp, Take it easy, ( 1927 ) Got everything but you, Tishomingo blues, Move over, The blues with a feelin (1928); Tiger rag, Flaming youth, Harlemania, Paducah, Harlem flat blues, Stevedore stomp, Arabian lover, Beggars blues, Breakfast dance, Jazz lips, Lazy duke, Sweet mama (1929); Double check stomp, Jungle nights in Harlem, Old man blues, Big house ;

blues,

Sweet chariot

(

1930 ) Echoes ;

,

dest tale (1934); Trackin (1935); In a jam ( 1936 ) Scattin at the Kit Kat ( 1937 ) Jazz pot-pourri ( 1938 ) Ko-ko, Sidewalks of New York Just a-settin and a-rockin, ( 1940 ) Jump for joy (1941); Frankie and Johnnie (V-Disc, 1945). ;

;

;

NAVARRO, "FATS" (THEODORE) Trumpet, b. Key West, Fla., Sept. 24, 1923, d. New York, N.

Y.,

and "Jazz

Played with

at the Philharmonic."

gifted musician influenced

first

A by

Howard McGhee, then by Dizzy Gillespie;

his

deviation into

bop

cost jazz a brilliant musician.

NELSON, ARNETT b. in

Clarinet,

the South, ca. 1900. Played in

Chicago most of

his life.

During

the twenties was in Jimmy Wade's band. After 1930 he made a number of records accompanying blues

Gave up music about 1940. very fine musician, with a lot of feeling for blues. Records: with Washboard Sam, Phantom black snake, Mountain blues; with Bumble singers.

A

Bee

Slim,

I'll

meet you

at the bot-

tom; with the Blue Chips, Chippin the rock of the blues.

NELSON, "BIG EYE" (LOUIS LISLE) Clarinet, b. New Or-

DE

Lightnin (1932); Blackbirds Medley II (T.S. plays the theme of

city

194

1950.

7,

1943-44, Billy Eckstine 1945-46, then with various groups

of the Jungle ( 1931 ) It don't mean a thing, Baby when you ain't there, ;

July

Andy Kirk

leans, La., Jan. 28, 1885, d. in that

Aug.

20,

1949.

accordion, then,

First learned

when he was about

a

NELSON -NEW ORLEANS 10, the clarinet, under instruction from Lorenzo Tio. Joined the Im-

Band in 1907; subsequently played with the Original Creole, the Olympia, the Imperial, and other well-known bands in his naperial

Supposed to have been one of the finest clarinets of the

tive city.

early jazz period.

NELSON, DAVE

Trumpet,

pi-

ano, arranger, b. Donaldsville, La., 7, 1946. He was King nephew, went with him to Chicago, and later made a number of records in New York where he finally headed a small band 193946. Played exactly like King Oliver but was lacking in some of the King's sensitivity, creativity and intense swing. Records: with King Oliver, I want you just myself, Sweet like this (1929, in the latter D.N. plays the 1st trumpet solo, the 2d muted solo being by Oliver ) He wrote most of the arrangements recorded by Oliver in 1929 and 1930.

1905, d. April

Oliver's

.

NESBITT, JOHN

Trumpet and

with Count Basie, Blee blop blues (1952); with Buck Clayton, The hucklebuck, Robbins nest Records:

son.

Why

not, Jive at five,

(1953).

NEW ORLEANS

lutely

predominant

for dirt

the

what

gives performances in Orleans style an easy, lazy

Collective improvisation predoming.

NEWMAN, JOE New

New

inates in

(1929).

Trumpet,

Orleans, La., Sept.

7,

b.

1921.

New

Orleans-style play-

The trumpet

presenting

theme

in

Played with Lionel Hampton 1941-

erally

Count Basie 1943-45, Illinois Jacquet, and again with Basie from 1951. A brilliant musician whose style resembles that of Harry Edi-

in the last

43,

until

the string bass replaced the tuba. The New Orleans style is characterized in its rhythm by a very marked accentuation of the beat, though without any heaviness. This regular and supple stress of the four beats in the bar, with an accentuation of the off-beats (2d and

rhythmic quality.

1900,

jazz

more saxophones were added and

McKinney's Cotton Pickers, which band he arranged Plain

ca.

in

nearly 1930. The classic shape of a New Orleans band was trumpet (sometimes two), trombone, clarinet, banjo (or guitar), tuba, and drums; later a piano and one or

4th), is

b.

city

ing areas, gave birth to the musicians who formed the original jazz style in the late 19th century— style that spread over a great part of the United States and was abso-

d. Boston, Mass., 1938. Played 1927-30 with

arranger,

The

which was, of course, the cradle of jazz and which, with the surround-

or

the

usually

leads,

paraphrasing first

the

choruses, gen-

embroidering on the theme chorus and keeping very

strictly to

the beat; the trombone

backs up the trumpet part with punctuations,

filling

now

the role

195

NEW ORLEANS now that of a second trumpet playing in a lower register; the clarinet weaves a free counterpoint round the trumpet part, very mobile and pitched mainly in the instrument's upper register. The band usually uses a "head arrangement"; arrangements in the New Orleans style are almost never written down. This style has a peculiar accent, an indefinable flavor all its own, a way of pronouncing phrases of a bass,

which bears to the rest of jazz the same relation that a regional accent has in speech. New Orleans musicians always played numbers rich in melody, usually comprising several themes; the singing, rhythmic interpretation of these themes

Even

is

characteristic of

most poignant blues there is no trace of the offensive sentimentality characteristic of most commercial music. The vigor and strength in New Orleans jazz has influenced all the music which has been directly inspired by it (that of Fletcher Henderson, Duke Ellington, McKinney's Cotton Pickers, and various musicians who were at their best between 1926 and 1931 or 1932). In later jazz that vigor and enthusiasm became their style.

in the

the greatest precision, drive, and

warmth.

It

was

collective

art

in

perfection. Subsequently, styles be-

came dissimilar and although there was still a great deal of wonderful jazz, it seldom had the same unity and intensity because there the

common

tradition

bers of a

among

band was

the

mem-

lacking.

Good examples of the pure New Orleans style on records: all those recorded by King Oliver's Creole Jazz Band in 1923, particularly Dipper mouth blues, Canal street blues, High society, New Orleans stomp, Chattanooga stomp; all the records made by Louis Armstrong's Hot Five and Hot Seven 1925-27, particularly Gut bucket blues, Muskrat ramble, Cornet chop suey, Alligator crawl, Willie the weeper,

head

Potato

blues,

Ory's

Creole

trombone, Savoy blues; Jimmie Noone's Apex Club Orchestra 1928, such as Sweet Sue, Apex blues,

Every evening; some records made by Milton Mezzrow with Tommy Ladnier in 1938, including Revolutionary blues, Weary blues, Really

leans jazz

the blues, Royal garden blues; and with Sidney Bechet, Gone away blues (1945); Old school, Tommy's blues ( 1947 ) records made by Kid Ory, including Panama (1944); Weary blues, Oh didn't he ramble

of

(1946).

somewhat watered down.

New

Or-

is undoubtedly the best not only because of its own inherent qualities, but because the musicians who made up these bands were as one; they spoke the same language and understood each other immediately in ensemble improvisations, responding with

all,

196

;

See also

"New

Orleans Revival."

NEW ORLEANS FEETWARMERS

An

band formed in Ladnier and Sidney Bechet which played for some 1932 by

excellent

Tommy

NEW ORLEANS -NEWTON months

Savoy

New

six sides for

York. Victor

in that year: Sweetie dear,

Maple

at the

They recorded

in

found a new baby, Lay your racket, I want you tonight. leaf rag, Shag, I

NEW ORLEANS FUNCTION Recording made by Louis Armstrong in 1950 evocative of the New Orleans funeral music played in the early years of this century. See Oh didn't he ramble.

NEW ORLEANS REVIVAL After 1930 pure

New

Orleans style

was heard very seldom, and it wasn't until 1938 that Milton Mezzrow initiated a revival by making a series of records with the great trumpet player Tommy Ladnier. Following this, other similar musicians were recorded during the next few years and the movement developed into a genuine revival of pure New Orleans style, of which Kid Ory's 1943 band was typical. But the principal beneficiaries of the revival were various mediocre white Dixieland bands, and a number of old-time musicians who came out of retirement when long past their prime. Thus the "New Orleans Revival" in fact produced fewer results than might have been expected; it has, at the same time, led to the development of bands of merit in other countries such as Claude Luter's in France, which has acquired a world-wide reputation,

and Humphrey

Lyttleton's in

England.

NEW ORLEANS RHYTHM KINGS

A

small

band formed

in

1922 and disbanded in 1924. It included among its members various musicians from New Orleans, such as Paul Mares (trumpet), George Brunies (trombone), Leon Rappolo (clarinet).

One

of the best white bands of

they played at the Cascades Ball Room in Chicago, and recorded at Richmond, Ind., including one wonderful session in Aug. 1923 as Jelly Roll Morton took over the piano. Records: Tiger rag, Bugle call rag, Farewell blues, Mr. Jelly Lord (1923; the last named has been issued three times, twice under the this period,

name

of

NORK

and once

as Jelly

Roll Morton's Incomparables. has Morton on piano).

It

A band was assembled under the same name in the mid-thirties under the leadership of Muggsy Spanier, but the only remaining

member

of the original personnel

was George Brunies.

NEWTON, FRANK

Trumpet,

near Norfolk, Va., Jan. 4, 1906, d. New York, N. Y., March 11, 1954. Played with Cecil Scott, Elmer Snowden, Sam Wooding, Charlie Johnson, Teddy Hill, then led various small bands of his own. A vigorous musician, by no means lacking in invention, but uneven. Records: with Milton Mezzrow,

b.

Mutiny

in the parlor

(

1936 ) under ;

own name, You showed me the way (1937), Tab's blues (1939); his

with James P. Johnson, Four o'clock groove (1944). 197

;

NICHOLAS - NICHOLAS NICHOLAS, ALBERT

("NICK")

New

Orleans, La., May 27, 1900. At 10 began to learn clarinet under the supervision of Clarinet, b.

Lorenzo Tio, Sr., and later under Lorenzo Tio, Jr. Played in various bands all over New Orleans, notably with Buddy Petit and King Oliver. At the age of 16 he joined the Navy, where he remained three years. Then returned to New Orleans and played with various bands and finally organized his own which notably included Barney Bigard (on tenor sax), Luis Russell, and Paul Barbarin. In 1924 played in Chicago beside Louis Armstrong, John Lindsay, and Buddy Christian in King Oliver's band. He made several tours with this band and then returned to New Orleans; but at King Oliver's request once more went to Chicago to take up his old

He

place in the band.

when he went

stayed

till

China and joined Jack Carter's band, which included Teddy Weatherford on 1926,

He

to

the following year but on his way back to the States stopped in India and for some time piano.

in

left

Egypt; he reached

New

York

in 1928, joined Luis Russell, and stayed with him for five years.

Later he played with Chick Webb, Sam Wooding, and Louis Armstrong 1936-39. After 1939 played with a number of small bands in New York and California. In 1953 he went to France and played with

Andre Reweliotty. Has remained Europe since then. Albert Nicholas

198

is

in

one of the

New Orleans clarinets. His limpid tone and his flowing, agile phrasing often suggest Jimmie Noone, who has had considerable influence on him. But in general his playing is more legato than Noone's great

and comes

Barney fond of long phrases that extend from the upper to the lower register, and thanks to his brilliant instrumental technique he can move throughout the range of his instrument with absolute ease. He is a very good ensemble man. Records: with Henry Allen, It should be you (1929); with Luis closer to that of

Bigard.

He

Russell,

The new

is

call of the freaks,

(1929); Saratoga shout (1930); with Jelly Roll Morton, High society, Ballin the jack, Climax rag, West end blues ( 1939 ) with Baby Dodds, Wolverine blues, Albert's blues (1946); with Mutt Jersey lightning

Carey and Baby Dodds, Cake walkin babies, Slow drivin (1947).

NICHOLAS, GEORGE

("BIG Tenor saxophone, b. Lansing, Mich., Aug. 2, 1902. At the age of 10 was taught piano by his father; two years later started playing clarinet and at 15 tenor sax. Played with Earl Hines 1942-43, Erskine Hawkins, Lucky Millinder, J. C. Heard, Dizzy Gillespie, Cozy Cole, Lips Page, then formed his own band which played at the Paradise in Harlem. A musician of tremendous melodic invention, with a profoundly moving tone. Records: with Lips Page, La danse, Walkin in a daze (1949).

NICK")

;

NICHOLS - NOONE NICHOLS, "RED'' (ERNEST Trumpet, b. Ogden, LOVING) Utah, May 8, 1905. An imitator of

same and for a couple of weeks headed a small band at the Savoy. Returning to Chicago, he continued

Bix Beiderbecke who, although a rather corny musician, had a period of fame during the late twenties when he headed his band called

to lead a

the "Five Pennies." He made a large number of records during that period: Peg d my heart, China hoy, Sheik of Araby (1930).

NOONE, JIMMIE Clarinet, b. New Orleans, La., April 23,

near

1895, d. Los Angeles, Calif., April 19, 1944. At the age of 10 learned guitar,

but gave

it

up

five

years

later in favor of the clarinet. Started

playing professionally in 1913 with Freddy Keppard's band, with which he played also in Chicago in 1917. Went back to New Orleans the following year but wasted no time in returning to Chicago where he played first with King Oliver and then with Doc Cook between 1920 and 1926. During the autumn of 1926 he got together his own band which contained such musicians as Earl Hines, Joe Poston, Bud Scott, and Johnny Wells; they played at the Apex Club in Chicago until 1928, then the Club Ambassador and El Rado, where they remained until 1931. At that time Cab Calloway, who was taking Duke Ellington's place at the Cotton Club in

New York and needed a great clarinet to match the sensation Barney Bigard had created, asked Jimmie Noone to join him. Noone refused. but went to New York just the

number

of small groups

at various night clubs, until 1938

when he toured the

first

time

the South and, for in

twenty

years,

New

Orleans where he had a great success. Eventually went back to Chicago and played there for a few years before moving to California where he played with Kid Ory for the last few months before his death. Jimmie Noone was one of the greatest jazz musicians. His instru-

played in

mental virtuosity was extraordinary. Maurice Ravel once heard him in Chicago and was so impressed that he noted down a number of his phrases and later invited the first clarinet of a symphony orchestra to play them—whereupon the clarinet declared it to be impossible. From every point of view, Noone was the perfect clarinet. He had a full, round tone of incomparable purity. His accurate and sensitive vibrato gave his playing a most

moving

accent.

He made

his

instrument sing as no other clarinet has ever done. He played perfect blues, as can be heard in: with Ollie Powel, Flay that thing ( 1923 ) under his own name, Apex blues The blues jumped a rabbit ( 1928 ) They got my number now, ( 1936 ) I'm going home, Then you're drunk His extraordinarily intelli( 1940 ) gent musical phrasing and structure reveal an admirable sense of melody, which can be heard in his solo ;

;

.

199

NORMAN on

My

daddy rocks me and

his

two

superb choruses on Way down yonder in New Orleans (1936). But

Jimmie Noone was not particularly fond of solos; he regarded the clarinet as being primarily an ensemble instrument, and it was in ensembles that he showed himself to be incomparable—thanks to his feeling for ensemble playing, his style, at once fluid and powerful, and his perfectly balanced phrases which served as a great stimulus to the musicians playing lead. Noone's genius for collective improvisation is shown in numerous records such as: with King Oliver, New Orleans stomp, Chattanooga stomp, London cafe blues, Camp meeting blues (1923); with Lily Delk Christian, You're a real sweetheart, Baby, Sweethearts on parade ( 1928, with Louis Armstrong); under his own name, Every evening, Sweet Sue, Four or five times ( 1928 ) with Kid Ory, Panama ( 1943 ) His sparkling virtuosity never interferes with the swing of a performance; on the contrary, it contributes enormously, along with a frequent use of "shuffle" rhythm, as can be heard on his recordings of I know that you know (1928 and 1937); Chicago rhythm Sweet Georgia Brown (1929); ;

.

(1936); and Kid Ory's High society (1943). Jimmie Noone was also a master in the art of stating a tune, as can be heard to perfection in his Sweet Lorraine (1928 and 1937); Forevermore ( 1928 ) 7 got a misery (1929); Hell in my heart, Japansy the way he states the tune ( 1937 ) ;

;

200

without departing from it makes just as wonderful listening as his most subtle variations. His influence on other jazz clarinets is simply tremendous. Almost everyone who expresses himself in the New Orleans style, such as Milton Mezzrow, Barney Bigard, AlNicholas, Darnell Howard,

bert

and Omer Simeon, is largely influenced by him; others who are in debt to him include Buster Bailey, Cecil Scott, Frank Teschemacher, Benny Goodman, Jimmy Dorsey, and many others. The band Jimmie Noone headed at the Apex club in Chicago during 1927-28 was one of the all-time best, and had an enormous effect on other bands. It was made up of Joe Poston (alto sax), Earl Hines piano ) Bud Scott ( guitar ) Johnny ( Wells ( drums ), and, toward the end ,

,

of their engagement,

Lawson Bu-

ford (tuba). They cut a number of records which are among the most beautiful available, genuine jewels of the New Orleans style; the best

Sweet Sue, I know that you know, Every evening, Forevermore, Apex blues, Sweet Lorraine, Blues my naughty sweetie gave to me are:

(1928).

NORMAN, FRED and arranger,

b.

Trombone

Leesburg,

Fla.,

Claude Hopkins 1933-38. Wrote arrangements for various bands including those of Claude Hopkins, Benny Goodman and Lionel Hampton. One of the best arrangements is Smoke house 1911. Played with

.

.

NORRIS-OH NORVO, "RED" (KENNETH)

rhythm, recorded by Benny Good-

man

Xylophone, vibraphone, band leader, b. Beardstown, 111., March

(1938).

NORMS, AL

Guitar and violin, Kane, Pa., 1908. Played with Jimmie Lunceford 1933-44. A good band musician and pleasant soloist. Records: with Jimmie Lunceford, Organ grinders swing (1936); Put on your old grey bonnet, Pigeon walk (1937). b.

31,

1908.

Husband

Mildred Bailey ized a big band,

later

of small groups.

An

of the singer

(q.v.).

First organ-

on led a

series

able musician, lacking in drive.

but somewhat Records: with his Swing Octet, Blues in E flat (1934); with Teddy Wilson, Just a mood ( 1937 )

O O'BRIEN,

FLOYD

Trombone,

Chicago, 111., May 7, 1904. From 1924 to 1930 played in various small Chicago night clubs. In 1933-34 made a number of records in New York with Milton Mezzrow, Eddie Condon, and Fats Waller. Played with Gene Krupa, Bob Crosby, Eddie Miller, and later on with a number of "Dixieland" groups in California and Chicago. Much influenced by Kid Ory, he is one of the few white musicians who has thoroughly assimilated the New Orleans style on trombone. A remarkable ensemble musician as well as a good soloist. Probably the best white trombone player. Records: with Milton Mezzrow: Swinging with Mezz (1933), Apologies, 35th and Calumet, Old fashioned love, Sendin the vipers (1934); with Fats Waller, How can you face me (1934). b.

O'BRYANT, JIMMY

Clarinet.

Mo., ca. 1900. Played in Chicago during the twenties. Had a pure New Orleans style and his phrasing was very close to that of Johnny Dodds, whom he generally resembled. Records: with Lovie Austin and Tommy Ladnier, Peepin blues, Steppin on the blues, Traveling blues (1923); with Ma Rainey, Those all night blues (1923); with Ida Cox, Graveyard dream blues ( 1923 ) b. St. Louis,

OH, DIDN'T HE RAMBLE Number very popular in New Orleans during the early years of the

20th century. It was usually played by a parade band on the way home

from a funeral.

On

their

way

to the

cemetery, the band would traditionally play a very solemn number called Flee as the bird to the moun-

201

OLD - OLIVER tain. These two numbers have been recorded by Louis Armstrong under the title of New Orleans Function (1950). Apart from Armstrong's, the only recordings of any value are those of Jelly Roll Morton (1939)

and Kid Ory (1945).

and organized his own band. Was interested in the young Louis Armstrong and gave him trumpet lessons. In 1916-17 King Orleans,

Oliver and Kid Ory worked together and had the best band in New Orleans. In 1917 Oliver went

Chicago and played in two bands same time— the Original Creole Band and Lawrence Dewey's New Orleans Jazz Band. In 1920 he organized a band of his own again which included Johnny Dodds and Honore Dutrey, and took it to California the following year. Returning to Chicago in 1922, he sent to

OLD FASHIONED LOVE Composed ca. 1930 by James P. Johnson. A charming melody. Chorus of 32 bars without release. Best recorded versions: Milton Mezzrow (1934), James P. Johnson, piano solo (1944), Milton Mezzrow with Claude Luter (1951), Vic Dickenson (1955).

at the

to

OLE

MISS.

See Bugle Call

Rag

New

Orleans for Louis Arm-

strong to play second trumpet. This was the great period of King Oliver's Creole Jazz

OLIVER,

BUFORD

Drums,

Chicago, 111., Nov. 13, 1923. Played with Lionel Hampton 1942b.

Page 1944, and Cab Callowent to Europe in 1946 with Don Redman. Oliver plays 43, Lips

way

1945;

with a solid beat very like Sidney Catlett's. Records: Drums solo, Rosetta; with Don Byas, Ain't misbehavin, I'm beginning to see the light (1947).

OLIVER,

"KING"

(JOSEPH,

Trumpet, band leader, "JOE") composer, b. New Orleans, La., 1885, d. Savannah, Ga., April 10, 1938. When he was 15, he started playing professionally with a brass band in his home town. The first jazz band in which he played was the Eagle. Made his mark early as one of the best musicians in New

202

Band, which

attracted tremendous crowds to the

Lincoln Gardens until 1924. The next year King Oliver organized a quite different band, 10-piece instead of 8, which included three saxophones, and such musicians as Kid Ory, Barney Bigard, and Albert Nicholas; this also was very good. King Oliver left Chicago in 1927 for New York, but never made the success he expected. He had enough work for a while, but the financial crash, plus increasing commercialism in music made it harder and harder for him to get worthwhile engagements. In 1931 he began a series of tours of the southern states which were as exhausting physically as they were unsuccessful financially. He lost his teeth, which had been troubling him for some years, and so could no longer play trum-

OLIVER pet. After a final catastrophic tour

and Mississippi he setSavannah and worked as a

est classics of his era, notably the

of Georgia

beautiful

tled in

tion,

common

laborer.

His health de-

and he died broke and alone. His ashes were taken to New York where they were interred on April 12, 1938. King Oliver is one of the most clined rapidly

important figures in the history of jazz. He helped to shape the New Orleans trumpet style and his influence was enormous. It was owing to his inspiration that the great jazz

trumpets such as Louis Armstrong, Tommy Ladnier, Joe Smith, Bubber Miley, George Mitchell, and Lee Collins developed their own great musical personalities. King Oliver was equaled only by Tommy Ladnier; surpassed only by Louis Armstrong. King Oliver's style, sober and expressive,

is

characterized

by

a

blend of strength and gentleness. His swing was both loose and vigorous. The way he built variations on a theme was a model of balance and melodic taste. He played the blues with a beautiful low-down sound, and could play any other jazz just as well. His phrases were firmly built on the beat but had at the same time a wonderful "singing" quality. "No one had the fire and endurance Joe had," Louis Armstrong wrote. "No one in jazz created as much music as he did. Almost everything important in music today came from him." He had a great gift for melody; his own compositions are

among

the great-

West end

blues. In addi-

he had a connoisseur's love for the old half-forgotten blues of a previous generation; carefully collected them and made them part of his repertory, that proved a mine in

which many later composers and arrangers have happily quarried.

Duke

well-known Creis merely

Ellington's

ole love call, for example,

an arrangement of Oliver's Camp meeting blues. King Oliver's band that played at the Lincoln Gardens, Chicago, from 1922 to 1924 is probably the

band of all time. The line-up was: Oliver and Louis Armfinest jazz

strong, trumpets; Honore Dutrey, trombone; Johnny Dodds, clarinet; Lil Harding, piano; Bud Scott and then John St. Cyr, banjo; Bill Johnson, bass; and Baby Dodds, drums. In 1923 the band cut a series of records which, in spite of the preelectric recording, rank as the purest masterpieces of New Orleans style: Mabel's dream, Riverside blues, Southern stomps, Just gone, Canal Street blues, Dippermouth blues, Vm going to wear you ojf my mind, Mandy Lee blues, Weather bird rag, Froggie Moore, Chimes blues, Snake rag, High society, Sweet lovin man, Sobbin blues, Where did you stay last night, Jazzin

babies blues,

I ain't

gonna

Room

tell

rent blues,

nobody, Tears,

Ruddy's habits, Working man blues, Mabel's dream, Sweet baby doll, Alligator hop, Camp meeting blues, London cafe blues, Chattanooga 203

OLIVER stomp,

New

Orleans stomp

(on

Dodds is replaced by Jimmie Noone Krooked

these last four Johnny

)

blues, Alligator crawl

(

in

identity of the trumpet

Some

,

which the is

uncer-

these have been reissued recently; the old band can be heard pretty well on the LP tain).

of

"Young Louis Armstrong" (1956).

The second series of records King Oliver made with the big band between 1926 and 1928 are not so exceptional, but he himself plays some

lovely solos, notably on: Sugarfoot stomp, Someday sweetheart ( 1926 ) Every tub, Showboat shuffle, Black snake blues (1927); Speakeasy blues, Aunt Hagar's I'm watching the clock blues, (1928). The trumpet solos on the last three have often been attributed to Edward Anderson, but it is much more probable that they are Oliver's. Some of the records King Oliver made in 1930 are not up to the standard of the earlier ones— in many of them he's playing with a studio band—but in a few, his trumpet was recorded better than it ever had been before, particularly: Sweet like this (K.O. takes the muted solo, the preceding one being by Dave Nelson), I must have it, You're just my type, I'm lonesome sweetheart, Rhythm club stomp, Nelson stomp, Don't you think I love you, New Orleans shout. King Oliver composed various ;

numbers full of melody and charm; besides West end blues and Camp meeting blues already mentioned, among the best are: Snake rag,

204

Speakeasy blues, What you want me to do, Snag it, Don't you think I love you, I want you just myself, I must have it, Mournful serenade, Doctor jazz.

OLIVER, "SY" (MELVIN JAMES) Trumpet, arranger, singer, band

leader, b. Battle Creek, Mich.,

Brought up at ZanesOhio, where his mother gave piano lessons and his father taught him trumpet. At school he was nickDec.

17, 1910.

ville,

named

Sy, short for "psychologist,"

because he was considered so smart. Played first with Al Sears, then Zack White, and in 1933 joined Jimmie Lunceford and became his chief arranger. Leaving Lunceford in 1939 he was for some years arranger for Tommy Dorsey. He spent several years in the armed forces during the war. After his dis-

charge in 1945 he got together a big to disband it a year later. Later on Sy Oliver was musical director for several record companies and frequently recorded with a studio band.

band but was forced

With Duke Ellington and Benny Carter, Sy Oliver ranks as one of

the greatest arrangers in jazz. He was influenced to some extent by Benny Carter, but instead of imitating him, he created a totally new style and succeeded in turning out effects as unexpected and varied in his orchestrations as the great soloists in their improvisations; as an innovator he's more impressive

than anyone, except Ellington. Like

; ,;

.

OLYMPIA-ONE Duke he looks for rich, subtle, and unusual combinations and ex-

the

He

citing contrasts.

for brass as

writes as well

he does for saxophones,

easily adapting himself to the characteristics of

each instrument. His

is concise and yet exuberant, simple yet imaginative, and he holds his audience the whole time. He has the art of creating the most complex ensemble without sacrificing its clarity and sharpness of

style

The

outline.

Jimmie

originality of

Lunceford's band was due to him; he was largely responsible for what is called the Lunceford style. His best recorded arrangements for

Lunceford

Dream turned

are:

of you, Since

Stomp

my

it

off,

best girl

Lunceford. His best recorded solos: with Jimmie Lunceford, Black and tan fantasy

first

and

last

choruses )

;

(1937). In his light and pleasant vocal choruses, Sy Oliver was somewhat influenced by Louis Arm-

he can be heard on Jimmie Dream of you ( 1934 )

strong;

Lunceford's

Four or five times ( 1935 ) The band Oliver headed in 1946-47 showed promise of becoming one .

that

of the very best but together long enough.

it

didn't stay

me down, Four or five times,

river, My blue heaven Organ grinder swing (1935); (1936); For dancers only (1937); Annie Laurie, Margie, Down by the old mill stream, By the river Sainte-

Swanee

1938 ) Le jazz hot, The lonesome road ( 1939 ) Also, for Lionel Hampton, Turkey hop ( 1950 ) Sy Oliver has many followers, including a remarkable one in Billy Moore, Jr.; Jimmy Mundy himself was sometimes inspired by the

Marie

(

Rhythm is our business (1934, muted solo ) Organ grinders swing ( 1936, all the muted trumpet solos ) Le jazz hot (1939); with Milton Mezzrow, Blues in disguise, The way I feel today, Hot club stomp

(

;

.

Lunceford

OLYMPIA BAND

One

of the

leading bands that played in Storyville, New Orleans, 1900-1915. It included at one time or another in those years: Freddy Keppard and King Oliver on cornet, Alphonse Picou, "Big Eye" Nelson, Lorenzo

and Sidney Bechet on clariZue Robertson and Eddie Atkins on trombone. They played for funerals by day, and for dancing at Tio,

Jr.,

net;

night.

style.

In addition to being a great ar-

ONE O'CLOCK JUMP

ranger, Sy Oliver played excellent

trumpet.

His

solid

"on-the-beat"

New Orleans influfrequently used the "wawa" and "growl" mutes and was almost as good as Bubber Miley and Cootie Williams with them. He

posed

showed

is

ence.

He

and

after

he

left

by Count

Com-

Basie. It

on the classical 12-bar blues played in a medium, easy tempo. Basie made two outstanding recordings of it, 1937 and 1942. Duke Ellington recorded it in 1954 (LP "Ellington '55").

style

seldom played trumpet

in 1937

built is

205

ON - ORY ON THE SUNNY SIDE OF THE STREET Composed in 1930 by Jimmy McHugh. Chorus of 32 bars with bridge.

One

of the favor-

of Louis Armstrong

ites

who

has

always kept it in his repertory and has recorded it several time—notably a double-sider in 1934, 1937 (the best recorded version), and 1947 during the "Satchmo at Sym-

phony Hall" concert in Boston. Other good versions: Lionel Hampton (1937), Earl Hines piano solo (1941),

Coleman

Cozy Cole

Hawkins

with

(1944), the Art

Tatum

Young

(1947).

Trio (1944), Lester

ORENDORFF, GEORGE Trumpet, b. ca. 1905. Has mostly played in California, chiefly with Paul Howard, Les Hite, and T-bone Walker's small band. Much enced by the New Orleans

influ-

Tommy

Lad-

sometimes recalling

style,

Bubber Miley. Records: with Paul Howard, Quality shout, The ramble (1929).

nier, at others

With the addition of a minor second joined to the top note of the triad, these are among the commonest jazz harmonies.

ORIGINAL DIXIELAND JAZZ

BAND A small white group which achieved great notoriety by being the

first

of

the

blues,

they're the

mon

to

so

Basic chords

called

because

same harmonies com-

most Protestant hymns:

3^^ U

¥

Rocca ( cornet ) Larry Shields ( clarEddie Edwards (trombone), Harry Ragas (piano), Tony Sbar,

baro

(drums).

Compared

with

Negro bands of the same period they sound rather corny. Their first record was Dixie jazz band one-step and Livery stable blues made in 1917. They disbanded in 1925, then reassembled for an exhibition at Dallas, Tex., in 1936— with a new pianist in place of Ragas who was dead— and cut a fresh series of records the following year, of which a good example is their old number Original Dixieland one-step.

ORY, "KID" (EDWARD) Trombone and band leader, b. La Place, Dec. 23, 1889. The youngest of When he was about

five children.

11 the Kid and four of his friends formed a band with instruments

they

~W

Organ Chords 206

band to make records, Dominique "Nick" La

inet),

La.,

ORGAN CHORDS

jazz

consisting of

made

themselves,

including

ORY and violin, and got few jobs playing on these homemade instruments. With the earnings from that work, Ory was finally able to buy a trombone. In 1911 he went to New Orleans and made banjo, guitar,

collective improvisation, rank the

a

trombone almost with the bass in setting up a solid foundation behind the trumpet and clarinet. His powerful and majestic tone and his tremendous drive add character and strength to ensembles in which he plays. Ory can also play superb

several tours in nearby towns, Gretna and Algiers. He took Johnny Dodds and King Oliver on cornet into his band. In 1917 when King Oliver went north to Chicago, Kid Ory replaced him with a 17-yearold boy: Louis Armstrong. Shortly afterwards the band broke up and Ory went to California where he played for several years. In 1924 he went to Chicago and played with Louis Armstrong at Dreamland, and then with King Oliver. Between 1925 and 1928 he was on the famous Okeh recordings of Louis Armstrong's Hot Five, and also

made

a

number

of other rec-

Jelly Roll

with Morton. In 1928-29 he

went back

to California, settled in

ords—for

instance,

sessions

Los Angeles, gave up music and started raising

chickens.

In

1942

Barney Bigard asked him to come back and play in his small band, and the following year Ory organized his own group of musicians who had played mostly with him in the old days. Introduced on the radio by Orson Welles in 1943, the band was a great success and has done very well ever since, although some of Ory's best musicians have

solos, particularly

slow blues. His

influence on trombones of the

New

Orleans school has been considera-

on Floyd O'Brien. has composed or put together

ble, particularly

He

several excellent

numbers

in

New

such as Muskrat ramble and Ory's Creole trombone. Records: with Louis Armstrong, Gut bucket blues, Yes I'm in the barrel (1925), Come back sweet papa, Cornet chop suey, Muskrat ramble Ory's Creole trombone, The ( 1926 ) last time, Once in a while, I'm not rough, Savoy blues (1927); with King Oliver, Wa-wa-wa, Sugar foot stomp (1926), Black snake blues, Showboat shuffle ( 1927); with Jelly Roll Morton, Black bottom stomp, Smokehouse blues, Doctor jazz, Orleans

style;

,

Original jelly roll blues, Cannon ball blues ( 1926 ) with the New Orleans ;

Wanderers,

Gatemouth,

Street blues,

Too

(

1926 ) with the ;

tight,

Perdido

Papa dip

New Orleans Boot-

blacks, Flat foot, Mad dog, I can't say, Mixed salad (1926); with his

own

band, South, Blues for Jimmy (1944), Muskrat ramble, Panama, Ory's Creole trombone, Maple leaf

Weary

blues (1945), Tiger rag

died.

rag,

Kid Ory is the greatest "tailgate" trombone out of New Orleans, playing with large glissandi which, in

Kid Ory appeared with Louis Armstrong in the movie New (1946).

Orleans (1946).

207

PAGE -PAGE

PAGE, "LIPS" (ORAN) pet, singer las,

Tex.,

and band Jan.

27,

Trum-

leader, b. Dal-

1908,

d.

New

York, N. Y., Nov. 5, 1954. Started playing professionally at the age of 13. Toured with various revues and also accompanied several of the great blues singers: Ma Rainey, Ida Cox, and Bessie Smith. Moved to

Chicago and then to Kansas City. Played with Walter Page's Blue Devils, then from 1931 to 1934 almost continuously with Bennie Moten. After Moten's death formed

own which

ists.

He was

also a great singer,

with a voice rather similar to Armstrong's.

He had few

equals as a

blues singer. Records: with

Bennie Moten, Moten's swing (1932); under his own name, Lafayette, South ( 1940), You'd be frantic too, Rockin at Ryan's, I keep rollin on, Uncle Sam blues, Dance on the tambourine, You need coachin (1944), Rig D blues, It ain't like that ( 1945 ) with ;

Chu

Berry,

(1937);

Limehouse

blues Albert Ammons, the boogie, Rottom blues

with

in-

Jammin

cluded Herschel Evans and Pete Johnson, then in 1935 played with

(1944).

Count Basie. Went to New York in 1936, formed a band and played for two years at Small's Paradise in Harlem, and then in other night

PAGE, WALTER Bass. b. Oklahoma City, Okla., Feb. 10, 1900. Came to Kansas City when he was

a small band of his

Shaw for a year, and then had his own band again. Made several visits to clubs. In 1941 joined Artie

Europe to play in Paris and Belgium. Lips Page was much influenced by Louis Armstrong; he played powerful trumpet with a full, big tone, dramatic temperament, and biting —sometimes very moving— intonation. When he was really inspired his melodic line was clear and straightforward, full of the spirit of

Armstrong. He was one of the best "growl" and "wa-wa" mute special-

208

about 20 and played tuba and bass saxophone in various bands there. In 1926 began to play the string bass and gradually gave up the tuba. Played with Bennie Moten from 1927 to 1929 when he formed a band of his own, Walter Page's Blue Devils, with Count Basie on

some time Kansas City and touring the Southwest he dissolved his band and returned to Bennie Moten. In 1935 shortly after Moten's death he piano. After playing for

in

band Count Basie had formed, and went with it to New York the following year. joined the just

.

PALMER - PANAMA Staved with Basie until 1943, rehim in 1946 and left again in 1948; since that date has played in New York with various bands including those of Lips Page and Jimmy Rushing. Walter Page is one of the great bass players in jazz. His style is influenced by the New Orleans greats joined

in general

and by Wellman Braud

in particular— with its striking con-

One

of the greatest singers in the Louis Armstrong style. Records: with Frank Newton, You showed me the way ( 1937 ) with Al Sears, Brown boy ( 1951 ) ;

PALMER, ROY New Orleans, La.,

such as Richard M. Jones and Sidney Desvigne. Moved from

New

where he played

Records: with Jones-Smith, Inc. members of the Basie band), Lady be good, Shoe shine boy, Evenin (1936); with Count

Roseland

Basie,

shuffle,

Orleans in 1914 to Chicago, for several years

with the Original New Orleans Creole Jazz Band, headed by Lawrence Dewey, and with various small bands including that of Johnny Dodds. Soon after 1930 gave up jazz and opened a laundry. A competent ensemble musician who played good blues, Roy Palmer

trombone of the origistyle. He seldom had a chance to make good records, but he can be heard with the Memphis Night Hawks in Sweet

was a nal

(actually 5

b.

Played

sicians

trast

Jimmy Blanton appeared.

1892.

home town with good mu-

in his

beats, a contrast

between the strong and weak which makes for a lot of swing. His tempo is always sure. There is a great liveliness about his playing which gives considerable "bite" to any rhythm section in which he plays. His tone is rich and mellow, yet firm. He influenced many bass players between 1936, when he first came to New York, and 1940, the year that

Trombone,

typical

New

Orleans

feet (1929).

Honey-

PANAMA

rose, One o'clock jump, Topsy, Out the window, Don't you miss your baby ( 1937 ) Swingin the blues, Every tub, Sent for you yes-

by William H. Tyers. Consists of three themes: two ragtime-style themes of 16 bars and a third of

Doggin Lady be good,

32 bars, each without release; the 32-bar theme hasn't been played

suckle

,

terday,

around I

(1939), The world

left is

(1938),

my baby

mad

(1940),

9.20 special, Basie boogie (1941);

Buck Clayton, The huckle buck, Robbins nest (1953).

with

Composed

ca.

1920

since 1930. Panama is a pernumber for New Orleans bands. The best recordings are by Kid Ory (1944, with Jimmie Noone,

much

fect

1945), and by Louis Armstrong (1948, recorded at the Jazz Festival

and

PALMER, CLARENCE

Singer,

Played for many years Palmer Brothers Trio.

and issued by the Francaise de Gramo-

b. ca. 1908.

at Nice, France,

with

Association

the

209

.

PAQUE - PARKER philie)

and

Days"

(1950).

in the

LP "New

PAQUE, GLYN and

29,

Basle,

1907, d.

Switzer-

Claude Hopkins, Snowden, Luis Russell,

Oliver,

Charlie Johnson, Benny Carter, Willie Bryant, then went to Europe in 1937 with Bobby Martin's band and settled in Switzerland. A musician with a sober and melodious style. Records: with King Oliver, Struggle buggy, Stingaree blues, Snake it and break it (1930, G.P. plays 2d alto solo, the first being by Hilton Jefferson).

PARHAM, CHARLES ("TRUCK")

Bass. b. Chicago,

111.,

Played with Art Tatum, Roy Eldridge 1937, Fletcher Henderson 1938, Earl Hines 1940Jimmie Lunceford 1942-47, 42, Muggsy Spanier 1952-55. Influenced by Walter Page, and has the Jan.

1913.

25,

same

alert

and

incisive drive, to-

with

a beautiful deep, rounded tone. Records: with Earl Hines, In swamplands, Comin in

gether

home, Easy rhythm (1940); The father

jumps,

PARISH,

The

AVERY Ala.,

PARKER, CHARLIE ("YARDBIRD" phone,

or b.

"BIRD") Alto saxoKansas City, Kan., Aug.

29, 1920, d.

New York,

N.

Y.,

March

Played in Kansas City with Harlan Leonard 1938-39; went to New York with Jay McShann's band, and in 1943 played tenor sax with Earl Hines. In 1944 joined Billy Eckstine and early in 1945 began to play with a number of small bands. An extremely gifted musician, Parker gradually gave up jazz in favor of bop, of which he was one of the principal creators. He could play fine jazz in his early days, as can be heard from the records which he made with Jay McShann, such as: Swingmatism, Dexter blues ( 1941 ) Lonely boy blues, The jumping blues (1942). He is by far the most influential bop mu12,

1955.

;

sician playing today.

PARKER, SONNIE

Singer and

(1941); 1942 )

Piano, b. Bir-

of the finest blues shouters of his

earl (

Jan.

24,

1917.

Played with Erskine Hawkins 193644; after that time a serious illness forced him to give up music.

210

pianist, Parish could play remarkable blues solos: he is the star in a slow blues recorded by Hawkins in 1940, After hours. Can also be heard on Erskine Hawkins' Black out (1941).

dancer, b. Youngstown, Ohio, May 5, 1925. Started out in night clubs in the Middle West, and joined Lionel Hampton early in 1949. One

Stormy Monday blues

mingham,

good band

1953. Played with

land, Aug. 29,

King Elmer

Alto saxophone

Poplar Bluff, Mo.,

clarinet, b.

Aug.

Orleans

A

generation, like

he sometimes sounds

Joe Turner; his voice

is

fine

and warm and he is particularly good in slow blues. Records: with

;

.

PAUL - PEREZ Lionel Hampton, What's happening baby, Hamp's gumbo, Sad feeling ( 1949 ) Helpless, Crying ( 1951 ) under his own name, Pretty baby ,

(1949), Worried ain't everything,

life

My

blues,

Money

soul on

his

Red Hot Peppers (1927). Other Mary Lou Williams

recordings:

piano solo

and

his

(

1938 ) Wilbur de Paris ,

Rampart

Ramblers

Street

(1953).

fire

PEER, BEVERLEY

(1951).

Bass. b. ca.

Played with Chick Webb 1936-39, with Ella Fitzgerald 193941, then with Lucky Millinder and J. C. Heard. He plays in a wonderfully relaxed style and produces a 1912.

PAUL, LES sha,

Wis.,

June

Guitar, b. 9,

himself the guitar and

very popular

soloist.

Wauke-

Taught became a

1916.

Was

inspired

by Django Reinhardt. Displays a

lot of swing, often

very fast instrumental technique and shows a nice sense of humor in his playing. Records: with "J azz a * the Philharmonic," Blues, Lester leaps in ("Jazz at the Philharmonic," vol. 4, ca. 1946). Now is best known for "Western"-style numbers recorded with his wife Mary Ford.

to the bar,

PAYNE, SONNY 1930.

Drums, b. ca. Son of the drummer Christo-

pher Columbus

(q.v.). Played with Erskine Hawkins 1951, then with Earl Bostic, and early in 1955 joined Count Basie. Records: with Erskine Hawkins, Steel guitar rag,

Down home jump

and depth of

richness

remarkable.

THE

One

The

his tone

is

of the best bass

the John Kirby-Billy manner. Records: with Chick Webb, Rusty hinge, Crying mood, Sweet Sue, I got rhythm, I want to be happy, Hallelujah Undecided ( 1939 ) ( 1937 ) players

in

Taylor

;

PERDIDO

Composed by Juan

Tizol in 1942. Chorus of 32 bars

with release. A kind of riff theme; a good piece for a swinging interpretation.

Best recordings:

Ellington

(1942),

Duke

Oscar Pettiford

cello solo (1950).

(1951).

PEREZ, PEARLS,

playing two beats

as well as four.

A

number composed by

beautiful

pet,

b.

Roll

Started

Morton in 1919 in honor of a girl working at the Kansas City night club where he was then playing; it was published in 1923. Morton recorded it on numerous occasions:

nineties

Jelly

piano solos ( 1923, 1926, 1938 [Saga of Mr. Jelly Lord], album VI ); with

EMMANUEL

New

Orleans,

La.,

Trum1873.

out professionally in the

and became famous

New

in

Orleans when in 1898 he led the Imperial Band. Also led the Onward Brass Band, in which Joe "King" Oliver had one of his first jobs as second trumpet. Went to Chicago in 1915 and played there

211

PERRY - PETTIFORD until 1918.

leans

and

Returned to New Orfew years gave up

after a

Even during the height of fame he kept his daytime job as

music. his

a cigar maker. He never recorded, but Louis Armstrong says that he was one of the greatest musicians of the

first

generation of jazz.

PERRY, RAY

Violin and alto Boston, Mass., 1915, d. 1953. First studied classical violin. Started playing sax at the age of 20. Played with Chick Carter, Blanche Calloway, and Lionel Hampton. Used an electric amplifier with his violin. Was influenced by Stuff Smith, but was never in Smith's class. Records: with Lionel Hampton, Fiddle dee dee, Smart alec

saxophone,

b.

(1940).

PERRYMAN, RUFUS.

See

Speckled Red

PERSIANY,

ANDRE

("PEPE")

Piano, b. Paris, France, Nov. 19, 1927. Toured France with Buck

Clayton

1949, Big Bill Broonzy and Milton Mezzrow 195152. Influenced first by King Cole, then Milton Buckner whose block 1951,

chord style he adopted. One of the few Europeans who can really play good blues. Records: with Lionel Hampton, Mr. Fedor, Wailin Panassie, Blues for the Hot Club de France (1953).

PETERS, JAY Tenor saxophone. b.

Chicago,

212

111.,

Dec. 21, 1926. First

learned clarinet, then started to study medicine but decided that he wanted to be a musician. In 1945 joined Lionel Hampton but was drafted the same year. After he got out of the service he played for a few years with various small bands and from 1950-53 taught music as well. Then rejoined Lionel

Hampton. Jay Peters is chiefly influenced by Lester Young and also to some extent by Coleman Hawkins. He has a good, steady swing, plenty of ideas; his tone can be very beautiful. One of the best jazz musicians of his generation. He has not yet been heard to real advantage on records although he plays a good solo in Lionel Hampton's Flying home ( 1954, in the LP "Apollo Hall Concert").

PETERSON, OSCAR

Piano,

Canada, Aug. 15, 1926. Has played the piano since the age of 5 and when very young

b. Toronto, Ontario,

showed exceptional

known

ability.

Became

United States when he toured with "Jazz at the Philharmonic" in 1949. A brilliant

well

in the

much inspired by King Cole, Tatum, Buckner, and Garner.

virtuoso

His style has been somewhat compromised by the influence of bop and various "progressive" pianists. Records: They didn't believe me, Lover come back to me (1950); Tenderly ("Jazz at the Philharmonic,"

vol.

XV, 1952).

PETTIFORD, OSCAR cello, b.

Bass and

Okmulgee, Okla., Sept.

30,

PHILLIPS -PIANO 1922. As a small child he picked up music from his father, who taught him to sing and play piano. His ambition was to be a doctor but he had to become a musician because his father needed a bass player to complete the family orchestra made up of Oscar's ten brothers and sisters. Late in 1942 joined Charlie

Barnet's band. In 1943

York and played

went

in turn

to

New

with Roy

Hampton, and Lucky Millinder. Next played in Dizzy Gillespie's small band, and then in 1944 organized a band of Eldridge,

Lionel

own. The next year he joined Hawkins, and some months later, in November, entered Duke Ellington's band with which he remained until May 1948. After playing in a trio with Erroll Garner and J. C. Heard, he spent some time during 1949-50 with Woody Herman, and then once again started a small band of his own. Oscar Pettiford was so much influenced by Jimmy Blanton that on records you can hardly tell them apart. His tone is round and full, and he provides a background of tremendous suppleness to soloists with whom he plays. His pizzicato solos have a melodic line as rich and varied as a trumpet or saxophone chorus. Pettiford is without doubt one of the greatest bass players in the world. He was also an excellent cellist, and was the first jazz musician to play that instrument. Records: bass, with Coleman Hawkins, Disorder at the border, his

Coleman

The man

I

love,

Sweet Lorraine

Duke

Ellington, Beale

(1944); with

Royal

garden blues, Stomp ( 1946 ) look and listen, Sultry serenade cello, under his own name, ( 1947 ) Per dido, Blues for Blanton (1950). st.

blues,

Suddenly

it

jumped

;

;

PHILLIPS, JOSEPH "FLIP" clarinet, b.

1915.

EDWARD

saxophone and Brooklyn, N. Y., Feb. 26,

Tenor

Began by playing

alto

Played with Frank Newton,

sax.

Woody

Herman 1944-46, and later on almost continuously with "Jazz at the Philharmonic." Influenced mainly by Coleman Hawkins and Ben Webster. He can play well enough in their style but since he started touring with "Jazz at the Philharmonic" fallen into the habit of playing to the gallery.

he has

PIANO

There was no piano

in

New

Orleans jazz bands, which usually played on the streets. But there were jazz pianists at the time ( Tony Jackson, Jelly Roll Morton), playing as singles in bars and dance halls. It wasn't until 1912 that the piano began to be regularly featured in bands, which gradually the early

moved

off the streets

and became

"attractions" for the various night spots. Ever since that time, jazz bands have almost always included a piano, performing a dual function as a basic instrument in the rhythm section and as a solo instrument in its

own

right.

The

great jazz pianists are or were: Jelly Roll Morton, Willie "the

213

PICK-UP - PITTMAN Lion" Smith, James P. Johnson, Fats Waller, Teddy Weatherford, Earl Hines, Art Tatum, Count Basie, Duke Ellington, Teddy Wilson, Billy Kyle, King Cole, Milton Buckner, Erroll Garner, Pete Johnson, Sammy Price, Pine Top Smith,

Joshua

Maceo

Big

Altheimer,

Merryweather— the great blues men.

last five

most famous clarinet chorus in jazz. He can be heard playing High society and Saints with "Papa Celestin's

Tuxedo Band," but the musiband were so old by the

cians in the

time they made the record (1950) that you can get only a rough idea of their one-time greatness.

being

WARD

PINKETT,

Trumpet,

Newport News, Va., April 1906, d. of pneumonia March

b.

PICK-UP up

BAND A band made

of musicians regularly

employed

elsewhere who are brought together for a special purpose such as a recording date, a broadcast or a concert. In the first two cases the phrase "studio band" is also used.

These bands are often made up of stars whom it would be impossibly expensive to have permanently together in one band. See Band.

PICOU, ALPHONSE FLORE-

STAN

Clarinet, b.

La., Oct. 19, 1879.

New

a

As a young

man

tinsmith's

Bolden and Freddy Keppard. About 1918 played again with

Emmanuel

Perez, this time in Chicago. Said to have been one of the great clarinet players of the early jazz period. It

he

who adapted

the piccolo part in High society to the clarinet and thus is responsible for the is

214

15,

1937. Played with Charlie Johnson,

Joe

Lloyd

Steele,

Webb,

King

An

Scott,

Oliver,

Chick

Rex

and

trumpet, much influenced by Louis Armstrong. Records: with Jelly Roll Morton and his Red Hot Peppers, Kansas City stomps, Georgia swing, Stewart.

Boogaboo,

excellent

Shoe

drag

shiners'

(1928); Pontchartrain blues (W.P. plays 2d chorus), Load of Coal (1930).

Orleans,

apprentice and played classical music as a hobby until asked by an old bass player, Bouboul Augustat, to sit in with his band, as a result of which he joined Then played with Emmanuel it. Perez's Imperial Band, the Olympia Band, and the bands of Buddy

was

29,

PITTMAN, BOOKER

Alto and

saxophone and clarinet, b. Ala., ca. 1910. First played with various small bands in Kansas City, notably with Count Basie. Then went to Chicago to join Ralph Cooper's band, which formed the basis of Lucky Millinder's band, and toured Europe with it in 1933. Left France in 1935 for South America, where he settled down.

baritone

The musician who has had greatest influence on Pittman

is

trombone Jimmy Harrison. A liant alto sax— hot, impulsive,

the the

bril-

full

of bounding, capricious, vigorous

phrasing— Pittman sometimes sounds

;

PLATER - POTTER like

Johnny Hodges. His

clarinet

reminiscent of Barney Bigard's. Unfortunately he made very few records; among them are: with Freddie Johnson, Tiger rag, Sweet madness, I got style

is

a

little

rhythm (1933).

PLATER, BOBBY phone,

clarinet,

flute,

Alto saxoarranger.

Newark, N. J., May 13, 1914. Played with the Savoy Dictators 1937-39, Tiny Bradshaw 1940-42, and headed an army band 1942-45. After he got out of the service he joined Lionel Hampton in January 1946 and has played with him alb.

most constantly since. An excellent first alto and a gifted soloist with a

Benny Carter's and Arnett Cobb's. Writes arrangements in a style that swings well, some of which have been recorded by Lionel Hampton. Among them style reminiscent of

H amp's walking boogie

( 1946 ) (1950); Don't flee the scene salty (1951); he also wrote the arrangement for Sonnie Parker's Worried life blues (1951). He is one of the composers of Jersey bounce.

are:

Oh baby

POLLACK, BEN band

Drums and

leader, b. Chicago,

June 22, 1903. In 1922-23 played with the New Orleans Rhythm Kings and from 1926-39 led several big bands which contained some well known white musicians but which played primarily "commercial" jazz in various hotels. One of his groups

became the nucleus Crosby band in 1935.

111.,

of the

Bob

POP A "popular number," a tune enjoying a success with the large public. If of time

stands the test

it

becomes a "standard."

it

POSTON, JOE ("DOC") Alto saxophone, b. in the South, ca. 1900, d. May 1942 after eight years in a sanatorium. Moved to Chicago when quite young and played in Cook's Dreamland Orchestra about 1922. From 1926-30 played with Jimmie Noone's band at the Apex Club and in various other Chicago night clubs. After 1930 little was heard of him. Poston didn't shine particularly as a soloist, but he was perfect in small bands, improvising the whole time. He had an impeccable tempo and a tidy, clean way of phrasing a melody which brought clarity and considerable beat to the performance. His straightforward style goes back to early jazz. Records: with Jimmie Noone, Four or five times, Every evenin, Oh sister ain't that hot ( 1928 ) I got a misery, Chicago rhythm, My daddy rocks ;

me

(1929).

POTATO HEAD BLUES Com1927 by Louis Armstrong. is 32 bars without release and there is an excellent 16bar verse. Best record: Louis Arm-

posed

in

The chorus

strong's

Hot Seven

POTTER, b.

TOMMY

Philadelphia,

played with Eckstine,

(1927).

Pa.,

Trummy

Bass,

1918.

Has

Young, Billy

Charlie Parker, Hines.

Gene

Ammons, Earl

215

POWELL - POWELL POWELL, "BUD" (EARL) PiNew York, N. Y., 1924. Was

ano, b.

heard of

first

in 1943-44,

when he

was playing with Cootie Williams' big band. In 1945 was for a time with John Kirby's band; he then turned to bop. When he was with Cootie Williams he seemed to have the makings of a fine jazz mucisian; can be heard playing fine countermelodies on several of Cootie Williams' records, such as: Is you is or is you ain't my baby, Somebody's got to go (1944).

I'm in the mood for love (1948); with Dizzy Gillespie, Coast to coast (1950).

POWELL, JIMMY Fats

Basie,

in instruments. Records: with Benny Carter, Savoy stampede, Riff

POWELL, JESSIE Tex.,

York Page

Tenor and

saxophone, b. Fort Worth, Feb. 27, 1924. Went to New in 1942 and played with Lips 1943, Louis Armstrong 1944, Russell 1945, Count Basie

Luis 1946-47,

Howard McGhee

1948,

Dizzy Gillespie 1949-50. Influenced by Herschel Evans and Lester Young, Powell is a straightforward simple phrases uses played with plenty of swing; he never seeks after flashy effects, so that his real value has often been overlooked. Records: tenor sax solo, musician;

216

Y.,

Feb.

Piano, b.

12, 1923.

New

Learned

under Willie "the Lion" Smith. Played with Muggsy Spanier 1940,

Benny Goodman 1940-42, and Europe with Glenn Miller's

to

Air Force Band. Later played with "Jazz at the Philharmonic." He has an excellent instrumental technique, is primarily influenced by Teddy Wilson. Records: 'S wonderful, It's been so long, You're lucky to me (1954, in

Mel Powell

Septet,

Van-

guard LP).

romp (1939).

alto

and

Carter,

excellent musician,

POWELL, MEL

went

ference

An

Taps Miller (1944).

York, N.

piano

Coleman Hawkins and Benny Carter, Powell was much influenced by the latter, and sounds very much like him despite the dif-

Basie.

much influenced by Benny Carter. One of his best records: with Count

Tenor saxo-

of

Benny

Waller,

Count

phone, b. Newark, N. J., Dec. 29, 1912. Played with Al Jenkins, Lips Page, Benny Carter, Eddie Heywood, Sy Oliver. A great admirer

POWELL, ERNIE

Alto saxo-

phone, b. New York, N. Y., Oct. 24, 1914. Played with Kaiser Marshall,

POWELL, OLLIE

Drums and

singer, b. ca. 1900, d. Chicago,

1927. Played mainly with

Noone, and Considered

also

had

his

111.,

Jimmie

own

band.

have been one of the best New Orleans-style drummers. Unfortunately he can hardly be heard on the few records in which he took part; one of them, Play that thing (erroneously released under the name of "Powers" instead of "Powell," 1923) was made with Tommy Ladnier and Jimmie Noone in the band and ranks as one of the first great jazz records ever made. to

.

POWELL -PRICE POWELL, RUDY

Alto saxo-

Lips Page,

It ain't like that,

The lady

phone, clarinet and violin, b. New York, N. Y., Oct. 28, 1907. Started out professionally with Cliff Jackson in 1927 and played with Fats Waller, Rex Stewart, Edgar Hayes, and Teddy Wilson. Powell plays sax with a melodious, singing tone; on clarinet he has a very pronounced growl. Records: with Fats

in red (1944).

Waller, Pardon my time, 12th st. rag,

following year that included

love,

Loafiri

Rhythm and

romance (1935).

POWELL, "SPECS" (GORDON) b. New York, N. Y., June 5,

Drums,

1922. First learned piano, then took

up drums when he was about 15. Played with Edgar Hayes, Eddie South, John Kirby, Benny Carter, Raymond Scott, and various small

An

bands.

excellent

technician

whose swing puts him

in the top Specs Powell has never had the place in jazz he deserves because so much of his time has been spent playing commercial music in radio studios. But he has made class,

some

excellent

records,

notably:

with Eddie South, Lady be good with Sammy Benskin, ( 1941 ) Cherry, The world is waiting for the sunrise (1945); with "Jazz Off ;

the Air," Flip still

and

jazz,

Lover, Buck

jump ( LP )

PRICE, JESSE

Drums, b. ca. Leonard 1943, Louis Armstrong and Count Basie 1944, and headed several 1915. Played with Harlan

small groups of his own. Plays with considerable swing. Records: with

PRICE, SAMMY Piano, Honey Grove, Tex., Oct. 6, 1908. His piano teacher was the mother

b.

famous sax Booker Pittman. Started playing professionally in 1921. After touring with Alphonse Trent in 1923 he formed a band the of the

Budd

and Keg Johnson and Booker Pittman. In 1927 left Texas to go on tour and finally arrived in Kansas City where he played with Lips Page, Lester Young, and Budd Johnson. In 1933 moved to Chicago, then to Detroit, and in 1938 arrived in New York. There he made a number of records with studio bands and accompanied various singers. A very good emcee,

he organized and presented numerous jam sessions, particularly in Philadelphia. In 1948 Milton Mezz-

row got him the

first

to join his

band

for

International Festival of

Jazz in Nice, France. In 1949 he

played for some months with Sidney Bechet at Jimmy Ryan's in

New

York.

Sammy Price is essentially a blues pianist; in this particular field there

are few pianists who can compare with him. In slow blues his playing has the naturalness and the pecu-

earthy flavor characteristic of musicians from the south. In fast blues he usually plays boogie woogie, at which he's unusually good. Records: piano solos, 7 finally liar

217

;

.

PROCOPE - PURNELL gotcha, Boogin

for

Mezz

(1945);

Mezzrow, Tommy's blues, Funky butt, I want some, Chicago function, I'm speakin my

with

Milton

mind, Delta mood (1947); with Cousin Joe, Evolution blues ( 1947 ) with James Rushing, How long blues (1955).

PROCOPE,

RUSSELL

Alto

saxophone and clarinet, b. New York, N. Y., Nov. 18, 1908. Played with Fletcher Henderson 1931-34, Teddy Hill 1935-37, John Kirby 1937-42. Joined Duke Ellington in 1945 and has been with him ever since. He plays alto in a vigorous

and exuberant style, sometimes reminiscent of Benny Carter's. On clarinet

he was

first

inspired

by

New

Orleans style. Records: alto sax, with Fletcher Henderson, Radio rhythm (1931); with Duke Ellington, Happy go lucky local (1946); clarinet, with Jelly Roll Morton, Red hot pepper, Deep creek blues (1928); with Fletcher stomp Henderson, Sugar foot

the

(1931).

PROFIT, ca.

b.

the

CLARENCE

Piano,

1908, d. 1945. Played with

Washboard Serenaders, then

formed his own never had much

218

His playing drive, but it was

trio.

full

of musical

with his

subtlety.

own trio, Dark

eyes

Record: ( 1940 )

PROGRESSIVE A term usually applied to a bastard form of music half jazz, half symphonic, developed since the forties, and of which Stan Kenton's band is the most typical example. The term is also applied to bop and cool musicians and, in general, to anyone who introduces large-scale borrowings from European music into jazz. In fact "progressive jazz" isn't jazz at all; the essential characteristics are absent. See Jazz and Bop. PRYSOCK, "RED"

Tenor saxo-

phone, b. ca. 1920. Played with Tiny Grimes' small band. A musician with good swing reminiscent of Arnett Cobb's. Records: with Tiny Grimes, Hot in Harlem, Annie Laurie (1949).

PURNELL, "KEG" (WILLIAM) Drums, b. ca. 1915. Played mainly with Benny Carter 1939-40, and Eddie Heywood 1944-47. An excellent musician with fine attack and a style largely inspired by Chick Webb. Records: with Benny Carter, Riff romp ( 1939 ) Sleep, Night hop, Pom pom, Okay for baby, Takin my ;

time (1940).

.

QUEBEC -QUINTET

a QUEBEC, IKE

Tenor saxoNewark, N. J., Aug. 17, 1918. Began as a pianist and took up the tenor sax in 1939. Played phone,

b.

with Ella Fizgerald, Benny Carter, Lips Page, Coleman Hawkins, and at various times with Cab Calloway between 1944-47 and 1950-51. Ike

Quebec

was

considerably

influ-

enced by Coleman Hawkins, nota-

Wilcox, Lips Page; joined Count Basie in 1951 and left him in 1953 to form his own small band. Was influenced by Herschel Evans, Dick Wilson, and above all by Lester Young whom he often sounds like to a remarkable degree, as much by his tone as by the shape of his phrases. Records: with Count Basie, Why not, Jive

Every tub; under his own bunion ( 1952 )

bly in his "growling" tone in fast numbers. Unlike most of Hawkins' followers, his tone is not so much smooth as trenchant, with a firmness and clarity that's most pleasant to hear. He is a direct and vigorous musician, playing with great power and swing; he excels in blues. Records: under his own

at five,

name, She's funny that way, Blue Harlem, Tiny's exercises, Mad about you, Facin the face, If I had you ( 1944); I.Q. blues, Jim Dawgs, Girl of my dreams, Dolores, The masquerade is over, Someone to watch over me, Zig billion, Basically blue, Topsy (1945).

Up to 1939 the quintet consisted entirely of strings: three guitars, violin, and bass. In

QUINICHETTE, PAUL

Tenor

saxophone, b. Denver, Colo., 1921. Played clarinet before he took up the sax. Played with Jay McShann, Johnny Otis, Louis Jordon, Lucky Millinder, Milton Buckner, Edwin

name,

Sarnie, Paul's

QUINTET OF THE HOT A band CLUB DE FRANCE formed

in 1934,

of the

Hot Club de France,

which the two Reinhardt Grappelly

under the auspices stars

(guitar)

of

were Django and Stephane

(violin).

1940 Grappelly went to England where he played until the end of the war; meantime the quintet was modified to two guitars, clarinet, bass, and drums. After the war

Grappelly played with the quintet again for a short while. This small band was the only European jazz group to gain world recognition in Records: Djangology its time. Minor swing, Vipers dream ( 1935 ) ;

(1937); Appel indirect (1939).

219

RADCLDFFE - RAG

R RADCLIFFE, FRED

Drums,

Played with Lionel Hampton 1943-45, then with various bands on 52d Street in New York. A very fine musician. Records: with Lionel Hampton, Loose wig, Chop chop, Flyin home No. 2, Ramp's boogie woogie, The lamplighter (1944); Vibe boogie (1945, V-Disc). b.

ca.

RAG

1920.

A

form of piano piece,

generally 16 bars and originally in form A, B, A, B 2 (see Theme),

which flourished in the late 19th century and was played a lot up to 1928 but a good deal less since. Rags are generally played with a quick, energetic beat. After the ex-

theme the pianist deupon it for as many choruses as he feels inclined. The different themes are generally separated by a 4-bar interlude which is part of the number itself, although it is open to the pianist to improvise one of his own and interpose it any time he wants to leave one theme and swing into the position of a

velops

variations

next.

Various rags themes, such as Maple leaf rag and King Porter stomp have become standards for bands as well as piano.

There were early ragtime players of great reputation such as

220

Otis

Saunders, Arthur Marshall, Tom Turpin, Scott Joplin, and Louis Chauvin; but on records the best known are Jelly Roll Morton, Charles Thompson, Lucky Roberts, James P. Johnson, Willie "the Lion" Smith, and Fats Waller. One of the best-known ragtime numbers is Carolina shout by James P. Johnson, who recorded it in 1921. Countless pianists, including Fats Waller and Duke Ellington, learned to play good ragtime from hearing this record or studying the piano roll made by James P. Johnson at the same time and in copying them note for note. Various numbers with the word "rag" in their title, such as Tiger rag, Alexanders ragtime band, and 12th Street rag, are not classic 16bar rags, but numbers of a quite different structure with a ragtime beat. Gradually 32-bar themes (generally in A, B, A 2 C form) began to alternate with the 16-bar form, and, since they were conceived and interpreted in the same style, became part of the authentic ragtime tradition. Most of the rags composed by Willie "the Lion" Smith and Fats Waller employ alternate 16- and 32-bar themes. The phonograph was invented too late for us to be able to hear ,

.

.

RAGLIN-RAINEY the earliest ragtime pianists; nevertheless the solos of Charles Thomp-

son (recorded by "American Music"), such as Delmar rag and Derby stomp, give an idea of the way ragtime was played in the early years of jazz.

Johnson, Carolina shout, Keep of the grass (1921); Jungles, You've got to be modernistic (1930); Gut stomp, Mule walk (1944); by Jelly Roll Morton, Grandpa's spells, King Porter stomp (various recordings, including the Vocalion of 1926 and the GeneralCommodore of 1939); Original rags, Mister Joe ( 1939 ) by Lucky Roberts, Music box rag, Pork and beans ( 1946 ) by Willie "the Lion" Smith, Sneakaway (1938); Contrary motion, Cuttin out (1949); by Fats Waller, Valentine stomp, Gladys, Smashin thirds ( 1929 ) It is noticeable that early in the present century before the word "jazz" came into use, "ragtime" was often applied to the music of a band as well as to piano solos. The repertory of the first jazz bands was

James

P.

;

;

in fact

made up

largely of rags

and

similar pieces.

RAGLIN, "JUNIOR" (ALVIN) Bass. b.

1917, 1955. in

d.

Omaha, Neb., March

16,

Nov.

10,

Boston,

Mass.,

Took Jimmy

Duke

Ellington's

Jumpin room ( 1942 ) and Johnny ( 1945 ) ;

PRIDGETT)

Blues singer, b. Columbus, Ga., April 26, 1886, d. Columbus Ga., Dec. 22, 1939. She was only 14 when she started singing in the Spring Opera House, Columbus. A year later she married Will Rainey, who ran a traveling tent show known as the Rabbit Foot Minstrels. She toured with the Minstrels for years. It was while she was working with the show that Bessie Smith had the good luck to hear her and came to Ma for the instruction that

own

her

on

was

tour,

Ma

On

her

Rainey started record-

first disc she was accompanied by Lovie Austin's small group, which included Tommy Ladnier on trumpet. Later Louis Armstrong and Joe Smith were among those who accompanied her. Up to

ing.

1929 she made about 50 records for Paramount, while still continuing to tour. In 1933 she decided to retire, in view of the decline of public interest in blues singers. She

owned two theaters in Rome, Ga., and a house in Columbus, and she

Blanton's place

spent the rest of her

ment

end 1945; he

of 1941 and stayed until played with Ellington again in 1955. A vigorous musician with a full tone and a massive, often in-

so decisive to

career. In 1923, after years

band

at the

only, Frankie

RAINEY, "MA" (GERTRUDE,

Other exam-

ples of rags (all piano solos) are:

by

tense swing. Records: with Duke Ellington, Perdido, C-jam blues, What am I here for, Main stem

in

life in retire-

Columbus.

Next to Bessie Smith,

Ma

Rainey

the greatest blues singer ever to have recorded. Her ample, exis

tremely deep and beautiful con-

221

; .

.

RAMEY - RANDOLPH was ideal for the blues, which she sang with a majestic, imposing accent and an almost religious gravity. In the opinion of some of her admirers, she sang even more "low down" than Bessie Smith. Although her singing didn't have quite the expressive richness, the variety and the suppleness of Bessie's, it is just as tense and almost as impressive. She is certainly the only blues singer who can be compared with her own great pupil, Bessie Smith. tralto

Ma

Rainey's discs were not well

recorded, but they still can be included among the finest blues on wax. All are of the highest quality, particularly:

Bad

luck blues, Barrel

house blues, Walking blues, South-

Louisiana Stompers, accompanied Mildred Bailey, then played with

Rex Stewart, Willie Bryant, and toured Europe in 1937 with Bob Martin's band. Later played with

Charlie Barnet, various small bands. An inventive musician, full of sensitivity, influenced by Fats Waller and Teddy Wilson. Records with Ike Quebec, She's funny Ella

Fitzgerald,

John

Kirby,

:

way, Tiny's exercises, Blue Harlem, Mad about you, Facin the

that

face (1944).

RAND, ODELL

Harlem Hambetween 1930 and 1940, and accompanied several blues singers on records. A good blues clarinet whose curious tone sometimes

fats

Just

New

(IRVING)

Deep moanin

Traveling blues, Leaving this morning, Runaway blues (1927-29). blues,

blues,

Clarinet, b. ca.

1905. Played with the

ern blues, Lucky rock blues, Ma Rainey's mystery record ( accompanied by Tommy Ladiner, 1924); See see rider, Jelly bean blues, Countin the blues (accompanied by Louis Armstrong, 1925); Slave to the blues, My babe blues, Stack o' lee blues, Yonder comes the blues ( accompanied by Joe Smith, 1926 )

boweavil blues, Moonshine

and

sounds almost

He can Broonzy,

like a violin.

be heard on: with Big wondering,

Bill

Woodie woodie

(1939); with Johnny Temple, Evil bad woman, Cherry ball ( 1939 )

RANDOLPH, "MOUSE" Trumpet,

b. St. Louis,

Mo., 1909. Played with Fate Marable's band on the Mississippi riverboats in the late twenties, and with

Andy

RAMEY, EUGENE ("GENE") Bass. b. Austin, Tex., 1913. Played with Jay McShann 1940-42. Records: with Jay McShann, Dexter blues ( 1941 ) Sepia bounce ( 1942 ) ;

RAMIREZ, "RAM" (ROGER AMERES) Piano, b. West Indies, ca. 1915.

222

Headed a band

called the

Kirk's band in Kansas City. Later moved to New York and played with Fletcher Henderson

1934,

Lucky Millinder 1934-35, Cab

Calloway 1936-40, Ella Fitzgerald 1941, Earl Bostic 1944, Edmund Hall 1944-48. After at first tenta-

copying Henry Allen's resthe created his own way of playing— easy, flowing, with rae-

tively

less style,

.

RANDOLPH - REDMAN lodious phrases well balanced and

produced with both power and sensitivity.

His best recorded cho-

on Teddy Wilson's Tea for two (1936). Other good records: with Teddy Wilson, With thee I rus

is

swing, Who loves you; with Cab Calloway, Are you in love with me again (1936); with Chu Berry,

Maelstrom (1937).

RANDOLPH, ZILMER arranger,

pet,

composer,

Trumb.

Der-

mott, Ark., July 28, 1899. Played in Louis Armstrong's band at three different times, 1931-32, 1933, and 1935, this

and was musical director of

A great admirer of Louis, whom he named his son Louis

band.

after

Armstrong Randolph. His outstanding compositions and arrangements are Swing you cats and Old man Mose recorded by Armstrong in 1933 and 1935.

RAPOLLO, LEON

Clarinet, b.

New OrPlayed with Orleans Rhythm Kings in

Lutheran, La., 1902,

d.

leans, La., Oct. 1943.

the

New

Chicago ca. 1920-25, after which he went out of his mind and was confined to an asylum until his death. Rapollo is the first good white clarinet known in jazz. He played in a style close to that of the New Orleans masters but more legato, less powerful. Record: with the New Orleans Rhythm Kings, Tiger rag ( 1922 )

REALLY THE BLUES

Com-

posed by Milton Mezzrow and

re-

corded by him several times, notably the original version made in 1938 with Tommy Ladnier and in 1946 with Sidney Bechet. Title also of Mezzrow's autobiography written with Bernard Wolfe, 1946. Mezzrow's life story is enriched with his numerous comments on jazz, the life of colored people, the

language of "jive," which make this book not only an important literary work, but one of the most important documents about jazz and its surroundings.

REDMAN, DON

Alto and so-

prano saxophone, clarinet, singer, band leader, b. Piedmont, W. Va., July 29, 1900. An infant prodigy, he began to learn piano at the age of 3,

played in a band when he was 6, and learned trumpet at 8. It was on alto sax that in 1924 he joined Fletcher Henderson, for whom he became the chief arranger. In 1927 left Henderson and took over McKinney's Cotton Pickers which he headed until 1931 when he

formed

his

own band made up

of

the line-up from Horace Henderson's band, including Henderson himself. In 1940 he broke up his band and devoted himself entirely to arranging. Later, however, he got his band together again, notably for a European tour in 1946.

An uneven

soloist,

Redman

is

an arranger. He was the first to write arrangements for big bands, such as: Fletcher Hendereminent

son's

as

The Whiteman stomp, I'm 223

.

.

REEVES - REINHARDT coming

Virginia,

Hot

mustard

(1926). A versatile musician, he is very able at adapting his style to that of the band for which he

writing— which is shown by his arrangements of Gee ain't I good Cotton to you for McKinney's Pickers (1929); The chant of the is

weed for his own band (1931); Five o'clock whistle for Count Basie (1941); Things ain't what they used to be for Cootie Williams (1944). Redman's best alto sax so-

be heard on Louis Armit pretty mama and Heah' me talkin to ya ( 1928 ) Don Redman composed several good numbers such as Cherry, Paducah, Save it pretty mama, The way I feel today, Chant of the weed. los are to

strong's

Save

REEVES, REUBEN b. ca. 1905.

sourians, the

Trumpet. Played with the Mis-

band which became

Cab

Calloway's, and with Harry Dial. Mostly influenced by Louis Armstrong, he also uses a growl

reminiscent of Bubber Miley's. Records: Papa skag stomp, Blue sweets, Texas special blues ( 1929 )

van established on the outskirts of Paris, he was much admired by all the gypsies who heard him play. In 1928 the caravan caught fire and the whole of his left side was badly burned. For six months he couldn't touch his guitar. He completely the use of two fingers, but gradually taught himself to play as well as he had before. In 1934 he and Stephane Grappelly founded the Quintet of the Hot Club de France and he became well known as its leader; he made a great many records with American musicians who passed through France. At the end of 1946 he played in the U. S. with Duke Ellington. Reinhardt had all the unpredictable character of his gypsy forebears; he was completely happy-go-lucky and would even skip an important job because he suddenly decided to go out and smell the trees and see lost

the sea.

Despite

his

See

"Mac

Kac" Guitar and composer, b. in a gypsy caravan at Liverchies, Belgium, Jan. 10, 1910, d. Fontainebleau, France, May 16, 1953. As a child he learned the violin but later switched to guitar. With his cara-

224

of the

His playing was distinguished by long phrases of a rare melodic grace, somewhat reminiscent of the work of Benny

whom

he had great ad-

He

played with a good solid beat and was wonderful in a

miration.

section. He was also a talented composer. Records: guitar solos, Parfum, Improvisation, Sweet Georgia Brown (1937), Nuages, Night and day, Confessin (1953); with the Quintet of the Hot Club de France, Djangonology (1935), Mi-

rhythm

REINHARDT, DJANGO

fingers,

great jazz virtuosos.

Carter, for

REILLES, ANDRE.

injured

Django Reinhardt was one

.

RELEASE - RICHARDS nor swing, Vipers dream, You're driving me crazy (1937), Appel

Twelve

worry Mano, Topsy (1947); with Eddie South, Eddies

indirect,

about

me

years, Don't

(1939),

other freight in the right hand.

An

amusing musical fad, which can't be taken seriously as jazz. Record: Fats Domino, Don't blame it on me (1956).

blues, I can't believe that you're in

Somebody

love with me,

loves

RHYTHM SECTION

me

(1937); with Dickie Wells, Japanese sandman, Hangin around Boudon (1937); with Rex Stewart, Montmartre, Solid old man ( 1939 ) Reinhardt took up the electric guitar comparatively late; except between 1947 and 1953 his records

were made without amplification, which suited his style better.

Drums,

bass (or tuba), guitar (or banjo) and piano. See Band.

RICH, "BUDDY" (BERNARD) Drums,

b.

New York, N. Y., June 30,

1917. Played with 1938, Artie

sey

Shaw

1939-45,

with "Jazz

Bunny Berigan

1939,

Tommy Dor-

Count Basie 1950,

at the

Philharmonic" for

between 1946 and 1952, and headed his own band; in 1953 joined Harry James, then later played with Tommy Dorsey again. A remarkable technician and one of the best white drummers. Records: with King Cole-Herbie Haymer Quintet, Nat's kick, Swingin on central ( 1945 ) with Teddy Wilson, Lady be good (1952); with Lionel Hampton, Stompin at the Savoy (1953); with Count Basie's several sessions

RELEASE Describes the phrase "B" in themes of the A, A, B, A sequence. The release, or "bridge," is always in a different key from the principal theme. RENA, "KID" (HENRY) pet,

New

b.

same

d.

Orleans,

city, 1949.

home town most

his

Trum-

La.,

1900,

Played only in of his

life, first

with Kid Ory, later with Bob Lyons.

on

Had

a

band of his own off and Competent but never

after 1924.

great. Records:

Panama

Low down

;

Sextet,

Basie beat, Count's organ

blues (1953).

blues,

RICHARDS, "RED" (CHARLES)

(1940).

Piano, b. Brooklyn, N. Y., Oct. 19,

RHYTHM-AND-BLUES

The

became current

in the

expression fifties

to describe

style popularized ino.

He

an eccentric blues by one Fats Dom-

sings blues of his

own com-

position, each piece almost identical

with the last, and accompanies himself with a very heavy, emphatic boogie bass and a lot of trills and

Studied classical music unhearing Fats Waller decided him to play jazz. Played with Roy Eldridge, Tab Smith, Sidney Bechet, Muggsy Spanier, and toured Europe in 1953 with Milton Mezzrow. Influenced by Fats Waller and Teddy Wilson. His variations are full of melody, freshness and in1912.

til

225

RICHARDSON - RIFF vention;

Andy

ords: with Milton

(1942).

he plays good blues. RecMezzrow, I can't give you anything but love, Boogie special, Honeysuckle rose (recorded during a concert, 1953 ) also with Milton Mezzrow, Wrap your troubles in dreams; with Buck Clayton, Lazy river, She's funny that ;

way

(1953).

RICHARDSON, RODNEY Bass. b. ca. 1918. Played with

Count

Basie 1943-46, Roy Eldridge, and Lester Young. His playing is reminiscent sometimes of Walter Page and sometimes of Jimmy Blanton. Records: with Count Basie, Taps Miller, Red bank boogie (1944); Queen Street ( 1945 ) with the KanCity Seven, After theater sas ;

jump (1944).

RICHMOND, JUNE

Singer.

Chicago, 111., July 9, 1915. Worked mainly with Les Hite, Jimmy Dorsey, Cab Calloway, and Andy Kirk. Since 1948 has lived in France. She was influenced by Ethel Waters, and has a sure technique, good swing, and a voice of considerable range. Record: with b.

>'*4

226

RIFF

A

short,

simple repeated

phrase. Usually two bars, occasionally four.

The most frequent use

of

riffs is

accompanying a soloist— while he is improvising, the rest of the band play a riff which serves to punctuate and to underline the soloist's phrases and the beat of the rhythm section. Riffs may be worked out before a performance or improvised on the spot; the rest of the band joins in and harmonizes on a phrase created by one of the muin

sicians.

can also be used as a theme of serving as an accompaniment. In such cases, two or even three riffs are sometimes combined and played simultaneouslyone by the trumpets, a second by the trombones and the third by the Riffs

instead

saxophones. Count Basie's band this use of riffs popular in, for example, Baby don't tell on me.

made

A

may also be used by a solothe course of his own improvisation. For example, in the origriff

ist in

'rmf LUjK r

Riff

Hey Lawdy mama

Kirk,

(from Flyin'

mf Home)

f

Clxj

et c.

:

RILEY -ROBERTS inal

version

stomp

(

Mahogany Hall

of

Okeh-Columbia

version,

1929), one of Louis Armstrong's choruses consists of a simple riff repeated six times.

There are

also

riff

These

tunes.

are so called because the number, instead of developing little by little, consists of the repetition of a

phrase with slight modifications. The shape of the 12-bar blues lends itself particularly well to such treatment, as do 32-bar themes with release (in the latter case the release is

not a

riff

)

.

Examples of

riff

Swinging the blues, Flat foot flooRock-a-bye Basie, Flying home. jazz

critics

are

against

on the grounds that they are an impoverishment of melody and show a decadence in jazz. In fact, riffs are as old as jazz, perhaps even older. Innumerable blues and spirituals are constructed on a single riffs

RILEY, "JUDGE" (LAWDrums,

b. ca. 1920.

Has

played mostly in Chicago, often ac-

companying

specialists in the blues.

wtih great life and vigor. Records: with Jazz Gillum, I'm not

Plays

the lad (1946), Signifying woman (1947); with Sonny Boy Williamson, Willow tree blues, Sugar gal

(1947).

Cab Calloway cent of

Teddy

Went

1945-52.

Paris in 1954. His style

to reminis-

is

Wilson's and King

with Jonah Jones, hub, Stomping at the Savoy; with Ike Quebec, Dolores Cole's. Records:

Hubba hubba (1945).

ROACH, MAX

Drums,

b.

New

York, N. Y., Jan. 1924. Played with

Benny Carter, Dizzy Gillespie, Coleman Hawkins, Charlie Parker, and various bop bands. A remarkable technician who early gave up jazz for bop.

ROANE, EDDIE

Trumpet,

Conn., ca. 1910, d. ca. 1945. Played with Louis Jordan 1942-44. Had a straightforward style and solid swing; influenced by Harry Edison. Records: with Louis Jordan, It's a low down dirty shame (1942); Is you is or is you ain't (1943); (1944).

I

like

'em

RING DEM BELLS Composed 1930 by Duke Ellington. Chorus of 16 bars with release. Best rein

Duke

Ellington

(1930,

RCA Victor version ), Lionel Hamp-

fat

like

ROBERTS, "LUCKY" (CHARLES LUCKEYETH) ano and composer,

cordings:

Piano,

Puerto Rico, Dec. 8, 1921. Played with Lips Page 1942, led his own trio in 1943 and then played with

b. Hartford,

riff.

RENCE)

DAVE

RIVERA, b.

tunes

gie,

Some

ton (1938), Fats Waller piano solo (1941).

that

Pi-

b. Philadelphia,

Began life as a child Learned piano very young,

Pa., ca. 1890.

acrobat.

and first earned a living playing in Baltimore barrel houses. Visited Europe before World War I. In the 227

,

ROBERTSON - ROBINSON made with an allStormy Weather (1943). Bill Robinson was one of the greatest tap dancers, and had the most brilliant technique of all. His beat was so fast and full of swing that his taps sounded like the rolls of a great drummer. He was tremendously popular, and several musicians dedicated numbers

early twenties

of the few movies

traveled

Negro

headed a band that over the States. Played at Carnegie Hall, 1939. Owns a bar in

all

Harlem where he usually

One ists

plays.

of the greatest ragtime pian-

known

of the rags

to us on records. Most he played were his own

compositions— the earliest big success being Junk man rag (1913); also composed a great deal of music outside this

Had some

field.

influ-

ence on James P. Johnson. Records: Music box rag, Pork and beans, Shy and sly, Ripples of the Nile ( 1946 ) piano solos.

b.

ROBERTSON, ZUE Trombone, New Orleans, La., March 17,

1891, d. Los Angeles, Calif., 1943. Played in his home town with Freddy Keppard, and is regarded as one of the best trombones of the early jazz period. His quality can hardly be appreciated from the only record on which he played: with Jelly Roll Morton, Someday sweet-

heart and

London blues (1923).

ROBINSON, BILL GLES") Va.,

May

Dancer, 25,

1949. Started

b.

("BOJANRichmond,

November dancing when he was 1878, d.

In 1908 formed the "Buttler and Robinson" team; after some years he hit the big time; danced solo 5.

and became the star of various revues and touring shows. Beginning in 1935 he also appeared in a number of movies with Shirley Temple (The Little Colonel, The Littlest Rebel, Rebecca of Sunnybrook Farm, etc. ) as well as in one ,

228

cast:

him,

to

notably

Duke

Ellington

(Bojangles, 1940). Robinson kept his

wonderful virtuosity right up

and celebrated his by dancing all around Harlem accompanied by an enormous and enthusiastic crowd. He made only two records: Ain't misbehavin (1929); Doin the new low down (1932), the latter with Don Redman. to his

death,

seventieth birthday

ROBINSON, FRED Trombone, Memphis, Tenn., February 20, Played with Louis Armstrong 1928-29, then with Don Redman, Benny Carter, Fats Waller, b.

1904.

Andy Kirk, Fletcher Henderson, Cab Calloway. Got his inspiration from New Orleans trombones and from Jimmy Harrison. Capable of playing good solos but is particularly excellent in ensemble work. Records: with Louis Armstrong, West end blues, Fireworks, No, Muggles (1928).

ROBINSON, "JIM" (JAMES) Trombone, 25,

b.

Deeringe, La., Dec.

1892. First learned guitar

and

didn't take

up the trombone

he was

Gained a certain fame

24.

until

ROBINSON -ROYAL by recording with Bunk Johnson in the forties. Not a great soloist, but a good ensemble musician in

New

Elvis

Presley,

be

Don't

ROLLINL ADRIAN

Orleans-style numbers.

Bass saxo-

phone and vibraphone,

ROBINSON, PRINCE

Tenor

saxophone and clarinet, b. Portsmouth, Va., June 7, 1902. Played with Elmer Snowden, June Clark, McKinney's Cotton Pickers, Willie Bryant, Roy Eldridge, Louis Armstrong, Lucky Millinder. During the twenties was the chief rival of Coleman Hawkins on tenor sax, which he always played better than he did clarinet. Records: with

McKinney's Cotton Pickers, I found new baby ( 1929 ) with Lil Armstrong When I went back home a

;

cruel

(1956).

b.

New

York, N. Y., June 28, 1904. Was prominent in the twenties as the if not the only, specialist of the bass sax, a rarely used instrument. After 1930 gradually switched to the vibraphone.

leading,

ROSE ROOM

Composed

in

1931 by Arthur Hickman. Chorus of 32 bars without release. Best recordings: Duke Ellington (1932), Jimmie Lunceford (1934), Benny Carter (1946), King Cole (1952), Milton Mezzrow (1953).

(1937).

ROCKIN' CHAIR Composed in

ROSETTA Composed in 1932 by Earl Hines and very frequently

1930 by Hoagy Carmichael. Chorus 32 bars. One of Louis Armstrong's specialties; he recorded it in 1929, twice in 1947, and in 1955. Other good recordings are: Fats Waller piano solo (1941); Roy Eldridge with Gene Krupa's band

played in jazz. Chorus of 32 bars with release. Hines recorded this number four times: twice with his band 1933-34, and two piano solos 1939 and 1950, of which the earlier is the best. Art Tatum also recorded a fine piano solo in 1940.

of

(1941).

ROYAL, ERNIE

often a male quartet replaces

Trumpet, b. June 2, 1921. Brother of the alto sax and clarinet player Marshall Royal with whom he played in Lionel Hampton's band 1940-42. Went to Europe with Duke Ellington in 1950.

of the instruments; three

A

ROCK-AND-ROLL

This music can best be described as a parody of jazz.

The rhythm

section

makes

much noise that the listener can barely make out the theme. Very so

some members

the parts ordinarily played by the bass and trombone, while a fourth raucous voice sobs out the maudlin lyrics. Record: scat-singing

Los Angeles,

brilliant

Calif.,

technician

who

plays

with unusual ease, Ernie Royal is a very gifted musician, but his solos are sometimes spoiled by the influence of bop.

229

.

ROYAL - RUSHING ROYAL, MARSHALL

Alto saxoSakulka, Okla., Dec. 5, 1912. Brother of Ernie Royal. Played with Les Hite and Lionel Hampton. Since 1950 has been with Count Basie. Records: alto sax, with Lionel HampBouncing at the beacon ton,

phone and

clarinet,

b.

(1940); with Count Basie, You re not the kind (1952); clarinet, with Art Tatum, I've got my love to keep me warm ( 1937 )

at Symphony Hall," 1947); but there are also good versions made by bands playing other styles: Count Basie (1942), Cootie Williams (published as Blue Garden Blues, Duke Ellington 1944),

(1946).

RUSHING, JAMES b.

Oklahoma

Singer,

City, Okla.,

Aug. 26,

1902. His father played the trumpet

and

his

mother sang

in

religious

choirs. Left his native city in 1925,

ROYAL GARDEN BLUES The

singing and playing piano on the

Royal Gardens was a famous dance hall in Chicago where King Oliver played in 1918; it was shortly afterwards redecorated and renamed the Lincoln Gardens and it was here that Louis Armstrong first played when Oliver called him from New Orleans. The blues named in its honor was composed by Clarence Williams and Spencer Williams in 1919; it is made up of two distinct parts, each based on

West Coast for two years. Returning to Oklahoma City, he sang

a classic 12-bar blues.

The

first,

in

F, has a 4-bar introduction; then the theme is to be played twice,

followed by break solos in the first 4 bars of each of the following two choruses,

which have a

slightly dif-

A

4-bar modulation then leads into the second theme, a riff theme in B flat which the soloists enlarge upon right up to the end. An ideal number for New Orleans musicians, and naturally enough the finest recordings have been made by New Orleans bands: ferent melody.

Quintet Mezzrow-Ladnier ( "Satchmo Louis Armstrong 1938 ( )

the

,

230

with Walter Page's Blue Devils; then in 1929 joined Bennie Moten and stayed with him, most of the time in Kansas City, until 1935 when he joined Count Basie and sang with the band for fifteen years. He then formed a band of his own which played at the Savoy in New York for some months. Rushing was inspired by Leroy Carr and Bessie Smith; he sings very fine blues. He has a good tenor voice, big and warm with remarkable renonance and a solid beat. Records: with Count Basie, Good morning blues, Don't you miss your baby (1937), Sent for you yesterday, Stop beatin around the mulberry bush ( 1938 ) Baby don't tell on me, I left my baby (1939), Draftin blues ( 1940 ) Goin to Chicago blues, Harvard blues (1941), Rusty dusty blues (1942), Jimmy's blues ( 1944 ) Blue skies ( 1945 ) under his own name, How long blues, Boogie woogie, How you want your ,

,

,

;

.

.

RUSSELL - RUTHERFORD lovin done,

Leave me

(

1955 )

RUSSELL, "CURLEY"

New York,

Bass.

March 19, 1920. Played with Benny Carter, Dizzy

b.

N.

Y.,

Charlie Parker, Dexter Gordon. His playing is very active and full of swing; he is one of the Gillespie,

best disciples of

Records: with Thriving from a

Jimmy

Blanton. Charlie Parker, riff

(1945); with

Coleman Hawkins, Cocktails for two, You go to my head (1946).

RUSSELL, LUIS band leader, Panama, Aug.

b. 6,

Piano and Bocas del Toro,

1903.

Went to New

Orleans in 1919, then in 1925 to

Chicago where he joined King Oliband. Moved to New York and in 1927 got together his own band which accompanied Louis Armstrong for some months and ver's

Armstrong's own band 1934-43; Russell then left to form another group of his own. Luis Russell is not an outstanding pianist but his band ranked as one of the best during the years 1929-31 when he had with him C. Higginbotham, Albert NichJ.

became

then

olas, Henry Allen, Pops Foster, and Paul Barbarin; although it was a ten-piece band and played arrange-

ments, it often retained the real New Orleans flavor. During that time the band made two interesting groups of records; one, made for

Ok eh,

includes:

Jersey lightning. The new call of the freaks, Saratoga shout; the other, made for

RCA Henry

Victor under the name of Allen, includes: It should

be you, Feeling drowsy, Swing out. the records Louis Armstrong made with this band the best are: St. Louis blues, Dallas blues, Blue turning grey over you.

Among

An added ords

interest of these recthe fact that Higginbotham

is

and Pops Foster have never been better recorded.

RUSSELL, "PEE WEE" (CHARLES) Clarinet and

saxo-

Mo., March 27, 1906. Played in St. Louis, Chi-

phone,

b.

St.

Louis,

cago, and New York where he was frequently a member of Eddie Condon's band and other Dixieland groups. A representative of the Chicago school, he plays with a pronounced "growl" and a peculiar plaintive accent. Record: with

Ed-

die Condon, Jada (1938).

RUSSIN, "BABE" (IRVING) Tenor saxophone, b. Pittsburgh, Pa., June 18, 1911. Played with Red Bunny Berigan, Tommy Benny Goodman, Glenn Miller, Woody Herman. Influenced first by Bud Freeman, then by Coleman Hawkins and Herschel Evans. Records: with Benny Goodman, Nichols,

Dorsey,

Dont be jump

(

that

1938,

LP

way, One o'clock Carnegie Hall Con-

cert )

RUTHERFORD, "RUDY" MAN) Clarinet and baritone

(ELsaxo-

phone. Played with Lionel HampCount Basie ton and 1943, 1943-47. His "tearing" style isn't too well suited to the clarinet, but on the baritone sax he plays with real swing.

231

.

SAFRANSKI-ST. CYR

SAFRANSKI, EDDIE b.

Pittsburgh,

Pa.,

1919.

Bass,

Played

with Stan Kenton for some years. An excellent technician but sometimes lacking in drive. Records: with Don Byas, Avalon, My melancholy baby ( 1945 )

SAINTS. See When the Saints Go Marching In

CLAIR, CYRUS Tuba, Cambridge, Md., 1890. Played

ST. b.

then came to 1925 and for five years played in Charlie Johnson's band. Made quite a few records with Clarence Williams' studio band. After 1930 he wasn't heard much, owing to the replacement of the tuba by the string bass, but St. Clair is among the great tuba players. His lightness and mobility and the sharp precision with which he attacks every note mark him as a master of his instrument. Often St. Clair's tuba part becomes a counterfirst

in

Baltimore,

New York in

melody embroidered on the edge of the theme always, of course, in perfect harmony. Records: with Clarence Williams, Take your black bottom outside, Cushion foot stomp Beau koo jack, Sister Kate, ( 1927 ) Sweet Emaline ( 1928 ) with Charlie Johnson, The boy in the boat, ,

;

Walk that thing ( 1928 ) with Bessie ;

232

Smith, you're

ST.

Nobody knows you when down and out (1929). CYR,

Banjo and

JOHN ALEXANDER New Orleans,

guitar, b.

La., April 17, 1890.

home town with

Played in his

the Original Tux-

edo Orchestra, Kid Ory, Armand from 1916 to 1921 with Fate Marable on the riverboats. In 1923 he joined King Oliver in Chicago. From 1923 to 1929 he played steadily with Doc Cook until the depression forced the disbandment of part of the orchestra; he then made his way back to New Orleans and returned to the trade of plasterer, which he had learned years before, but continued to play from time to time when the opporPiron, then

tunity offered.

Johnny

St.

Cyr

is

one of the

best,

not the best, rhythm section banjo and guitar players known. His swing is both light and powerful. His rhythmic accents are tremendously effective, not heavy and obvious like those of so many guitar players. His playing is full and compact. He can play fine solos but as an ensemble player he is incomparable. He usually uses the fivestring banjo (called "plectrum banjo" ) but now and then he plays if

guitar.

Records:

with

King

Oliver,

ST.

Working man

Room

blues,

gonna

rent

nobody, Chattanooga stomp, New Orleans stomp (1923); with Louis Armstrong, Gut bucket blues (1925), You're next, Oriental strut, Georgia Muskrat grind, Heebie jeebies, ramble (1926), Willie the weeper, blues,

I

ain't

tell

Alligator crawl, Ory's Creole trom-

bone, Savoy blues (1927, on the last J. St. C. plays guitar duet with Lonnie Johnson); with the New Orleans Bootblacks and Wanderers, Mad dog, Flat foot, Perdido st. blues (1926); with Jelly Roll Morton, Black bottom stomp, Original

jelly

blues,

roll

Doctor

spells,

jazz,

Grandpa's Cannonball

ST.

JAMES INFIRMARY number Became

"Tra-

of 16 bars with

a standard after Louis Armstrong made a beautiful recording of it in 1928. Next best is the one by Kid Ory's band (1953).

release.

ST. LOUIS BLUES The most popular blues of all, and one of the most frequently played of the great

standards,

Smith (1925), Fats Waller organ solo (1926), Fletcher Henderson (1927), Johnny Dodds (1927, under the title New St. Louis blues), Louis Armstrong (1929), sie

Art Tatum piano solo (1933), Earl Hines ( 1940, under the title Boogie woogie on St. Louis blues), Pete Johnson (1950 under the title St. Louis boogie), Louis Armstrong (1954, in the LP "Louis

Armstrong plays W. C. Handy"). A short movie with this title was made in 1929 by Warner Brothers. Bessie Smith was the star and a number of well-known musicians such as James P. Johnson, Joe Smith, Buster Bailey, and Kaiser Marshall took part.

blues (1926).

ditional"

JAMES - SAMPSON

composed

by

W.

C. Handy in 1914. There are three distinct themes: a classic 12bar blues theme, played twice; a 16-bar theme in the minor, usu-

EDGAR

Alto and SAMPSON, baritone saxophone, clarinet, violin, arranger, composer, b. New York, N. Y., Aug. 31, 1907. Inherited his

and a love of music from his mother. At the age of 18 he toured with Duke Ellington's band, then played in New York with Arthur Gibbs 1926, Charlie Johnson 192729, Fletcher Henderson 1931-33, and Chick Webb 1933-36. After leaving Chick Webb he played very little, going in for arranging instead, but in 1943 did make a tour of army camps with Al Sears. talent

Edgar Sampson plays

alto

sax

ally

played with a Latin American rhythm accompaniment; a 12-bar

with a frank, emphatic, and melo-

blues theme quite different from the first used to finish the number,

influence of the

but which since 1930 hasn't often been played. Best recordings: Bes-

particular.

dious style. in general,

remarkable

On

shows the Orleans style

clarinet

New

and Jimmie Noone in violin he plays some

On

double-stop

choruses.

233

.

.

SAUTER - SAXOPHONE For Chick

Webb

arranged:

Get

he composed and

When

together,

dreams come

true, Stomping at the Savoy, Blue Lou, Blue minor, Don't

be that way (1934). He of remarkable ments, among them: Go Clap hands here comes (1937, recorded by Chick

number

and Tippi

made a arrangeHarlem, Charlie

Webb);

tippi tin, All the cats

join in (1938, recorded

Goodman). On

by Benny

saxophone he can be heard in: Chick Webb's Get together, When dreams come true, Lona (1934); on violin in Charlie Hot tempered blues Johnson's (1928), and Fletcher Henderson's

House

of

alto

David blues

room Five"

)

1914. Played with Charlie Bar-

Red Norvo. Became one Benny Goodman's chief arrangers between 1939 and 1942, worked for various bands before becoming of

co-leader with Bill Finegan of his own band. A talented arranger who often

written

him by Edgar Samp-

"commercial"

1931

net and

numbers, but knows

for

son.

how

(

SAUTER, EDDIE Trumpet and

has

composed

Chick Webb also developed the "Savoy tempo," a medium-fast bouncing time which was very popular with the dancers at the Savoy. Examples are: Dipsy doodle, Who ya hunchin, and many other records made by Chick Webb. The two last choruses of Dickie Wells' famous record Between the devil and the deep blue sea are another good example. At one time there was a dance hall in Chicago known as the Savoy Ballroom. Louis Armstrong and his Hot Five played there for some time, and his recording band was at one time called the "Savoy Ball-

arranger, b. Brooklyn, N. Y., Dec. 2,

SAVOY Large dance hall in Harlem, New York City. There are always two bands playing alternately in 20-minute sets. The Savoy has always had first-class bands, including among the foremost Chick Webb's. Webb's is always associated with the place, and it was there that he first played the great standard Stomping at the Savoy,

to write

after

it.

in the real jazz idiom. Responsible

Chorus

SAXOPHONE This instrument did not appear in jazz bands until 1915 and was not widely used until about 1920; it was never used in the early New Orleans bands. Six types of saxophones have been used in jazz: B flat soprano, E flat alto,

1947.

C melody, B flat tenor, E flat baritone and B flat bass. The alto and B flat tenor are used much more than the rest. The saxophone sec-

the arrangement of Benny Goodman's Superman (1940) and Lionel Hampton's Bag mop ( 1949 )

for

SAVE IT PRETTY Composed

in 1928

MAMA

by Don Redman.

of 16 bars without release; a very pretty melody. Louis Armstrong made three outstanding recordings of it in 1928, 1939 and

234

SAXOPHONE tion of a big band was for a long time made up of two altos and a tenor (played by musicians who could also form a trio on soprano saxes ) When it was enlarged it be.

came either two altos and two tenors, or two altos, a tenor, and a baritone; then two altos, two tenors, and a baritone became common, with sometimes three altos or tenors instead of two. Almost always it is one of the altos who leads the section. Less powerful than the brass section, the role of the saxophone is more singing, more moand more flexible in the exe-

section bile

cution of rapid runs. For solos the alto and

B

flat

tenor

have always been used more than the others, both in large and small bands. The alto was often included in small New Orleans-style bands playing in Chicago in the twenties. As solo instruments in big bands the alto and the tenor were both used a great deal, but around 1937 the tenor sax became more popular than the alto and during the following years it became the instrument most used for solos next to the trumpet, which has always been and remains the first instrument. Since 1950 the alto has had something of a revival. The chief alto sax men are or were: Benny Carter, Johnny Hodges, Willie Smith, Hilton Jefferson, Otto Hardwicke, Frankie Trumbauer, Howard Johnson, Booker Pittman, Stomp Evans, Joe Poston, Earl Bostic, Don Stovall, Buster Smith, Ted Buckner. Great tenor

players are numerous, since most of the good alto players switched instruments during the thirties. Among the best are: Coleman Haw-

Herschel Evans, Chu Berry, Lester Young, Gene Sedric, Ben Webster, Don Byas, Lucky Thompson, Alix Combelle, Budd Johnson, Joe Thomas, Ike Quebec, Illinois Jacquet, Arnett Cobb, Al Sears, Jessie Powell, John Hardee, Cecil Scott, and Big Boy Goodie; but there are many others with considerable talent. The C melody, whose tone is very much like that of an alto sax, was little used except between 1918 and 1930. Two well-known musicians who used it quite a lot are Stomp Evans and Frankie Trumbauer. There are two types of soprano sax: the straight and the goose neck. The latter is no longer used. It had its best days before 1930 when it was often used by some New Orkins,

by Sidney main inoccupies the same role

leans clarinets, above

Bechet

who made

strument. It in a

band

it

all

his

as the clarinet. Several

played the soprano, particularly Johnny Hodges. The only other great specialist is Emmett Matthews. When the success so long overdue came to Sidney Bechet about 1944, a number of young musicians took up the soprano sax in imitation of him, and the instrument became popular alto sax players also

again.

There is only one great baritone Harry Carney. But although

sax:

235

.

SCAT - SCOTT the baritone hasn't been used much its importance in the saxophone section has steadily increased and arrangers have rightly come to appreciate that its deep tone and volume give "body" to orchestral ensembles. The bass saxophone was used only in the early twenties, when it played the same part as the tuba. The only musician to achieve anyfor solos,

thing like quality on

it

who played with

becke.

Even before 1930

and

SCAT

it is

Bix Beiderits use was almost unknown.

now

Doubletalk; a succession

of meaningless syllables sung to

fill

when

a vocalist can't remember the lyrics of a song, or simply "for the hell of it." The legend is that Louis Armstrong "invented" scat when he accidentally singing dropped the sheet music of a song he was performing in a recording in

session.

Jelly

Morton, howhad been singing

Roll

ever, said people

he could remember. Louis Armstrong was to record scat singing in

scat ever since

At any the

rate,

first

Heebie jeebies (1926). Other records on which Armstrong sings scat are: Hotter than that, Squeeze me, Basin Street blues

(

1933 )

Another good example of scat singing is by Ella Fitzgerald in recording of Flying home

her

(1945).

SCOBEY,

"BOB"

ALEXANDER) band

leader, b.

Dec.

9,

236

Buena Band

Lu

Watters*

Yerba

in California, except

for his years in the

army 1942-46.

Later founded his own band which became very popular and played a considerable part in the New Orleans-style revival on the West coast. A good trumpet, much influenced by Louis Armstrong. Records: with Lu Watters, High society, Terrible blues (1942).

was Adrian

Rollini rare,

played with

(ROBERT

Trumpet

and

Tucumcari, N. M., 1916. From 1940 to 1949

SCOTT, "BUD" (ALBERT) Guitar,

banjo, violin, b.

New

Orleans,

Los Angeles, Calif., July 2, 1949. As early as 1904 played in John Robechaux's band, then with Freddy Keppard and various other bands until 1913 when he left New Orleans, playing violin in the orchestra with a revue on tour. This tour took him to New York in 1915 where he stayed for some years. In 1923 played for a while with King Oliver in Chicago, then went to California, but soon returned to Chicago and played again with Oliver from 1924 to 1926. Next played with Erskine Tate and Dave Payton. During 1927 and 1928 was with Jimmie Noone's famous band at the Apex Club in Chicago. In 1929 he went once more to California where he played for a while with Papa Mutt Carey, then dropped out of jazz until 1943, when Kid Ory, himself returning after many years, formed La., Jan. 11, 1890, d.

a

new

stayed death.

Bud

band. in

He

Ory's

Scott

hired Scott,

band

was one

until

who his

of the great

;

.

SCOTT -SEDRIC

New

Orleans

were simplicity

His solos played with

guitars. itself,

the earthy accent common to all musicians from the South. He was also a great band guitarist. His playing, even more powerful than Johnny St. Cyr's, brought the same tremen-

dous swing to any rhythm section which he played. He sometimes played on the lower strings of the in

While he was with Jimmie Noone he would sometimes play guitar at the beginning of a number and banjo guitar in a string-bass style.

at the end.

Records with King Oliver, Canal Street blues (1923), Sugar foot stomp, Wa wa wa (1926); with Johnny Dodds, Clarinet wobble, The new St. Louis blues (1927); with Jimmie Noone, Sweet Lorraine, Ready for the river, Blues my naughty sweetie gave to me, Apex blues, King Joe, Every evening (1928). :

SCOTT, CECIL

Clarinet, tenor

and baritone saxophone,

b. Spring-

Ohio, Nov. 22, 1905. Played home town in the band of his brother Lloyd Scott, with

field, first

in his

whom

he went to

New

York in

band became his own in 1928. About 1930 he suffered a serious accident to his leg and was out of action for some time. Later played with Teddy Hill and Frank Newton, and headed various small 1926; the

bands. On tenor sax he has a full tone and a fiery, dynamic style. Records: with Henry Allen, Dinah Lou (1935); with Willie "the Lion"

Smith, There's gonna be the devil

pay (1935); with Teddy Hill, At the rugcutters' ball ( 1936 ) with Rex Stewart, Pawnee (1945). On to

;

playing is sometimes Orleans style (for example in Clarence Williams' High society and Chizzlin Sam (1933), clarinet his

close to the

but

New

sometimes more jerky and ( for example in Willie "the

is

staccato

Lion" Smith's Harlem joys, What can I do with a foolish little girl like you, Swing Breeze, 1935).

SEARS, and

AL

arranger,

brother

swing,

Tenor saxophone

Macomb,

b.

111.,

Elmer Snowden 1931-32, Andy Kirk 1942, and in 1943 headed a band which toured American army camps throughout 1910. Played with

the

country;

played with Lionel

Hampton 1943^4, with Duke lington

Hodges

El-

Johnny great swing

with

1944-50, 1951-52.

A

with an original style up of long glissandi and nu-

musician,

made

merous

phrases

contrasts— legato

with many inflections alternating with violent staccato passages played with enormous enthusiasm. Records: with Duke Ellington, It don't mean a thing ( 1945 ) Beautiful Indians ( 1946 ) with Rex Stewart, Dutch treat, Rexercise ( 1945 ) with Johnny Hodges, Castle rock, Something to pat your foot to, Sideways ( 1951 ) under his own name, Marshall plan, Nell don't wear no button-up shoes ( 1951 ) ,

;

;

SEDRIC, GENE ("HONEY BEAR") Tenor saxophone and 237

.

SET - SHAVERS Mo., June 17,

clarinet, b. St. Louis,

was a well-known ragtime pianist known as "Con Con." Sedric played on the Mississippi riverboats and in his home town with Fate arable and Charlie Creath. He made two long tours in Europe with Sam Wooding, first 1907. His father

M

can't give

you anything but

love,

I can't believe that you're in love

with me, Big butter and egg man on clarinet, under his own ( 1953 ) name, Clarinet blues, Cuttin in, Blues for Fats Waller ( 1953 ) ;

ber of small bands. In 1953 toured

SET Rands usually play in night clubs for twenty minutes on end, then take a rest; each session is called a set. Between sets either another band or a solo pianist will

Europe with Milton Mezzrow.

fill

1925-26, then 1928-31. From 1934 to 1941 he played almost constantly for Fats Waller, then led a num-

among the greatest tenor Unlike so many others he influenced by Coleman Haw-

Sedric saxes.

wasn't

is

but has a style entirely his He has a direct, incisive swing; his playing is dramatic in fast numbers, and very tender in the slow numbers. Sedric possesses to the highest degree the art of expounding a melody and of lightly paraphrasing it with both delicacy kins,

own.

and

On

swing.

Sedric

clarinet

shines particularly in slow blues.

Records: tenor sax, with Fats Waller, Don't let it bother you, Breakiri the ice (1934), Baby

Brown ( 1935

)

;

Moon

rose,

Bye bye

baby, Hallelujah things look rosy

now, Swingin

One

them

jingle

bells,

Boo hoo, Blue turning grey over you ( 1937); Something tells me, Hold my hand, If I were you ( 1938 ) Step up and shake my hand (1939); The moon is low, Oh Frenchy, Swinga dilla in a million (1936),

,

street,

Hey

stop kissin

my

sister,

nobody's bizness if I do Pantin in the panther room ( 1940 ) (1941); with Milton Mezzrow, I

T'aint

,

238

in; hence the title of Billy Kyle's recorded piano solo Between sets

(1939).

SHAKE

A note executed with pronounced vibrato, almost a trill. Often used by the trumpets and trombones, particularly to link one chorus to the next particularly

or at the beginning of a phrase. Louis Armstrong uses the shake in one of his breaks in Wild man blues ( Okeh-Columbia version) and to lead in the final chorus of Willie the weeper. In big bands the arrangers sometimes write in a shake for the whole trumpet section, as in the next-to-last chorus of Count Basie's J left my baby. The saxophones substitute a trill, as for ex-

ample Ben Webster in Duke EllingCotton tail, and pianos also use a trill where the brass would play a shake— Earl Hines uses this ton's

effect a great deal.

SHAVERS, CHARLIE

Trum-

composer, arranger, b. New York, N. Y., Aug. 2, 1917. Learned banjo before he took up the trumpet,

.

SHAW - SHEIK pet.

He

started out professionally

and played with Lucky Millinder 1937, John Kirby 1937-42, with Tommy Dorsey almost constantly from 1937 to 1942, and in in 1935

"Jazz at the Philharmonic." Gifted

with

uncommon

virtuosity,

ful attack, full tone

power of

power-

and astonishing

execution, Charlie Shavers

has great invention and leavens his solos with agreeable touches of humor; the occasional lapses into flamboyance and too great a display of virtuosity are more than

made up

by

for

his great qualities.

Records: with Johnny Dodds, Melancholy baby (1938); with John Kirby, Effervescent blues (1939); under his own name, El salon de gut bucket (1944); with Herbie

Haymer-King

Swingin on central, Nat's kick ( 1945 ) with the Blue Rhythm Band, Blue rhythm jam ( 1947 ) with "Jazz at the Philharmonic," Jam session blues ( 1952, Vol. XV, first trumpet solo); under his own name, Dark eyes, Moten swing (1955). ;

SHAW, ARTIE (ARTHUR ARSHAWSKY) Clarinet and band leader, b. New York, N. Y., May 23, formed a big band

which became extremely popular. He disbanded and re-formed it several times

SHAW, ARVELL Bass. b. St. Louis, Mo., Sept. 15, 1923. Played trombone and then tuba before he took up string bass. From 1938-41 played with Fate arable on the riverboats. In 1944, after three years in the army, he started playing with Louis Armstrong and stayed with him from then on except for a break in 1951-52. His playing is very mobile and he has a big, powerful tone. Records: with Louis Armstrong, A song was born (1947); Bugle call rag, Russian lullaby (1950); Atlanta blues (1954, on LP "Louis Armstrong plays W. C.

M

Handy" )

Cole,

;

1910. In 1936

ographical novel, The Trouble with Cinderella (1952).

during the

forties.

An

SHEARING, GEORGE band

leader, composer, b.

Piano,

London,

England, Aug. 13, 1920. He is blind. Played in a jazz club in London throughout World War II. Came to the U. S. in 1946 where he stayed and enjoyed considerable success, directing a small band which has included notably Denzil Best and John Levy. A gifted musician, he

began by playing jazz inspired by Art Tatum, but his style has grown away from jazz under "progressive" influence. Best-known composition: Lullaby of birdland (1945).

excellent technician, but his style

so delicate, unemotional, and "sculptured" that it's lacking some of the quality of pure jazz. Bestknown recording: Begin the beguine ( 1938 ) Published an autobiis

.

SHEIK OF ARABY, THE Composed in 1921 by Francis Wheeler and Ted Snyder, played very often. Chorus of 32 bars without release. Best

recordings:

Duke

Ellington

239

. .

SHE'S

.

,

- SHOFFNER

(1932), Art Tatum piano solo (1937), Fats Waller (1938), Cole-

man Hawkins ( 1940 Milton Mezzrow ( 1951 ) Johnny Hodges ( 1953 ) )

,

,

SHE'S FUNNY THAT WAY Composed in 1927 by Richard Whiting. Chorus of 32 bars with release. Since the early forties has been prominently used as a vehicle for tenor sax improvisations. Best

Coleman

recordings:

Hawkins

(1939), Ike Quebec (1944), Illinois Lester Young Jacquet (1946), (1946), Buck Clayton (1953).

an electric guitar. Records: with James P. Johnson, Joy meetin, After you've gone ( 1944 ) with Sidney de Paris, Who's sorry now, Call of the blues (1944); with John Hardee, River edge rock ( 1946 ) ;

SHOE SHINE BOY Composed by Saul Chaplin and Kahn. Chorus of 32 bars with release. Best records: Louis Armstrong (1935), Count Basie (who recorded it in 1936 as Shoe shine swing by Jones-Smith Inc.), Duke Ellington (1936), Fletcher Henin 1935

derson (1936).

SHIELDS, LARRY b.

New

d. 1953.

Orleans, La.,

Clarinet,

May

SHOE SHINERS' DRAG Com-

17, 1893,

The outstanding musician

posed by

Jelly Roll

blues

Original Dixieland one-step

solos during

(

1937 )

SHIM-ME-SHA-WABBLE Composed in 1916 by Spencer Williams. Has two themes, each 16 bars separated by an interlude. Best recording: Mutt Carey ( 1947).

long,

first

Morton

in 1923,

London blues. A 12-bar made up of two themes of

the Original Dixieland Jazz Band 1915-22, and again when it was re-formed 1936-37. Record: in

called

which one leaves space

for break

four bars. Best recordings: King Oliver (1923, as London blues); Jelly Roll Morton

piano solo

(

its first

1924, as

London

blues )

and band (1928), Lionel Hampton (1938, Benny Carter arrangement).

SHOFFNER, BOB

SHIRLEY,

ARTHUR) 1913.

(JAMES Union, S. C,

"JIMMY"

Guitar, b.

Has mostly played

in trios,

including those of Clarence Profit,

Ram

Ramirez,

Herman

Chittison,

and various small bands, and has

made

a large

number

of records

with pick-up bands. His playing is full of fire and enthusiasm; he develops enormous swing in his ac-

companiments and displays great invention in his solos. Mostly uses 240

Trumpet. Played in his home town with Charlie Creath. Then played with King Oliver 1925-27 and with Earl Hines. He has remained mostly in the Chicago area. Influenced by King Oliver and Louis Armstrong, he plays b. St. Louis,

in

New

Mo.,

ca. 1900.

Orleans style and, so far

one can judge from the few good records he has made, he seems to have considerable talent. The unmuted trumpet part in King Olias

SHOUT - SIMEON

Wa wa wa ( 1926 ) is supposed be played by him, the muted part being by Oliver himself.

New

ver's

phone, b.

to

21, 1902. His family

SHOUT A blues

a

in

tone, of

style of singing the

penetrating,

which the

shouting

specialists are

Joe Turner, Wynonie Harris and Sonnie Parker. The word is also used as an adjective to describe musicians who play their instruments with the same powerful attack; James P. Johnson and Fats Waller are "shout pianists" and Tommy Ladnier a "shout trumpet."

There are

also several

numbers

in-

cluding the word in their title that are intended to be played hard, such as Carolina shout, piano solo recorded by James P. Johnson; Harlem shout played by Jimmie Lunceford's band, and Saratoga shout played by Luis Russell.

SHUFFLE A dance created in the South, the "Old Folks' Shuffle"; the word has since been applied to a variant of boogie woogie rhythm, slow and strongly syncopated. The Chicagoans used it a great deal, particularly in the release. After 1930 shuffle rhythm began to be incorporated in orchestrations and to be used frequently by drummers. Jimmie Noone plays shuffle

rhythm

two versions of I you know (1928 and 1937) and Cozy Cole does it on drums in Lionel Hampton's Sweethearts on parade (1939).

know

in his

that

SIMEON, Clarinet,

OMER VICTOR

alto

and baritone saxo-

Orleans, La., July moved to Chi-

cago when he was a child, and it was there that he began his career. There were many eminent New Orleans musicians in the city and he began to learn clarinet under Lorenzo Tio. He started out as a professional in 1920 in his brother's band, "Al Simeon's Hot Six." From 1923 to 1927 played with Charles Elgar in Milwaukee, Wis., making short trips to Chicago from time to time during which he made his first records with Jelly Roll Morton. In 1927 joined King Oliver and went with him to play at the Savoy in Harlem; later returned to Chicago to play with Erskine Tate. During 1931-40 he played with Earl Hines except for two short interruptions—one with Fletcher Henderson in 1936 and the other with Horace Henderson in 1938. In 1940 he started playing with Walter Fuller and stayed with him until he joined Jimmie Lunceford's

band

in 1942. After Lunceford's death he stuck more or less steadily with the group until 1950. In 1952 he joined Wilbur de Paris.

Omer Simeon was

influenced

by Jimmie Noone and partly by Johnny Dodds; his style usually lies halfway between these two partly

He is one of the Orleans clarinets alive;

great musicians. best

New

he reminds you of Jimmie Noone in his long, flowing phrases which pass so easily from the upper to the lower register and vice versa, with a supple melodic line, but he 241

.

SIMMONS - SINGLETON will suddenly introduce a harsh note and a "tearing" explosion in the upper register that's reminiscent of Dodds. Simeon has a great gift for developing a melody and of counterpoint in collective improvisations.

on

He

is

also a

good man

alto sax. Records: clarinet,

with

Roll Morton, Black bottom The chant, Smoke house blues, Doctor jazz, Original jelly

Jelly

stomp,

CanKansas city stomps, Georgia swing, Shoe shiners' drag, Mournful serenade, Shreveport stomp ( 1928 ) clarinet solos, Smoke house blues, Beau koo jack ( 1929 ) with Earl Hines, Indiana (1939); with Kid Ory, Creole song, Get out of here (1944), Do roll

blues, Grandpa's spells,

non

ball blues (1926),

;

;

what Ory say, Panama (1945); with Wilbur de Paris, Prelude in C sharp minor (1953); on alto saxophone, with Jabbo Smith, Boston skuffle ( 1928 ) with Earl Hines, Rosetta, Maple leaf rag ( 1934 ) ;

SIMMONS, JOHN

Bass. b.

Has-

Started out on trumpet, but a lip injury forced him to give it up. He took up the string bass and quickly acquired a considerable reputation. After 1940 Okla.,

kell,

1918.

he played with Louis Armstrong,

Roy

Eldridge, Sidney Catlett, the

Garner Trio, and made a of records with pick-up bands. An uneven musician but capable of remarkable swing. Records: with the Sidney Catlett Quartet, Just a riff, Linger awhile (1944); with Lips Page, You'd be Erroll

number

242

with King Cole ( 1944 ) and Herbie Haymer, Swingin on

frantic too

;

central (1945).

SINGLETON, CHARLIE and tenor saxophone, City, Kan., April 12,

Alto

Kansas 1930. Played b.

with Lionel Hampton 1946, and subsequently with various small bands. There are few musicians who can play slow blues so well on alto sax. Records: under his own name, Keep cool, Later for you (1949).

SINGLETON, "ZUTTY" (ARTHUR) Drums, b. Bunkie, La., May 14, 1898. Brought up in New Orleans, during his childhood he

heard

the great jazz musicians He started out professionally in 1915, but the following year joined the Navy and stayed in for three years. Around 1920 he played with Louis Armstrong in various night clubs in New Orleans. During the next few years all

in the city.

M

he played in Fate arable's band on the Mississippi riverboats, and in 1924 played in Charlie Creath's band in St. Louis. In 1925 he moved to Chicago and played with Doc Cook and with Jimmie Noone's Trio. In 1927 he joined Carroll Dickerson's band, which included Louis Armstrong and Earl Hines. In 1929, it moved to New York and became Armstrong's band. They played at Connie's Inn, and Singleton made a tremendous hit accompanying the dancer Louise Cook with tom-tom solos. When

.

SISSLE on tour, Zutty stayed at Connie's Inn with a band which included Bubber Miley, and later Fats Waller. Tours with various dancers brought him back to

examples of perfect drumming. He influenced many well-known drummers, such as Sidney Catlett, Dave

Chicago in 1933, where he once

strong,

more

no, Muggles,

Armstrong went

joined

Carroll

Dickerson,

Tough, and Gene Krupa. Best records: with Louis ArmBasin

No papa

blues,

st.

No one

else

but you,

He went back to York in 1937 and joined Milton Mezzrow's band; then for the next two years he played with vari-

Beau koo jack, Save it pretty mama, Heah me talkin to ya, St. James infirmary, Tight like this (1928), That rhythm man, After you've gone, Black and blue, When you're smiling, Some of these days

ous small bands, usually at Nick's. In 1941 he left New York and

(1929); with Jelly Roll Morton, Smilin the blues away, Turtle

moved

twist,

then formed a band of his own. Later on he played with Roy Eldridge 1936-37.

New

to

California

which from

then on became his base. He appeared in various movies, including Stormy Weather (1943) and New Orleans (1946), and played with various small bands including Slim Gaillard's Trio. In 1951-52 he toured Europe with Milton Mezzrow's band, and in 1953 played with Wilbur de Paris. With Baby Dodds, Zutty Singleton ranks as the greatest New Orleans-style drummer and one of the greatest

drummers known

in jazz.

No drummer,

with the possible exception of Chick Webb, has ever produced such a beat from the pedal; the tone and subtlety his foot gets from that bass

drum

is

beating of the human heart. His breaks show a great musical intel-

and can

really

That's like

little

it

ought

home

he ramble

didn't

Wee

Dixie

(

to

be,

(1929),

Oh

1939 )

;

with Pee

Russell and James P. John-

found a new baby, Everybody loves my baby (1938); with Milton Mezzrow, Revolutionary blues, Comin on with the come on

son, I've

(1938); with Fats Waller,

Moppin

and

boppin, Ain't misbehavin (1943); under his own name, Barney's bounce (1944); with Milton Mezzrow, Blues jam up, Blues no one dug, Mezzerola blues, Struttin with some barbecue, Clarinet marmalade, The sheik of Araby, If I could be with you ( 1951 ) drums solo, Drum face ( 1951 ) ;

tre-

mendous. On the snare drums with sticks and brushes, on the cymbals or the tom-toms he is just as remarkable and develops a vibrant, steady swing that throbs like the

ligence

My

be cited

as

SISSLE, singer,

NOBLE

composer,

b.

Band

leader,

Indianapolis,

July 17, 1899. Collaborated with the pianist Eubie Blake in 1915 in composing music for revues; their greatest hits were Shufand Chocolate fle Along (1921) Dandies (1924). In 1927 Sissle Ind.,

243

.

SISTER -SMITH formed a band which he took abroad several times between 1928 and 1931. His band has included from time to time such great soloists as Tommy Ladnier, Wendell Sidney

Buster

Bechet, Bailey, and Juice Wilson. Culley,

SISTER KATE.

See

Could Shimmy Like Kate

A

SLAP

Wish

I

My

I

Sister

sound produced by

plucking the strings of a string bass in such a way that the string slaps against the neck of the instrument. The New Orleans bass players (Pops Foster, Wellman Braud, Bill Johnson, Al Morgan) have always used it a great deal. Since 1935 the slap has hardly been used at all by the younger bass players. "Slap" can be also a sound produced by the reed instruments, especially the saxophones, by means of a particularly violent attack. In the twenties slap was frequently used by sax-

ophone

players;

Coleman Hawkins

used it on numerous Fletcher Henderson records such as Clarinet marmalade, and Stomp Evans in Jelly Roll Morton's

SLIM,

Wild man

blues.

"BUMBLE BEE" (AMOS

EASTON)

Blues singer, b. Florida ca. 1908. Sings in a style directly derived from Leroy Carr. Records: Queen bee blues, B. ir O. blues I'll meet you in the bottom, ( 1932 ) ;

Every goodbye

ain't

SMITH, BESSIE b.

Chattanooga,

244

gone

(

1936 )

She was taught by Ma Rainey and began singing in her home town. Soon after her professional start she

made

a tour of the South. In

she was married in Philadelphia to Jack Gee, who became her manager. In 1923 she made her first records for ColumApril,

1922,

Gulf Coast blues, accompanied by Clarence Williams, was the first bia;

of a long succession of great records. She was often accompanied by great musicians, among them

Louis Armstrong, Joe Smith, CharGreen, Tommy Ladnier, Buster Bailey, James P. Johnson, and Fletcher Henderson. Her tours were very successful. In 1929 she made a short movie called St. Louis Blues; at that point she was at the height of her career, famous throughout the country and earning $1500-$2000 a week. She not only sang, but acted and danced each number in her own unique and wonderful style. Her extraordinary popularity lasted until 1930, then began to decline. She still had a core of devoted fans and got music hall and night club jobs, but after 1933 when the critic John Hammond asked her to make a group lie

accompanied by Buck Washington, Chu Berry, Billy Taylor, and others, she never made another record. She fell on hard times; the radio and movies had weaned the public away from the blues. She was reduced to singing of records

in second-rate night clubs

Singer,

Tenn.,

d. Clarksdale, Miss., Sept. 26, 1937.

1895,

ing candy and

and

gum between

sell-

sets.

SMITH She died tragically as the result of an automobile accident in Mississippi; seriously injured, she was taken to a hospital which refused to admit a colored person; by the time a place could be found which would give her attention, her loss of blood proved fatal. Bessie Smith has rightly been called the Empress of the Blues. She is head and shoulders above any other female blues singers. Gifted with a deep poignant voice of exceptional beauty which she used with perfect mastery, she could express nuances of feeling with impressive power and great sensitivity. The generous temperament of this incomparable artist enabled her to use every minute inflection of her voice without ever falling into facile or vulgar effects; on the contrary, she had a delicacy of expression mixed with a sense of humor which is charac-

blues, Down hearted blues, Taint nobody's business if I do, Beale street mama, Baby won't you please come home, Mama's got the blues, Sam Jones blues, Cemetery blues, St. Louis gal, Any woman's blues (1923); Salt water blues, Rainy weather blues, Follow the deal on down (1924); St. Louis blues, Reckless blues, Sobbin hearted blues, Cold in hand blues, You've been a good die wagon, Cake walkin babies, Soft pedal blues, Dixie flyer blues, Careless love, Nobody's blues but mine (1925); Them "has been" blues, Squeeze me, I want every little bit, What's the matter now, Gin house blues,

Baby doll, Young woman's blues, Hard time blues (1926); Freachin the blues, Back water blues, After you've gone, Muddy water, Alexander's ragtime band, There'll be a hot time in the old town tonight, Trombone cholly, Hot spring blues,

Lock and

teristic of a "natural" artist.

key,

Sweet mistreater,

a a

Mean old bed bug blues, A good man is hard to find, Foolish man

and sincere emoShe had a great influence on other blues singers (particularly on James Rushing and Joe Turner) as well as on a number of jazz mu-

blues, Dyin by the hour (1927); Thinking blues, I used to be your sweet mama, It won't be you, Standin in the rain, Yd rather be dead and buried in my grave, Poor man's blues ( 1928 ) Vm wild about that thing, Kitchen man, Nobody

Bessie

Smith's

monumental

singing

simplicity,

has with

strain of pathos

tion.

sicians.

Bessie Smith never made a bad record; if you put on any one of

the 159 sides she cut ( 156 solos and 3 duets with Clara Smith) you are sure of hearing a superb interpretation. The following selection is chosen merely to show various aspects of her genius: Gulf Coast

;

knows you when you're down and out, He's got me goin, You don't understand, Don't cry baby, Blue Worn out papa blues

spirit blues,

(1929); Keep it to yourself, New Orleans hop scop blues, On revival day, Moan you mourners, Hustlin

245

.

.

SMITH -SMITH Dan

(1930); Safety mama, Need a sugar in my bowl ( 1931 ) Do your duty, I'm down in the dumps little

;

(1933). Alto saxophone, b. ca. 1920. Joined Erskine

Hawkins

in

A

1944 and remained musician with a very pleasant, gay, unaffected style. Records: with Erskine Hawkins, Tippin in ( 1945 ) Sneakin out ( 1946 ) ;

SMITH, BUSTER phone and

clarinet,

ble blues,

Irresisti-

Awful moanin

blues, I

never miss the sunshine, Don't tell nobody, Waitin for evenin mail (1923), Prescription for the blues,

SMITH, BOBBY

with him.

a fine series of records:

Alto saxob.

ca.

1908.

Played in Kansas City for the first half of his career, notably with Walter Page's Blue Devils and from 1932 with Bennie Moten. Later went to New York where he played with Lips Page, Eddie Durham, Snub Moseley, and various small bands. A very gifted and

whose playing is sinuous, impulsive, and full of drive, Buster Smith has never had the recognition he deserves. He was never very well recorded, but he can be heard on: Pete JohnsonJoe Turner, Baby look at you, Cherry red ( 1939 ) Eddie Durham, Moten s swing ( 1940 ) subtle alto sax

Death letter blues ( 1924 ) Nobody knows the way I feel dis mornin, Broken busted blues, Court house blues, My John blues, Shipwrecked ,

blues don't

(

1925 )

,

Cheatin daddy, You shakin your tree,

know who's

Black women's blues, That's why undertakers are busy (1926); duets with Bessie Smith, Far away blues, I'm goin back to my used to be (1923), My man's blues (1925).

SMITH,

"PINETOP"

(CLAR-

ENCE)

Piano and singer, b. Troy, Ala., June 1904, d. Chicago, 111., March 15, 1929. He learned piano as a child and started out professionally in

Birmingham, Alabama;

then played in Pittsburgh and toured as accompanist to "Butterbeans and Susie," a vaudeville team. Next went to Chicago, where

he was much admired by other musicians; it was there that he created his Pinetop's boogie woogie,

;

SMITH, CLARA

Singer, b. ca.

1895, d. 1935. Next to Bessie Smith and Rainey, the greatest blues

Ma

singer

known on

records.

Her

style

very similar to that of Bessie Smith; her voice is not so beautiful but is equally well suited to the blues, and her singing is tremendously sincere and moving. Between 1923 and 1930 she made

which became well known a few years later under the short title of Boogie woogie. He was accidentally shot during a fight between two customers at a night club which he had dropped into on his way home. Pinetop Smith

is

246

is

of

probably the

Most them play with power but often

greatest of boogie

lack

delicacy,

pianists.

whereas

Pinetop's

playing was at the same time very light and very firm. Owing to his

.

SMITH - SMITH and complete mu-

beautiful touch sical facility,

his left-hand figures

bounce along in a most appealing way and the tone he gets from a keyboard is a joy to the ear. He made very few records, of which the best are: Pinetop's boogie woogie (1928); I'm sober now, Jump steady blues (1929).

SMITH, FLOYD bass. b.

St.

Guitar and

Louis, Mo., ca. 1910.

Dewey

First

appeared

band

in 1929; in 1939 joined

in

Jackson's

Andy

Kirk and stayed with him for a number of years. A very good blues guitar. Often uses an electric Hawaiian guitar, with which he has made one remarkable record: with

Andy

Kirk,

Floyd

guitar

blues

(1939).

SMITH, "JABBO" b.

Claxton,

Ga.,

1908.

Trumpet, Played in

New

York with Charlie Johnson, in Chicago with Carroll Dickerson, then joined Claude Hopkins. Jabbo Smith has closely based his style on Louis Armstrong's; his playing is very emotional but sometimes uneven.

Some

of his solos are devel-

oped with remarkable

continuity,

such as those recorded with the Louisiana Sugar Babes in 1928:

Willow tree, 'Sippi, Thou swell, and that on Duke Ellington's Black and tan fantasy ( Okeh-Parlophone version, 1927).

SMITH, JAMES 1910.

Fats

Guitar, b. ca.

Played and recorded with Waller. Can be heard in

Waller's 12th

Sugar blues

(

st.

rag,

Sweet Sue,

1935 )

SMITH, JOE ley, O., 1902, d.

Trumpet, Dec.

1,

b.

Rip-

1937.

his eldest brothers already

As

played

trumpet, his parents wanted Joe to play drums instead. But Joe Smith also loved the trumpet, and shortly showed himself to be extraordinarily gifted. After having played in the St. Louis district, he went to New York and in 1922 was hired by Fletcher Henderson's band to accompany Ethel Waters. From 1923 Joe Smith began to record a lot of records with blues singers, among whom he was very popular as an accompanist. From 1925 to 1929 he played almost constantly with Fletcher Henderson, and from 1929 with McKinney's Cotton Pickers. He contracted tuberculosis and spent his last years in a sanatorium. Joe Smith was among the great vjazz

trumpet players.

He

played

with great sweetness and delicacy but without the slightest affectation. His style, very close to pure New Orleans, is sometimes reminiscent of the more tender side of

King

He

also sounded a Ladnier, another disciple of Oliver, not only because he drew from the same source but because he played beside Ladnier during all the years he was with Fletcher Henderson: on the band's Oliver's.

Tommy

little like

records tinguish

it

is

often difficult to dis-

between these two great

trumpets, as they expressed them-

247

*

SMITH - SMITH selves in the same phrases and with the same accents; but Ladnier's playing was generally more powerful, more "dirty," while Joe Smith's

was smoother and more

delicate.

Joe Smith's ample, round, tone,

his

fine,

tight

warm

vibrato,

(1927);

with McKinney's Cotton Pickers,

Gee ain't I good to you ( 1929, J.S. plays the first chorus and accompanies the vocal chorus).

his

and his very emotional accent actually used

with Clarence Williams,

Dreaming the hours away (1928);

SMITH, "MAMIE"

large and flowing inflections

b.

Cincinnati, O., Sept.

d.

New

16, 1890, York, N. Y., Oct. 30, 1946. Made frequent tours around the country during the twenties, often

make audiences cry. Few jazz musicians have been able to state the theme of a number in so simple and moving a way, as for example in the first chorus of Fletcher Henderson's I'm coming

accompanied

Virginia (1927). Joe Smith's style influenced many other trumpets,

was the

to

notably Eddie Allen, Buck ClayCootie Williams, Adolphus

ton,

Cheetham, Wendell Culley. Records: with Fletcher Henderson, Watcha call 'em blues (1925), The stampede (1926, middle solo), Fidgety feet (muted solo), Sensation (J.S. plays all the trumpet sopreceding the tenor sax passages), Livery stable blues (J.S. plays all the trumpet solos except the 2d chorus which is Ladnier), St. Louis blues (J.S. plays lead in the ensembles) (1927); with Ma Rainey, Yonder comes the blues, Chain gang blues (1925); with Ethel Waters, I've found a new baby, Tell 'em 'bout me (1926); with Bessie Smith, At the Christmas ball (1925), Baby doll, Lost your los

blues, Young woman's blues (1926), One and two blues, Alexander's ragtime band, There'll be a hot time in the old town tonight, Trombone Cholly, Hot springs blues

head

248

Singer,

by excellent musisuch as Willie "the Lion" Smith, Coleman Hawkins, Joe Smith, Johnny Dunn. Mamie Smith cians

first

Negro singer

to re-

cord, ca. 1920. She sounds quite a

Ethel Waters. Her bestrecord is Crazy blues; others: I'm gonna get you, You've got to see mama every night, Jenny's lot

like

known

ball.

SMITH, "STUFF" (HEZEKIAH

LEROY GORDON) and band

Violin, singer

Portsmouth, Aug. 14, 1909. Spent his childhood in Cleveland where he learned leader,

b.

O.,

When he was 15 he was in a vaudeville troupe with which he played violin and danced. In 1926 joined Alfonso Trent's band in Dallas, Tex., and remained with him nearly three years. Then moved to Buffalo and formed a band of his violin.

own with which he played

until

he went to New York with a very good small band which included Jonah Jones on trumpet and which was soon joined by Cozy Cole; they played at the Onyx Club and Stuff became 1935. In February 1936

.

SMITH -SMITH known

as

much

for his gags

eccentricities as for his

and

music (he

played at one time with a monkey on his shoulder). In 1940 Jonah Jones and Cozy Cole left his band. For some years he headed a trio

organized his own band. He was influenced a little by Johnny Hodges.

Record: with Frank Newton, Tab's blues (1939).

SMITH, WILLIE Alto and baritone saxophone, clarinet, arranger,

which was particularly good between 1943 and 1945 when it included the pianist Jimmy Jones and John Levy on base. Stuff Smith uses an electric amplifier and plays violin in a hard,

istry at college;

sharp

wound up

His improvisations are

style.

the most fantastic phrases and the craziest musical filled

with

Milton Mezzrow calls him "mad genius of the violin." His

ideas;

the

is extremely impressive. always plays with a great deal of enthusiasm and swing. Since 1937 his influence on other jazz

virtuosity

He

(of which there aren't many), has been very strong, and he has also had no small influence on players of other instruments. Records: under his own name, I'm violinists

my

b. Charleston, S.

Learned of 10.

reer

C, Nov.

25, 1908.

to play clarinet at the

He

age

didn't plan a musical ca-

and took a degree but for

in music.

in all

chemhe

that

He learned

alto

and joined Jimmie Lunceford's band at its formation about 1926. When Lunceford went to play at the Cotton Club in New York, Willie Smith was immediately noticed and earned the admiration of other musicians and of connoisseurs. Despite offers by a lot of big bands, he stayed with Lunceford until when he joined Charlie 1942, Spivak. After spending 1943 and 1944 in the Navy he played for some years with Harry James and sax

eggs in one basket, likes my music, You'se a viper, After you've gone,

"Jazz at the Philharmonic." Early in 1951 he joined Duke Ellington, but left the following year to play

Old Joe's hittin the jug, Here comes the man with the jive (1936), My thoughts, My blue heaven (1940);

with Billy May. Later on he returned to "Jazz at the Philharmonic." Willie Smith was influenced by Johnny Hodges and then by Benny Carter, succeeding in blending in his own music the style of these two great musicians. He has a tone

putting

I

all

hope Gabriel

with his Trio, Midway, Skip it, Desert sands (1944), Humoresque ( V-Disc, 1944 ) with Lucky Thompson, Test pilots ( 1947 ) ;

SMITH, "TAB" (TALMADGE) C,

Alto saxophone, b. Winston, N.

volume and beauty, an attack of unsurpassed strength

of extraordinary

11, 1909. Played with Fate Marable, the Blue Rhythm Band,

and

Frank Newton, Count Basie, and

most any other saxophone player.

Jan.

precision.

technique

is

His

instrumental

better than that of al-

249

SMITH Daring, varied, and grandly conceived improvisations pour out of him, and he makes his instrument sing almost as much as Carter does. His great period was while he was with Lunceford. The following records made with

Jimmie Lunceford show him at his best: Swingin uptown, Rhythm is our business, Rain ( 1934 ) Oh boy, Avalon, The best things in life are free (1935); I'll see you in my dreams ( 1937 ) The lonesome road ;

;

(W.S. plays

1st

alto

solo),

Blue

Uptown

blues (1939); Bugs parade, Chopin's prelude No. 7, Please say the word (1940); Blues blazes,

in the night (1941).

One

other rec-

Experiment perilous, Part II On clarinet, which he plays ( 1945 ) rather like Barney Bigard, he made ord:

.

with Lunceford: I'll take the south (1935); On the beach at Bali Bali Put on your old grey bon( 1936 ) net (1937). Willie Smith is a talented arranger also and has writ;

ten

some

brilliant

orchestrations

unexpected effects, and contrasts. For Lunceford he arranged Sophisticated lady, Mood indigo, Rose room ( 1934 ) Runnin wild ( 1935 ) Put on your old grey bonnet (1937). full

of swing,

;

;

SMITH, WILLIE "THE LION" composer, band leader, Goshen, N. Y., Nov. 24, 1893. His mother, who was an excellent pianist and organist, taught him piano for which he showed excep-

went

to France; he was an artillery sergeant and earned his nickname by conspicuous bravery. After the war he toured first with the singer

Mamie Smith and own band. Then he

leading

Duke

the

First

250

including

whom

he had came to hear him. The Duke composed a number in his honor some years later

on

called Portrait of the Lion, a

com-

pliment which was returned by Willie Smith in recording one day a piano solo entitled Portrait of the

Duke.

When

lost its

momentum,

Harlem went to play in night clubs in downtown New York and also worked gigs in and around town. In 1949-50 he gave a number of piano recitals in

France,

Spain,

night

life

in

"the Lion"

Belgium,

and North

Switzerland,

Africa.

Willie "the Lion" Smith ranks with Fats Waller, James P. Johnson, and Earl Hines as one of the greatest jazz pianists, and one with a very strong personality—he would be recognizable among a thousand

and a

During

musicians

a strong influence,

pianists.

talent.

jazz

Ellington,

b.

World War he joined the army and

New

York which he has seldom left since, playing as a soloist and leader of small bands in Harlem. In the late twenties and early thirties he was almost always to be found at "Pod's and Jerry's" where all the

Piano,

tional

with his

later

settled in

fresh,

A

lively sense of

melody

style that's tender, graceful,

and

full of sensitivity

can be

"His style is a strange mixture," Billy Strayhorn said, "of counterpoint, chromatic harmony and arabesque-like figfelt in all his solos.

;

.

SNOW ures as refreshing as spring water." His melodic developments are quite

unique. It isn't only that his phrases are polished; he has a lot of strength as well. His playing, as full of power as it is of nuances, has the same roundness, the same punch as that of James P. Johnson and Fats Waller. Although Willie Smith differs from the other two when he uses

means of exmellow 8-to-the-bar bass quite different from boogie woogie, he is with them one of the one of

his favorite

pression, a very

three all-time greats as a stride pianist. His stride is less forceful than that of James P. Johnson, less insistent than that of Fats Waller;

centrating Ripplin

waters, Sneak-

away (1938); Late

hours, Zig zag,

Contrary motion, Relaxin, Cuttin out, I'm gonna ride the rest of the way, Here comes the band ( 1949 ) Conversation on Park Avenue (1950); his magnificent Portrait of the Duke (1949) is an improvisation. He has also recorded some very fine solos of numbers by others, including The boy and the boat (also called

two

With bands he can be heard Mezzrow, Mutiny in the parlor, The panic is on ( 1936 ) under his own name, Harlem joys,

period.

best in jazz. His accompaniment has a perfect harmonic sureness about it, and a swing so fascinating that

What can

half the time the audience forgets

the lead part and listens to the piano. His left hand has a suppleness and mobility almost unequaled in jazz. He has developed his left hand by playing Bach, and has often contended that this is the best means of strengthening the left hand, which all jazz pianists should practice.

fluence on

He had all

tremendous

in-

pianists of the "stride"

school.

composed a quanextremely melodious numbers and recorded most of them as piano solos: Passionette, Morning Willie Smith

tity of

air (1938);

Echoes

of spring,

Con-

;

of the pianists of the earliest jazz

an indefinable mixture of nonchalance and drive. Willie Smith is also an incomparable band pianist, perhaps next to Fats Waller the it is

Squeeze me), Tea for

1938 ) Pretty baby, Sweet Sue (1950). One of his most remarkable records is his Reminiscing the piano greats (Vogue LP, 1950) on which he evokes memories of some (

on: Milton

;

I do with a foolish little you, Streamline girl, Echoes of spring, Rreeze, Sitting at the table opposite you, Swing brother swing ( 1936 ) I can see you all over the place (alternate title for girl like

;

Squeeze me), The swampland is calling me, I'm all out of breath,

More than

that (1937); Nagasaki,

Ain't misbehavin

(

1949 )

SNOW, VALAIDA

Trumpet

Washington, D. C, 1900. Played in Shanghai in 1926. Went to Europe in 1929 with the Rlackbirds revue, then toured in Russia, Germany and the Middle East. Returning to the United

and

singer, b.

States she headed a band which played at the Grand Terrace in

251

;

.

SNOWDEN - SOMETIMES Chicago with Earl Hines, then at Connie's Inn in New York. After that she left again for Europe and Asia. Caught in Holland by the

German

was some

camp

for

eighteen months, but eventually got back to the U. S. A good singer, Valaida Snow is also an astonishing trumpet player whose style is much influenced by Louis Arm-

Records (singing): with Earl Hines, Maybe I'm to blame (1933); with Billy Mason, I can't dance, I wish I were twins (recorded in England, 1935). strong's.

SNOWDEN, ELMER Md,

band

Oct.

9,

a

1900.

Was

leading his

the early twenties

at various times

number

Banjo,

leader, b. Baltimore,

own band by and

had with him

of remarkable musicians

Duke

Ellington 1922-23; Jimmy Harrison, Benny Carter, Walter Johnson 1924-25; Count Ba-

such as

Chick Webb 1929; Dickie Wells, Al Sears, Otto Hardwicke, Sidney Catlett, Richard Fullbright 1931-32. Fell into comparative obscurity after 1934. None of Snowden's bands went on wax, which is a serious gap in recorded jazz. He is one of the best banjos of all time, plays with decision and withsie 1926;

out destroying the basic chords, which are part of the savor of forgotten by many oversophisticated younger musicians— if they ever knew any-

real

jazz,

so

often

thing about it. His tempo is solid and implacable. Records: with Bes-

252

Baby

Ridiculous blues,

less blues,

Brown, Dallas blues

(

1934 )

invasion in 1940, she

in a concentration

guitar,

sie Smith, 7 ain't got nobody ( 1925 ) with the Sepia Serenaders, Name-

SOLITUDE by Duke bars

Duke

Composed

Ellington.

in

1933

Chorus of 32

with release. Best records: Ellington (two versions, one

with his band 1934, the other a piano solo 1941), Louis Armstrong (1935), Fats Waller organ solo (1943, V-Disc).

SOMEBODY LOVES ME Composed in 1924 by George Gershwin. Chorus of 32 bars with release (A, A 2 B, A). Best records: Fletcher Henderson (1930), Eddie South (1937), Art Tatum piano solo (1949), King Cole piano solo ,

(1952).

SOMEDAY SWEETHEART Composed

in 1919 by John and Benjamin Spikes. Verse of 16 bars, and 32-bar chorus (A, A 2 B, A 3 ), both very melodious and full of fine ,

material

for

recordings:

Best

improvisation.

King Oliver

Mildred

Bailey Basie (1939).

(1935),

(1926),

Count

SOME OF THESE DAYS Composed 1910 by Shelton Brooks. Chorus of 32 bars (A, A 2 A 3 A 4 ). Best recordings: Louis Armstrong ,

,

(1929), Coleman Hawkins (1935), George Wettling Trio with Milton

Mezzrow

(1944).

SOMETIMES Composed

I'M HAPPY by Vincent You-

in 1927

.

SOPHISTICATED - SPANIER mans. Chorus of 32 bars without release.

Best

recording:

Lester

Young (1943).

SOPHISTICATED LADY Composed in 1933 by Duke Ellington, Otto Hardwick, and Lawrence Brown. Chorus of 32 bars with reBest records: Duke Ellington (two versions, 1933 and 1940), Art Tatum piano solo ( 1933 ) lease.

SOUTH, EDDIE

Violin,

Louisiana, Mo., Nov. 27, 1904. Learned violin at the age of 10, b.

completing his studies at the Chicago Conservatory. Switching to jazz, he played in Chicago mostly with Jimmy Wade from 1921 to 1926, then in 1927 with Erskine Tate. In 1928 he toured Europe, playing for some time in Paris, for some months in Budapest and in England. After he came home he formed his own small band with which he played a great deal in Chicago. He returned to Paris in 1937 for the International Exhibition, played also in Holland, and then returned again to tour the United States with a small band. In 1941 he played at Cafe Society in New York. Shortly afterwards he

became give up

seriously

playing;

ill

and had

since

to

then his

health has caused several further interruptions in his musical career.

With Juice Wilson and Stuff Smith, Eddie South is one of the few really great jazz violinists. He was influenced by Darnell Howard. Having heard all the great

New

Orleans musicians in Chiduring the early twenties, he absorbed their feeling into his phrasing and rhythmic accent. His tone has remarkable beauty and is far better than that of any other violinist playing jazz and comparable with that of the great classical violinists; his instrumental technique is superb and he plays with complete ease. He is full of ideas and can make his instrument sing like Benny Carter's saxophone. His influence on other violinists has

cago

been

great, particularly on Stephane Grappelly and Joe Venuti. violin solos, Sweet Records: Georgia Brown, Eddie's blues, Somebody loves me, I can't believe that you're in love with me duets with Stephane Grap( 1937 ) pelly, Fiddle blues, Dinah, Daphne (1937); with his own small band, ;

Honeysuckle

On

rose,

side of the street

(

the sunny Oh lady

1937 )

be good, Stompin

at

;

the

Savoy

(1941).

SPANIER, "MUGGSY" (FRANCIS) Trumpet, b. Chicago, 111., Nov. 9, 1906. Played during the twenties alongside the best "Chicagoans." A member of Ted Lewis' band from 1929-36, then joined Ben Pollack. Since 1939 has been leading a succession of small groups; also had a b'g band 1941-43. Influ-

by Tommy Ladnier and Louis Armstrong, he assimilated to a remarkable degree the 1923-27 style of Armstrong. Records: with enced

the Chicago

Rhythm

Kings, There'll

253

;

SPASM - SPIRITUAL be some changes made (1928); with Ted Lewis, The lonesome road, Royal garden blues ( 1931 ) with his own band, Dippermouth blues ( 1939 ) Relaxin at the Touro ;

blues who also plays guitar, he is a genuine barrelhouse musician. Records: Wilkins Street stomp, The St.

(1940).

SPENCER, O'NEIL

SPASM BAND

Term used to street bands, made

describe small

up of objects not usually used making music. The musicians

for

are

usually children, playing for nickels and dimes. Some bands use the

spasm-band

instruments deliberthe sound effects they produce. They include a suitcase or box in lieu of drums, an empty wine jug which produces for a tuba, comb and paper, kazoo, etc. All of these "instruments" were also used at one time or another in a band otherwise made up of ordinary instruments. The earliest recorded spasm band was playing under that name in New Orleans in 1895; its members were between 12 and 15 years old and comprised: Harry Gregson, leader, singing through a length of gas pipe; Staleately

for

bread Charley

dozens (1929); with his Louis stomp (1938).

dirty

(

Emile Lacomb ) on Cajun (William

cigar-box fiddle;

Cedarville,

O.,

trio,

Drums,

Nov.

25, 1909, York, N. Y., July 24, 1944. Played with the Blue Rhythm Band 1931-36, and with John Kirby 1937-41. An excellent technician

b.

d.

New

good swing, with a style somewhere between the classic New Orleans and that of Chick Webb. Records: by the "Spencer Trio," Baby wont you please come home, Lorna Doone shortbread (1938); with John Kirby, The turf, with

Effervescent blues, blues (1939).

Royal garden

OF RHYTHM A small

SPIRITS

group made up almost entirely of stringed instruments— ukelele, "tipple," guitar, and bass— which flourished in the thirties and was made up of Douglas and Wilbur Daniels, Teddy Bunn, Wilson Myers, then Wellman Braud, the scat singer Leo Watson, and Virgil Scoggins on suitcase.

Bussey) harmonica; Charlie Stein

on kettle, cow-bells and gourd; Chinee on bull-fiddle; Warm Gravy, Whiskey ( Emil Benrod ) and Monk (Frank Bussey) on various homemade whistles and horns.

SPIRITUAL plied to

the

all

Negroes

Spirituals

Generic term apsung by in North America.

religious songs

are

often

16-bar

num-

and many of them are of European origin; they can be interpreted by a soloist or a vocal group, and they must be sung very rhythbers,

SPECKLED RED (RUFUS PERRYMAN) Piano, b. Hampton, Ga., Dec. 4, 1892. A good boogie

mically with the basic jazz beat,

woogie piano and singer

which incidentally came

254

of

the

to

jazz

SQUEEZE - STACY spirituals. The best religious singers (or "gospel singers") known on records are Sister Mahalia Jackson, Sister Rosetta Tharpe,

from the

Sister

Wynona

and

Carr,

Mary

Knight. The oldest form of religious music found among the colored people of the United States is not the spiritual but the "preaching" by the "Reverend" accompanied by the congregation; the Reverend preaches with a sort of rhythmic recitative, punctuated by the "yes, yes" and "amen" of the congregation

until,

prompted

by

the

preacher, the audience bursts into song, clapping hands, stomping and repeating the same phrase over and over, changing and improving the harmony as they go along and filling the harmony out with notes and phrases interjected at appropriate moments. This develops an enormous and impressive tension. One record of the Rev. Kelsey, Little boy, recorded with the congregation of the Temple Church of God and Christ, Washington, D. C. (1949), is one of the best examples. The tempo may be progressively accelerated, which is never done in ordinary jazz.

SQUEEZE ME

Composed

in

1924 by Fats Waller and Spencer Williams. It has the structure and character of early New Orleans

numbers. Chorus of 16 bars without release (A, B, A 2 C) with a 2-bar passage intended to be a break solo early in phrase C. This is one of the most graceful of all ,

jazz melodies;

it

great musicians

preted

it

and

has inspired most

who have

inter-

for this reason there

an unusually large number of good recordings of it: Bessie Smith (1926), Louis Armstrong (1928), Chick Webb (1937), Willie "the Lion" Smith ( 2 versions, one with orchestra in 1937 under the title of I can see you all over the place, and the other a piano solo in 1938 under the title of The boy in is

the boat); Fats Waller ( 1939), Earl Hines Trio (1944), James P. John-

son piano solo (1944), Louis Armstrong (1955, in the LP "Satch plays Fats").

STACK

O'

LEE BLUES.

See

Frankie and Johnnie

STACY, JESS

Cape

Piano, b.

Aug. 4, 1904. Played in Chicago 1926-36 with Frank Teschemacher, Muggsy Spanier, and the other "Chicagoans," then joined Benny Goodman whom he left in 1939 for Bob Crosby. Led a big band of his own 1944-45. In recent years has been living on the West Coast and played with a number of small Girardeau,

Mo.,

bands. Stacy was much influenced by Earl Hines. He is an excellent technician with a good attack, but he sometimes strays from the jazz idiom. Records: piano solos, The

world

is waiting for the sunrise, Barrelhouse (1936); with Gene Krupa, Blues of Israel ( 1935 ) with Lionel Hampton, Buzzin around with the bee (1937). ;

255

.

STAFFORD - STEPTER STAFFORD, GEORGE Drums, b.

Atlantic City, N.

d.

New

York, N.

Y.,

STARK, ROBRY

ca.

1900,

b.

1936.

From

d.

J.,

New

Webb

drummers and also of Kaiser Marshall and he sometimes created

of 1933

very original breaks of unexpected structure. Records: with Charlie Johnson, Boy in the boat, Walk that thing ( 1928 ) with Eddie Condon, I'm gonna stomp Mr Henry Lee (1929); with Henry Allen, Rosetta, Get rhythm in your feet (1935); with Milton Mezzrow, The panic is on, Mutiny in the parlor

in

(1936).

STANDARD

A number

which time and found

has stood the test of a permanent place in the repertory of jazz bands, such as: St. Louis blues, Tiger rag, When the saints,

Honeysuckle rose, Rosetta. The term is used in opposition to "pop," a new popular song.

STAR DUST Hoagy Carmichael

Composed by in 1927.

Chorus

of 32 bars without release. A rather sentimental melody, but it has harmonic sequence that lends itself to subtle variations. The best recordings: Louis Armstrong (1931), Art Tatum piano solo (1934), Fats

Waller piano solo (1937), Don Byas tenor saxophone solo (1950); Lionel Hampton improvised a marvelous series of variations on this theme during one of the "Just Jazz" concerts in 1947 ( Decca LP ) 256

Trumpet.

Y., Jan.

6,

1906,

Dec. 26, 1945. Played with Chick

1927 to 1936 played almost entirely with Charlie Johnson at Small's Paradise, New York. His style was not unlike that of the New Orleans

;

York, N.

in

1927,

and became well

known when he Henderson

joined

Fletcher

in the following year.

Left Fletcher Henderson at the end and rejoined Chick Webb,

with whom he remained until 1939; 1940 played with Ella Fitzgerald. Bobby Stark was strongly influenced by Louis Armstrong and also to some extent by Bubber Miley. He was a vigorous and sensible trumpet, never seeking spectacular effects but playing with great heart and a perfect sense of jazz. In his first records with Fletcher Henderson, such as: Hop off ( Brunswick version ) I'm feelin devilish, Feelin good, Oh baby The wang wang blues ( Co( 1928 ) ,

,

lumbia-Vocation version, 1929), he plays completely in the New Orleans style. Later he played less on the beat, using more sinuous, more legato phrases. He was a good blues player. His other good records

were: with the Chocolate Dandies, Dee blues, Got another sweetie now (1930); with Fletcher Henderson,

My pretty girl (1st solo), House of David blues (1931), New King Porter stomp ( 1st solos, 1932); with Chick Webb, Midnite in a madhouse (1937), Spinnin the Webb, Liza (1938).

STEPTER, MERRILL "STEP" Trumpet, b. Chillicothe, Ohio, June 11, 1911. Played with Speed Webb, Teddy Hill, Dud Bascomb,

.

STEWART - STEWART Luis

Russell,

Claude Hopkins, Europe in 1949 An uneven mu-

Cecil Scott. Toured with Buck Clayton.

but capable of playing pentrumpet in the style of Louis Armstrong who influenced him a great deal. Records: with Buck Clayton, Swingin at sundown (M.S. takes 2d chorus), Who's sorry now (1949, M.S. plays the sician,

etrating

muted

solo).

STEWART, REX Trumpet and band

leader, b. Philadelphia, Pa.,

Feb. 22, 1907. Went to New York in 1923 and for two years played with Elmer Snowden. He was with Fletcher Henderson in 1926 and again from 1929 to 1933 except for a short break when he joined McKinney's Cotton Pickers. In 1933 he formed his own band, but had to break it up soon afterwards; he then joined Luis Russell, and in December 1934 entered Duke Ellington's band with which he stayed, apart from one short break, until the end of 1945. He then formed another band of his own and played with "Jazz at the Philharmonic." He took a small band to Europe in 1947 and made a series of long tours that took him as far as Australia.

He appeared

the movie Hellzapoppin

Rex Stewart was

(

1941

in

)

originally influ-

enced by Louis Armstrong, and for some years he played in a near-

New

Orleans style. He had a furidriving approach, as can be heard on his recordings: with Fletcher Henderson, The stamous,

pede (1926, introduction and last chorus), Singin the blues (Columbia), Sugar (1931, in the last two numbers R.S. plays the muted solos); with McKinney's Cotton Pickers, Do you believe in love at sight (1933). Later his playing remained hard on the beat, like New

Orleans musicians, but his means of expression broadened, producing sensitive and melodious solos made up of the most charming phrases, such as: with Duke Ellingmy baby goodnight ton, Kissin (1936); Morning glory (1940); Five o'clock drag ( 1941 ) under his ;

own name, Love

in

my

heart

1937 ) Finesse ( 1939 ) ;-as well as Madeleine ( 1947 ) harsh, vehement solos such as: with Duke Ellington, Showboat shuffle ( 1935 ) Watermelon man (1938); Across the track blues (1940); under his own name, Tea and trumpets, Sugar hill (

;

;

;

shim sham

(1937); Mobile bay (1940); Pawnee (1945). He also plays with the "growl" solos "wa-wa" mute, as in: with Duke Ellington,

under

John Hardy's wife, and

own name,

Subtle slough (1941); and some with a stifled tone produced by playing with the valves half down as in Duke Ellington's Boy meets horn ( 1938 ) Stewart has influenced a number of trumpets, including Roy Eldridge and Taft Jordan. his

.

STEWART, "SLAM" (LEROY) Bass. b.

1914.

Englewood, N.

First

age of

6;

J.,

Sept. 21,

learned violin at the took up string bass in

257

.

STOMP - STOP 1934 and began to play with bands and around Newark, N. J. Studied at the Boston Conservatory for in

(

1945 )

eyes,

under

his

own name, Dark

at the deuces, Play

fiddle play (1945).

Became well known in 1938 when with Slim Gaillard he

a

;

Jumpin

year.

made up

the well-known vocal and instrumental duet, "Slim and Slam." In 1943-44 played in Art Tatum's Trio and in 1945 joined Benny Goodman; afterwards played with various small bands on 52d Street,

including Don Byas'. Later on got together several quartets of which one, including Erroll Garner, was remarkable. From 1944 he made innumerable records with pick-up bands. With Slim Gaillard appeared in the movie Hellzapoppin

STOMP

some have suggested, denote a number played in fast time. It's used in the title of many numbers, as

such as King Porter stomp, Double check stomp etc., and is very nearly synonymous with "swing"— as in Stompin at the Savoy and I'm gonna stomp Mr. Henry Lee. Numerous slow blues have the word in their title, such as Johnny Dodds' Bucktown stomp.

STOMPIN' AT THE

(1941).

Slam Stewart made the bass

into

a solo instrument, using the bow a cellist. While he plays he sings the same notes an octave higher with a fascinating effect which earned him the name of the Singing Bass. In a rhythm section he plays pizzicato with a mobility and varied accent that give his playing an incisive swing equaled by few bass players. Records: with Fats Waller, Moppin and boppin with Lester Young, I never ( 1943 ) knew, Sometimes I'm happy, Afternoon of a Basie-ite (1943); with Don Byas, What do you want with like

;

my

heart,

Don's idea, Bass C-jam Coleman Hawkins,

(1944); with A shanty in

old shanty town (1944); with Art Tatum's Trio, Flying home, Topsy (1944); with Erroll Garner and Don Byas, Wrap your troubles in dreams, Slamboree

258

synonym word does not,

Originally a

for "stamp." This

Composed

in 1933

SAVOY

by Edgar Samp-

son for Chick Webb when they were playing at the Savoy. Chorus of 32 bars with release. See Savoy.

Best

Chick

recordings:

(1934),

Coleman

Webb

Hawkins with

Cozy Cole

(1944), Jonah Jones (1945), Lionel Hampton (1953), Art Tatum piano solo ( 1954 )

STOP

CHORUS,

TIME

A

chorus in which a soloist is not accompanied by the rest of the band with any continuing rhythm; the band plays chords on the first beat of the bar eveiy two bars and the soloist plays alone in between. Famous stop choruses: Louis Armstrong on trumpet in Potato head blues, Jimmie Noone on clarinet in Every evening, Lester Young on

tenor sax in Lester leaps in. Stop time is similar except that

.

STORMY - STORYVILLE it

refers specifically to the playing

rhythm

which backs up the rest of the band with the same beats that the band plays beof the

section,

hind a soloist in a stop chorus. Or the rhythm section may play stop time alone, particularly

when

feet.

Stop

time

is

also

often used in accompanying singers

who

talk rather than

sing a

chorus; it can likewise be used in the last 4 or 8 bars of a chorus that precede the final phrase when there is no release, or during the bridge when there is one. Examples are Louis Armstrong's Come back sweet papa, Sweet little papa. This effect may be repeated several times so that the last bars of a number are repeated four or five

example in Louis ArmKnee drops and Coleman

times, as for strong's

Robinson, Babe WalWaller (with Zutty Singleton, Slam Stewart, etc. ) Cab Calloway's band, Katherine Dunham's company, the Nicholas Brothers and Ada Brown. Bill

,

ac-

companying tap dancers, the silence between the beats making it easier to hear the rhythm of the dancer's

Home,

lace, Fats

Hawkins' Jamaica shout.

STORY,

VERNON

Tenor saxoOrleans, La., Nov. 16, 1922. As a small child he used to listen to the music played in the phone,

b.

New

honky-tonks around town. He left in 1929 for New York. First learned clarinet, then switched to tenor sax in 1940 and started playing professionally the following year, working with small bands in New York and Atlantic City. Made a European tour with Rex Stewart 194748. Influenced by Coleman Hawkins and Lester Young. Record: with Rex Stewart, Story mile ( 1947 )

STORYVILLE A section of New New Orleans

Orleans. In 1897 the

authorities, to curb the rapid spread

of vice, delimited an area of 38

STORMY WEATHER posed

in 1933

Ted Koehler;

Com-

by Harold Arlen and a standard ever since.

Chorus of 36 bars (A, A 2 B, A 2 ), the two A 2 phrases being 10 bars instead of 8 through the addition of a 2-bar tag. Ethel Waters made ,

the best recording of it in 1935. Other good recordings: Duke Ellington (1933), Art Tatum piano solo

(1937),

Don Byas

(1947), Buck Clayton (1949). Also the title of a movie made in Hollywood in 1943 by 20th Century Fox. It had an all-Negro cast and starred Lena

within which prostitution would be tolerated; this area, bounded by Canal and Basin Streets, became known as Storyville, after Sidney Story who had the idea of leaving one section of town wide blocks

open. Within it flourished the sporting houses and the night clubs such as Frank Early's and

Pete Lala's; in all of these places, notably Lulu White's famous Mahogany Hall, the great jazz musicians played. On Oct. 2, 1917, at the insistence of the U. S. Navy, Storyville was closed down by an

259

STOVALL- STRIDE ordinance of the City Council, and of the musicians moved north to Chicago.

many

STOVALL,

DON

Alto

saxo-

phone, b. ca. 1910. Played in various small bands in Kansas City, then in New York and Chicago with Lips Page, Snub Moseley, and

many years Henry Allen. Has a big tone, great power and speed. Plays with unusual "punch" in an exuberant style, and ranks among the best alto players. Records: with Lips Page and Pete Johnson, Lafor

627 stomp (1940); with Lil Armstrong, Riffin the blues, Sixth st. (1940); with Sammy Price, Just jivin around (1941).

orator of Ellington, writing numer-

ous arrangements for the band and taking the piano himself at some concerts and recording dates. Judged from the jazz angle, the in-

modern European mu-

fluence of

has sometimes had an unfortunate effect on Strayhorn's work, but when he wants to he can write excellent jazz. Examples: recorded sic

by Duke

Ellington,

Take the

A

Clementine, C-jam blues, Esquire swank Stray(1941-46). horn's piano playing is a close retrain,

flection of his style as

an arranger.

fayette,

STRAYHORN, "SWEE'PEA,"

or

"BILLY,"

"WEELY" (WIL-

STRIDE A piano style much in use by soloists about 1930. The essential characteristic is the play in the left hand, made up of a chord on the weak beats alternating with a bass note struck on the strong

LIAM) Arranger and piano, b. Day-

beats.

Nov. 24, 1915. Studied classical music but then turned to jazz. Duke Ellington heard him in Pittsburgh, liked the words of the numbers which he was playing and

stride piano are:

ton, Ohio,

hired

him

to write lyrics for his

own songs.

Strayhorn eventually became, in 1939, a permanent collab-

m

I

greatest specialists

in

James P. Johnson, Willie "the Lion" Smith, and Fats Waller; Earl Hines, Art Tatum, and Duke Ellington used it a good deal in the early part of their careers.

Although

it

has lost ground since

the thirties, stride has certainly not disappeared; it's still impossible to

5^

f Stride Bass

260

The

.

.

STRONG -SUTTON be a good jazz

pianist without be-

ing a master of this

STRONG, JIMMY phone and

clarinet,

Tenor saxoca.

b.

SUGAR

Composed in 1926 by Pinkard. Chorus of 32 bars with release. Best recordings: Ethel Waters (1926), Fats Waller Maceo

style.

1905.

Played with Carroll Dickerson in during Chicago the twenties.

Known chiefly for his recording with Louis Armstrong's Hot Five

(1927), Louis Arm(1946), Earl Hines piano solo (1949).

organ

SUGAR FOOT STOMP.

in 1928.

STRUTTIN' WITH SOME BAR-

Dipper

BECUE

Composed in 1927 by Louis Armstrong. Chorus of 32 bars without release. A very good tune. Louis Armstrong made three outstanding recordings of it: in 1927, with his Hot Seven; in 1938 with his big band; in 1954 with his (in

All-Stars

the

LP

"Selections

from the Glenn Miller Story").

STYLE

With the wider spread and

of jazz through records, radio,

increased speed of travel, the indiof regional styles decreased and has now almost disappeared. In the early days, however, they were strongly marked. (See viduality

New

Chicago, Kansas City, leans.

Or-

style

a musician or a

band

ans"

Nov.

4,

(Red MacKenzie, Eddie Con-

don, etc.), then with Red Nichols, Bob Crosby, and since 1939 with various small groups and as soloist. Influenced first by Earl Hines, then by Fats Waller. His improvisations often contain beautiful melodic ideas, but he is somewhat uneven. Records: with Red Nichols,

China boy (1930); piano solos, Honeysuckle rose, Gin mill blues Little rock getaway ( 1934, ( 1933 ) the last two numbers his own com;

positions

ex-

is

sometimes given to the

of their followers

and

imi-

On

trumpet, for instance, there is the King Oliver style, Louis Armstrong style, Roy Eldridge style,

Piano, b. Chi-

1906. Played there with the principal "Chicago111.,

)

)

When

tators.

See

Mouth Blues

SULLIVAN, JOE cago,

SUTTON, RALPH

ercises great influence, his or their

name

solo

strong

Harry

among bands

Edison

Lunceford, and

Hampton

SUBLETT, JOHN. "Bubbles"

style,

and

the Ellington, Basie,

See

styles.

b.

Piano,

Hamburg, Mo., Nov.

Went

4,

1922.

New

York to play with Jack Teagarden. After 1948 played a great deal as solo pianist at Eddie Condon's in New York. Went to England in 1952 for a jazz festival.

to

A

brilliant "stride" pianist, in-

by Fats Waller, Willie "the Lion" Smith, and James P. Johnson. Records: piano solos, Drop me spired

off at

Harlem, Bee's knees

(

1952 )

261

.

.

SWAYZEE - SWING SWAYZEE, HAYMAN EDWIN Trumpet,

("SON")

b.

ca.

1905,

d. 1935. Went to Europe in 1929 with the band accompanying the

Blackbirds

When

revue.

he

got

played with Sam Wooding 1931-32, then with Cab Calloway ( with whom he made an-

back to U.

other

S.

European

tour)

1932-35.

Much

influenced by Louis Armstrong, he is a good "growl" trumpet. Records:

Gotta go (1932); (1933).

with

Cab Calloway, and do things

places

camp

Harlem

meeting

SWEET The word has two meanings: it can be applied to music played gently, for example Joe Smith's trumpet solo in I'm coming Virginia, or it can denote a false jazz, commercial jazz played languidly with a syrupy, insipid sweetness, as

A

opposed

to authentic jazz.

"sweet" singer

a jazz

number

is

in

one a

who

sings

sentimental

manner, for example Billy Eckstine. The opposite is a swing singer, like Louis Armstrong or Fats Waller, jazz idiom.

who

sing in the real

SWEET GEORGIA BROWN Composed in 1924 by Maceo Pinkard and Ben Bernie. Chorus of 32 bars without release. One of the most frequently played standards.

The

best recording is the earliest: Ethel Waters (1925). Other good recordings: Jimmie Noone (1935), Eddie South violin solo (1937), Django Reinhardt guitar solo

262

(1937),

Mezzrow

Milton

from a concert at the Paris, on Vogue LP).

(1952,

Salle Pleyel,

SWEETHEARTS ON PARADE Composed

in 1928 by Carmen Lombardo. Chorus of 32 bars with release. The two best recordings are by Louis Armstrong (1931), and Lionel Hampton ( 1939 ) Armstrong made another good version (1940), ;

and Buck Clayton

(

1953 )

SWEET LORRAINE

Com-

posed in 1928 by Clifford Burwell and Mitchell Parish. Chorus of 32 bars with release. Jimmie Noone made it his signature tune and

made the best recording of this number (1928, with Earl Hines on piano ) Other good recordings Art Tatum piano solo (1940), King Cole Trio (1940, Decca version), Coleman Hawkins (1943), Lionel .

Hampton

:

(1953).

SWEET SUE

Composed in 1928

by Victor Young. Often performed in jam sessions. Chorus of 32 bars with release. Best recordings: Jimmie Noone (1928), Louis Armstrong (1933), Fats Waller (1935), Dickie Wells (1937), Willie "the Lion" Smith piano solo ( 1950 )

SWING

The rhythmic pulse the vital element in jazz music. It is the regular, living but never mechanical pulse which throbs in all good performances. that

is

Swing is to mechanical rhythm what the heart-beat is to a metronome.

.

SYKES Swing comes from the regular rhythmic undulation developed by the supple beat of the rhythm secaccentuating the weak beats of the bar and sliding onto the strong beats. It is increased by the imaginative multiple accentuations of the musicians which, while they sometimes seem to sidestep the regular rhythm or even go at a tangent to it, actually build up the tension and increase the rhythmic impact. Swing is a matter of execution and can't be written down in black and white. An arranger can protion,

duce an orchestration which is intended to swing, but it is entirely dependent upon the performers as to whether it does or not. "Though the same group of musicians may play the same tune fourteen times, they may not swing until the fifteenth time." ( Duke Ellington, Melody Maker, July 15, 1939). Musicians usually use the word swing as a verb: "We're going to swing that

sang. In the United States thusiasts

began

some en-

to call jazz itself

and in 1935 the word was borrowed from jazz musicians and applied to Benny Goodman who became known as the "King of Swing." The public believed that swing was a new form "swing music";

of

music

or,

of jazz: to

at least, a

them "swing

meant big bands,

of

new form orchestras"

around

fifteen

Benny Goodman; the word became so debased that the music of any big band was called "swing" (and the word was pieces,

like

that of

even applied to small groups playing arrangements similar to those used by big bands such as that of Louis Jordan). The "Swing Era" comprised the decade 1935-46, at the end of which big bands went

economic reasons. hangover from these years the expression "swing style" remains to describe the brand of music that was popular during that into decline for

But

as a

period.

number."

The word is first recorded in the of a number composed by Jelly

title

SYKES, ROOSEVELT ("THE DRIPPER") Singer and

HONEY

Morton in 1906: Georgia No one knows when the word really came into use. In 1931

blues pianist, b. Ark., 1906. Since

Duke

piano he can play very well and very badly; as a singer he is usually excellent. Records: Night time is the right time ( 1936 ) Get your row out, Sugar babe blues ( 1941 )

Roll

swing.

Ellington brought it to popular notice in the words of one of his

numbers,

"It don't

It

mean

that swing,"

is

don't

mean a

a thing

what

if it

Ivie

thing:

ain't

got

Anderson

1930 has been well known on a

mendous number

of records.

tre-

On

;

263

TAG - TAMPA

TAG added last 8

Usually a 2-bar phrase

to the

end of a chorus. The

bars of I got rhijthm are pro-

longed by a tag; two of the 8-bar groups in Stormy weather have tags. A tag can also be added by a musician at the end of the last chorus of a number; it was often used in the early New Orleans period of jazz.

were called "tailgate bands." Tailgate bands also played for funerals, marching through the streets on all important occasions; they were almost entirely made up of brass. Usually they played marches with plenty of fancy trombone parts. Later on the word was applied to the New Orleans trombone style.

There is a 2-bar tag at the end of King Oliver's Chattanooga stomp and New Orleans stomp. The Chicago school also used it, but after 1930 it has been much less fre-

records:

quently heard.

1952),

TAKE THE "A" TRAIN Composed in 1941 by Billy Strayhorn. Chorus of 32 bars with release. Best Duke Ellington (1941 and Cab Calloway (1941), Earl

Bostic (1952).

TAILGATE in New Orleans

It

was the custom

to

have bands on

trucks drive through the streets to advertise a dance, a prize fight, or any other important function. Since

the trombone player needed to

maneuver

his slide,

room

he stood at

the back of the truck which had tailgate

let

down;

hence

N„>iu»l

264

its

bands

'

"TAMPA RED" (HUDSON WHITTAKER) Blues singer, Georgia, Dec. 25, 1900. Spent youth in Tampa, Fla. Became well known during the twenties in Chicago where he made a number of records under his own name and accompanied other singb.

his

pUrase einL

TAP-TATUM ers, notably Ma Rainey. Has continued ever since to record in Chicago. Sometimes plays kazoo, and usually uses the neck of a bottle on his finger as a pick when he plays guitar. Records: with Big Maceo on piano, Crying won't help you, I'll he up again some day

(1946).

swing and feeling. He always plays pure, unadulterated jazz. Records: with Count Basie, Rock-a-bye Basie (1939); Gone with what wind, The world is mad to beat for

(

1st tenor solo

;

Kandee

TAP DANCING

A

great tap

dancer can produce the same effect as a great drummer. The best is not necessarily the one who can tap the fastest, but the dancer who swings the most and can suggest a melody by the rhythmic figures he beats out with his feet. Some of the best tap dancers of all were Bill Robinson, "Bubbles" (of the Buck and Bubbles team), Bill Bailey, and "Taps" Miller.

TATE,

"BUDDY" (GEORGE)

Tenor saxophone,

b.

Sherman, Tex.,

Feb. 22, 1914. Played for some six years beside Herschel Evans in Troy Floyd's band, then with Andy Kirk and Nat Towles. Count Basie hired him early in 1939 to replace Herschel Evans. Tate stayed with Basie until 1948, then played with Lips Page, Jimmy Rushing, and led his own group which became the house band at the famous Savoy in Harlem. Buddy Tate plays in a straightforward style and swings to the utmost. He sometimes recalls Herschel Evans. Unlike most tenor sax players of the post-thirties, he doesn't try to play complicated,

overelaborate phrases, but

is

hard

on side

1

)

,

Stampede

G

minor, Blues (1940); It's sand man ( 1942 ) Stay cool ( 1946 ) with Buck Clayton, I can't get started, in

ing,

;

with Jimmy Rush( 1954 ) Boogie woogie, heave me ;

(1954).

TATUM, ART Piano, b. Toledo, Ohio, Dec. 1909. Learned piano while at school and made his professional debut in 1928 in Speed Webb's band; later played with McKinney's Cotton Pickers. In 1931 the singer Adelaide Hall found him in the Middle West and brought him to New York the following year where he at once made a tremendous hit. He plays mostly as a single, sometimes with small bands. In 1943-44 he headed a remarkable trio with Tiny Grimes on guitar and Slam Stewart on bass. Toured England in 1938. Almost blind, Tatum has learned everything he knows by ear. He has a dazzling instrumental technique, perhaps better than that of any other jazz pianist. He's fan-

both harmoniand melodically, and when he wants to can play with a lightness and swing almost equal to the great tastically inventive,

cally

Fats Waller's. Since 1934 Tatum has had a great influence not only on pianists but also other instrumentalists. Among the pianists who

265

,,

,

owe a lot to him are: Hank Jones, Herman Chittison, and Billy Taylor.

worked with Fats Waller, and from

Records: piano solos, St. Louis blues, Tiger rag, Tea for two ( 1933 ) After you've gone, The shout, Star dust, I ain't got nobody, Anything for you (1934), Gone with what wind, Stormy weather, The Sheik of

Ellington. Since 1940 he has

TAYLOR - TAYLOR early 1935 until

1939 with

Duke been

playing with Joe Sullivan, Coleman Hawkins, Henry Allen, and various small bands in New York; also in a number of pick-up bands. His son, Billy Taylor, Jr., also plays

Araby ( 1937 ) Deep purple, Elegie, Humoresque, Sweet Lorraine, Get

bass.

happy, Rosetta, Indiana (1940), Jada ( 1944 ) Runnin wild ( 1945 ) Ain't misbehavin (1947), Aunt Hagar's blues, Blue skies (1949), 7 know that you know, How high the moon (1949), Stompin at the Savoy, My last affair, Isn't this a lovely day, In a sentimental mood, Love for sale, Wrap your troubles in dreams, Come rain or come shine, I'm coming Virginia, Sittin and rockin (1954, LP "The Genius of Art Tatum"); with his trio, The

most

interpretations. His tone is not particularly powerful but it is round and pure, and has the same resonance in the bass as Kirby 's. Whether he plays 2 or 4 to the bar, Taylor has wonderful swing, both

man

full

,

,

I love,

soul,

Dark

eyes,

Flying home,

Body and

Cocktails for

two (1944).

TAYLOR, BILLY

Bass and tuba,

Washington, D. C, April 3, 1906. At the age of 13 was taught tuba by the neighborhood cop. In 1924 went to New York and the next year became the tuba player in Elmer Snowden's band. From 1927 to 1929 played almost constantly with Charlie Johnson at Small's Paradise in Harlem; afterwards played with McKinney's Cotton Pickers. Between 1931 and 1933 went back several times to Charlie Johnson and eventually gave up tuba in favor of string bass. In 1934 b.

266

After having been one of the

remarkable tuba players, Taylor became one of the great bass players in jazz. Like most musicians who began on tuba, such as John Kirby, he knows how Billy

band a really solid beat, and a majestic ease characterizes to give a

all his

and

light in

its

texture.

Records: with Bessie Smith, I'm down in the dumps (1933); with Fats Waller, Do me a favor, Don't let it bother you, Sweetie pie, You're not the only oyster in the stew, Dream man, Believe it beloved, Breakin the ice ( 1934 ) with Duke ;

Showboat shuffle ( 1935 ) Diminuendo in blue, Crescendo in blue, Harmony in Harlem (1937), Ellington,

Subtle lament, Portrait of the Lion (1939).

TAYLOR, BILLY,

Piano. JR. N. C, July 24, 1921. Son of the above. In 1942 played with Ben Webster and various other small bands on 52d Street, b. Greenville,

.

TAYLOR - TEMPLE New

York; then with Eddie South 1943-44, Ed Hall, and Slam Stewart.

Went

to

Europe with Don Redman

1946-47. Later on headed several small groups. A musician with a real gift for melody who was early influenced by Art Tatum and King

Cole but

who sometimes

lets

pro-

gressive cliches spoil his playing.

Record: piano solo, Stridin the Champs Ely sees ( 1946 )

down

TEAGARDEN, JACK bone and

was influenced by Jimmy Harrison, whose style he helped to popular ize, and by Louis Armstrong whom he closely follows

TAYLOR, FREDDY

Dancer,

About 1930 became one of the best rhythm dancers. Then learned trumpet and in 1933 went to France, where he headed a band in various Paris singer, trumpet, b. ca. 1910.

night clubs for several years. He returned to the United States in 1938 and gave up both music and dancing. He has left one pleasant record recorded with his own band

Vipers dream and Blue drag ( he takes the vocal chorus

in Paris in 1935:

on the

latter).

Trom-

Vernon, Tex., Aug. 20, 1905. Played with Wingy Manone, Ben Pollack, Paul Whiteman, then in 1939 founded his own band. In 1947 joined Louis Arn> strong but left in 1951 to form another band of his own. Teagarden singer, b.

phrasing.

An

in a lot of his

excellent technician

with an easy style, but sometimes a little corny and sentimental. Records: with Red Nichols, Sheik of Arahy (1930); with Benny Goodman, Texas tea party, Dr. Heckle and Mr. Jibe (1933, also released as the

Goodman and Teagarden

All

The hucklehuck and other numbers in Stars); with Louis Armstrong,

the

LP "Satchmo

at

Pasadena"

(1951).

JOHNNY

TEMPLE,

Blues

singer, b. Vicksburg, Miss., ca. 1910.

Chicago where he made a of records between 1935 and 1941, and then disappeared from jazz. His rugged and tense

Went

TEA FOR TWO

Composed in 1924 by Vincent Youmans for the musical show No, No Nanette. Chorus of 32 bars without

release.

Despite its Broadway origin, the song has become a standard for

to

number

singing

was

characteristic

of the

rural blues sung along the Missis-

by Willie "the Lion' Smith (1938) and by Art Tatum ( 1933, 1939, and

He also played guitar, but it seems that he was only recorded as a singer. Records: Louise, Louise blues (1936); Pimple blues (1937);

1954). Other good recordings are:

Stavin

chain

Teddy Wilson (1937), Fats Waller piano solo (1937), Hank Jones piano solo (1947), Johnny Hodges

blues

(1939);

jazz piano.

(1951).

The

best recordings are

sippi.

(1938);

Streamline

Sugarbowl

blues,

Good woman blues (1940); Fireman blues, Roomin house blues (1940); Sundown blues (1941). 267

.

TERRY -THARPE TERRY, CLARK Trumpet, b. St. Louis, Mo., Dec. 1920. Played with

Charlie Barnet 1947, Count Basie 1948-51. At the end of 1951 joined

Duke

Ellington with

A

since remained.

whom

he has

gifted trumpet

with a fine tone, but he is beginning to play a lot of bop. Records: with Duke Ellington, Star dust (1953); Stompin at the Savoy (1953-54,

the

in

LP

"Ellington

Freeman, Jimmy McPartland, etc. At first amateur and then professional, it was the band that created what's called the Chicago style. Much influenced by the New Orleans clarinets, particularly Johnny Dodds, but never quite acquired their style. Records: with the Chicago Rhythm Kings, I found a new baby, There'll be some changes

made

(1928).

'55").

THARPE, ROSETTA TERRY, SONNY

Harmonica

and blues singer. Real name Saunders Teddell. b. Durham, N. C, 1912. Blinded in an accident when he was 12 and learned the harmonica

in the hospital to pass the

time. Left

home

at the age of 23

and made several records in Chicago, accompanying Blind Boy Fuller's

Took

blues.

"Spirituals

part in the

Swing" concert at

to

Carnegie

Hall,

December

1938;

New

York,

in

and has spent most New York since then.

of his time in Produces wonderful tonal effects from his harmonica and sometimes sings, with a peculiar falsetto voice, between the phrases he plays, as in Harmonica stomp, Harmonica and washboard blues ( 1940 )

TESCHEMACHER, FRANK Clarinet

and

alto

saxophone.

Kansas City, Mo., March 13, 1906, d. Chicago, 111., in an automobile accident Feb. 29, 1932. Studied at the University of Chicago and while there formed a band with other students— Bud b.

268

and

Singer

Cotton Plant, Ark., 1915. Her mother, Katie Bell Nubin, sang in the local congregation and Rosetta was brought up from her earliest years on religious music. She learned to play guitar at the age of 6. As a child she became an excellent gospel singer, and sang in various churches with her mother. She went to New York and became well known in 1938 when she sang in a Cotton Club revue that featured Cab Calloway's band. At that time she began to make a remarkguitar, b.

able series of records, singing some numbers but more often reli-

lay

gious

songs.

Except for Mahalia

Jackson, she's the most remarkable spiritual singer known on records. She has a perfectly beautiful mezzo-

soprano voice, and there's always a fire, a swing, an extraordinary "bite" in her singing. Her guitar has a true, pure Southern flavor. Records: This train (1939); When I move to the sky, Don't take everybody to be your friend, How far

from God,

Two

little

fishes

loaves of bread (1947);

and

Down

five

by

.

THAT'S- THEME the riverside (1948); The last mile of the way ( 1952 ) duets with Mary Knight, Didn't it rain, Up above my head, My journey to the sky, Pre-

which

cious memories ( 1947 ) duets with her mother, Katie Bell Nubin, Ninety-nine and a half wont do, Daniel in the lions den ( 1949 )

Stomping Body and

;

;

THAT'S A PLENTY Composed by Lew Pollack

in 1905. It has three themes of 16 bars each and a

12-bar interlude which is played between two choruses of the third theme (usually several times in a performance). Best records: Louis Armstrong ( 1951, in the LP "Satch-

mo

at

Pasadena"), Kid Ory (ca.

1954).

THEME

Jazz musicians have long played the blues themes (12 bars), rags (16 bars), spirituals (usu-

ally 16 bars), old French tunes which remained popular in Louisi-

ana (16 or 32

bars),

or originals

composed by themselves and usually following

one of these forms.

played after two repetiprimary phrase, so that these numbers take the form A, A, B, A. Examples: Honeysuckle rose, is

tions of the

at the Savoy, Coquette, soul. In

most tunes the

A

phrase is slightly modified in its second or last repeat. In some 32-bar numbers there's no release. The principal phrase appears in the first 8 bars and is

developed

slightly

in

differently

the following 8 bars; in the 17th bar the original phrase reappears but is modified to lead into the concluding 8 bars, giving the form: A, B, A 2 C. Examples: I cant give you anything but love, Indiana, Margie. The 16-bar themes used in jazz subdivide in much the same way, each phrase being 4 bars instead of 8, except that in those numbers with a release the second A phrase ends differently from the two others in order to swing straight into the release; this form may be described as A, A 2 , B, A. Examples: Rhythm is our business, Careless ,

How come

you do

me

Later, particularly after 1929, under

love, Jada,

pressure from managers, music publishers, and record companies they started playing a lot of Broadway pop numbers, generally inferior in quality, but which, under jazz influence or the hands of a good arranger, often turned out all right. The great majority of themes used in jazz after the New Orleans period are 32 bars made up of two 8-bar phrases: the principal phrase (A) repeated three times, and the secondary theme or release (B)

This procedure is sometimes used in 32-bar numbers with release, but it is unusual; like

you

do.

Everybody loves

my baby

is

an

ex-

ample. In 16-bar numbers without release you often find a kind of 2-bar extension. Examples: Baby won't

you please come home, Sugar blues. ( See Tag. ) Such numbers, although they in fact comprise 18 bars, are usually referred to here as "16 bars with tag." A tag can sometimes be

269

THESE - THOMAS found

in 32-bar

lease,

but

it is

numbers with a rerhythm is

rare; / got

a 32-bar number with a tag, but the tag is more and more frequently

omitted

when

this

number

is

played, so that it's reduced to A, A, B, A form. The blues are made up of three 4-bar phrases, the second being usually a repetition of the first with slight modifications, giving A,

A

2 ,

B. See Blues.

The

best themes used in jazz are

almost always blues, 16-bar themes (of which the majority belong melodically to the blues family) and 32-bar themes without release.

These last are usually richer in melody and harmony than the 32bar numbers with release which are generally too easy and hackneyed. Unfortunately jazz musicians, having accepted the ordinary 32-bar A, A, B, A form, have got into the habit of using it, and young musicians tend to follow the same easy way rather than take the trouble to get out of the rut. Only the best-known forms of

themes have been touched upon here. It must be mentioned that

some themes, of course, are often played double their length: each chord is repeated by the rhythm section so that the 32-bar chorus (played in "long meter") seems to be 64 bars. Since 1940 Lover come back to me has almost always been played this way; likewise Body and soul and The man I love when they are played in fast tempo. Riff

270

themes consist of a single

phrase repeated with or without

They are usually 32-bar numbers with release, which is generally a different phrase, or classic 12-bar blues. Examples of 32-bar riff themes: Flat foot floogie, Christopher Columbus, Double check stomp, Flying home. Examples of 12-bar numbers: Royal garden blues (last theme, in B flat), Swinging the blues, Hot and anxious (theme used for In the slight variation.

mood made famous

by

Glenn

Miller).

THESE

FOOLISH

THINGS

Composed in 1935 by Jack Strachey, Link and Marvel. Chorus of 32 bars with release. Best records: Lester Young (1946), Don Byas (1947), Earl Hines piano solo (1950), Sir Charles Thompson piano solo (1954).

THOMAS,

GEORGE

("FAT-

HEAD")

Singer and saxophone, b. ca. 1900, d. 1930 in an automobile accident. During the twen-

and up to his death played with McKinney's Cotton Pickers. Thomas had a very good voice and sang in ties

a vibrant style; was a particularly

with McKinney's Cotton Pickers, If I could be with you one hour, Baby wont you please come home, I want a little girl, Cotton pickers brilliant scat singer. Records:

scat (1930).

THOMAS, JOE

Tenor saxoUniontown, Pa., June 19, 1909. Started out on alto sax. Began

phone,

b.

.

THOMAS - THOMPSON his career

in 1930.

with Horace Henderson

Changed

to tenor sax to

play with Stuff Smith in Buffalo. In 1932 Jimmie Lunceford, then playing in Buffalo, hired him and he went with Lunceford's band to New York. He stayed in the band until Lunceford's death in 1947, and afterwards was joint leader of it with Edwin Wilcox, but they split up in 1948 and Thomas went on to lead a smaller band.

Joe

Thomas was somewhat

influ-

enced by Coleman Hawkins. He adopted Hawkins' smooth, velvet tone and broad inflections, but used

much

simpler phrasing. His solos up with plenty of swing. He is one of the few tenor saxes who really make the instrument sing; his playing is full of feeling and his tone is very moving; his sax sometimes sounds a great deal like the human voice. Records: with Jimmie Lunceford, Black and tan fantasy (1934); Since my best girl turned me down ( 1935 ) Posin (1937); Annie Laurie (1938); he jazz hot, Baby won't you please are always built

;

come home,

Wham

(1939); Bugs

it, What's your story morning glory ( 1941 ) Keep smilin keep laughin be happy ( 1942 )

parade, I got

;

Joe

Thomas

He

also sings very pleas-

good vocals on Jimmie Lunceford's Keep smilin keep laughin be happy (1942) and particularly on his Baby won't you please come home (1939). antly.

takes

THOMAS, JOE b.

Trumpet. Webster Groves, near St. Louis,

1912. Played with Cecil Scott 1929-30, Fletcher Hen-

Mo., July 24,

derson 19.34 and 1936, Fats Waller, Bryant, Teddy Wilson, Benny Carter, and various small bands. A simple and straightforward musician who never goes in Willie

for flashy effects.

Much

influenced

by Louis Armstrong who favorite trumpet player.

is

his

He

has a handsome, full tone and an easy relaxed execution. Records: with Lil Armstrong, Or leave me alone (1936); with "Little Jazz" (Roy Eldridge), Fiesta in brass, trumpet trio (1944); with Don Byas, Jamboree jump, Should I, Pennies from

heaven (1945); with Cozy Cole and Earl Hines, Thru for the night (1944).

THOMPSON, CHARLES HUBBARD Piano and composer, b. St. Louis, Mo., 1891. Started out professionally in 1911. In 1917 played

and around

in various night spots in

Louis and on the Mississippi riverboats; played with Charlie St.

Dewey own band in

Creath, his

son

Jackson, and had St. Louis. Thomp-

one of the

is

known

earliest

ragtime

us on records, and he's also one of the purest and most individualistic. Records: piano pianists

solos,

The

prolific

rag,

lily

Delman rag who still lives

to

composer of

the best

Derby stomp,

(1950). Thompson, in St. Louis, was a

known

is

rags, of

The

lily

THOMPSON, "LUCKY" Tenor

saxophone

and

which

(1914).

(ELI)

arranger.

271

.

THOMPSON -TIGER b. Detroit, Mich., 1924.

THOMPSON,

Undertook

"SIR"

CHARLES

extensive musical studies. Went to New York when he was nearly 20 and played with Lionel Hampton 1943; spent the following year on

Piano, b. Springfield, Ohio, 1912.

52d Street with Lips Page, Sidney

Jacquet 1947-48, the J. C. Heard Quartet 1953, and headed various small groups of his own. Has some

Catlett, Billy Eckstine's first

band,

and various small groups. From late 1944 until October 1945 played with Count Basie. Played at the

Played with Lionel Hampton 1940, Lucky Millinder 1944 and 1946,

Coleman Hawkins

1945,

Illinois

Count Basie's conciseness and sense of swing. Records: with Cole-

of

Jazz Festival in Nice, France, 1948, since when he has usually headed small bands.

man Hawkins,

Thompson's style was formed under the influence of Coleman Hawkins and Don Byas. His turn of phrase derives from Byas, but his ardent vibrato and his very moving intonations recall Hawkins' power of expression. He makes wide and subtle use of blue notes and has a very personal way of conceiving and executing intricate staccato phrases; his superb melodic

Blue Monday caravan (1947), (1948), Sivingtime in the Rockies, Honeysuckle rose (1954); with Buck Clayton, The huckle buck, Robbins nest (1953).

Lucky

line

He

reveals is

one

a vivid imagination. of the greatest tenor

Stuffy, Ladies lullaby, Sportsman's hop (1945); un-

der his

own name, Rhythm

itch

THREE LITTLE WORDS in 1930 by Harry Ruby and Bert Kalmar. Chorus of 32 bars

Composed

with release. Best records: Kansas City Six ( 1944 ) Coleman Hawkins' Sax Ensemble (1944), King Cole piano solo (1947). ,

saxes of his generation.

Records: with Lips Page, It ain't The lady in red, Rockin

TIGER RAG

This

number

is

at

supposed to have been composed in 1917 by Nick La Rocca, but

sax

many

like that,

Ryans (L. T. plays the 2d tenor solo), You'd be frantic too (L. T. accompanies the 2d vocal chorus and plays solo the next to last chorus ) My gal is gone ( L. T. plays the next to last chorus and accompanies the one before it); with Count Basie, Avenue C ,

(1945); with Willie Smith, Experi-

ment perilous ( 1945 ) with the Blue Rhythm Band, Blue rhythm jam ;

own name, Test one more chance ( 1947 )

(1947); under his pilots, Just

272

of the older musicians say

that to their certain

knowledge

all

four themes of the number were current in New Orleans by 1900. One of them (the first) was originally an old French quadrille, the second was a very good waltz. The first theme of 8 bars is played twice, then gives way to the second theme of 8 bars (originally 16, but only 8 are now used), and then reappears. The third theme (32 bars without

TIO - TIPPLE release)

is

once; leaves

is

it

then

played

through

so constructed that

it

room for several break solos which are usually given to the clarinet, this number having been long regarded as a clarinet

speciality.

theme appears— 32 bars without release, in which a Finally the fourth

long solo improvisation is supposed to be played; this theme is often stated with various peculiar noises meant to simulate a tiger's roar, originally provided by the tuba but later by the trombone— Jelly Roll Morton used to achieve the same effect by smashing down the lower octaves of the piano with his left arm; according to his story a member of the audience once said "You'd think it was a tiger roaring," from which came the name of Tiger rag. This piece was played a great deal, particularly until the end of the thirties, but unfortunately since about 1930 it has become customary to play it in a hectic fast time and to introduce too many "gag" effects. There are a number of brilliant recordings, such as: Duke Ellington (1929); Louis Armstrong (three versions, Tiger rag 1930; New tiger rag 1932; Super tiger rag 1934); Art Tatum piano solo (the Brunswick version of 1933 is slightly better than the Decca of 1940); Buster Bailey (1938, issued as Man with a horn goes berserk); Kid Ory (1946, Co-

lumbia version). Special mention must be made of Jelly Roll Morton's remarkable piano solo in Vol. I of the "Saga of Mr. Jelly Lord"

(

LP

)

in

,

which Morton shows how number have

the themes of this

been absorbed into the jazz idiom. The harmonic sequence of the fourth theme has frequently been used to compose other tunes, and examples of their re-employment are Hot and bothered and High

by

recorded

life

Ellington

in

1928-29.

TIO,

LORENZO,

Clarinet. JR. Orleans, La., ca. 1880, d. 1934. His uncle, Lorenzo Tio, Sr.,

b.

New

was a well-known

clarinet,

a jazz musician. Tio

Jr. is

but not

generally

accepted as having been the greatest jazz clarinet player of the earlier

generation;

musicians

who heard

him place him on the same level as Jimmie Noone. Most of the leading

New Orleans

clarinets playing

style

were influenced by him. He played for some time in Chicago, then moved to New York, and played on the riverboats that ran between New York and Albany. In 1932, not so very long before his death, he headed a band at the Nest in New York which included Sidney Bechet. He made few records and is badly recorded on them; only Bright star blues, made by Piron's New Orleans

Band

of his

in 1924, gives a glimpse

His brother, Louis

talent.

Tio, called "Papa" Tio, was also a well-known clarinet player.

TIPPLE

An

oversize

metal-

manThe instrument is

stringed ukulele with a weak, dolin-like tone. just

about obsolete.

273

TIZOL - TRAYLOR TIZOL, JUAN

Trombone and

composer, b. Puerto Rico, Jan. 22, 1900. Played with Duke Ellington 1929-44; afterwards played with Harry James, and returned to Ellington in 1951. Plays valve trombone. A good ensemble musician but misses the real jazz spirit in solos. Has composed several numbers which have become very famous in the Ellington repertory;

his

some, such as Perdido, are good; others, like Caravan, aren't really jazz.

by

illness.

Tough was

originally in-

fluenced by Baby Dodds and the New Orleans drummers, and had a

remarkable

for

gift

was during was at his

assimilating

dynamic

their "lazy" yet

style;

it

his early period that

he

best, but unfortunately recording apparatus was so crude that his work can hardly be heard on the records he made. Later he picked up ideas from Chick Webb, and the best records which have survived date from this period are: with Tommy Dorsey, Song of India, Stop look and listen ( 1937 ) Milen,

TOMPKINS, EDDIE Was

b. ca. 1908, d. 1943.

Trumpet, trum-

first

pet in Jimmie Lunceford's band from 1933 to 1939. A soloist full of sensitivity and imagination. Recwith Jimmie Lunceford, ords: Black and tan fantasy (middle solo), Mood indigo (1934, 1st

trumpet solo), Honest and truly (1937).

TOUGH, DAVE Park,

Drums,

b.

Oak

April 26, 1907, d. Dec.

111.,

1948. Played in

with

the

Went

to

Europe

in

"Chicagoans." 1928, but re-

turned the following year and played with Red Nichols 1929-30. After a long illness he played with Tommy Dorsey more or less steadily from 1936 to 1939; was with Benny

Goodman

for

some months

in 1938,

Jack Teagarden 1939, Artie 1941-42,

During

Woody Herman

274

Shaw

1944-46.

his last years his playing

became more and more

.

TRADITIONAL

Numbers

of

such standing and age that no one for certain knows their origin, such as When the saints go marching in.

9,

Chicago from 1922

leading

burg joys (1938), The lonesome road (1939); with Benny Goodman's sextet, Good enough to keep (1941); with Rex Stewart, Diga diga doo ( 1940 ) In his later years Tough tried to "modernize" his style which went into a decline.

restricted

TRAPS

Catch-all term for the

accessories of the drums.

has

now more

The word

or less gone out of

use.

TRAYLOR, RUDY Drums, b. ca. 1920. Played with Earl Hines, 1941-

Influenced by Chick Webb. Records: with Earl Hines, Jersey bounce, Up jumped the devil Second balcony jump (1941);

42.

(1942).

TREADWELL - TRUMPET TREADWELL, GEORGE

part of the brass

Trumpet, b. New Rochelle, N. Y., Dec. 21, 1919. Played with Cootie Williams, J. C. Heard, Sy Oliver. Married the singer Sarah Vaughan and became her manager. Played somewhat like Harry Edison. Records: with J. C. Heard, Heard but not seen, Bouncing for Barney (1946).

"TRICKY SAM."

See Nanton,

Later there

bones; the section became autonomous and, after having for a long time been doing little more

than doubling the trumpet section, came to occupy a role more nearly in accord with its original importance in New Orleans. This came about around 1936 owing to Duke Ellington and to the arrangements

Sy Oliver was writing

for

Jimmie

Lunceford.

Joe

TRISTANO, LENNIE (LEONARD JOSEPH) Piano and arranger, b. Chicago,

Has

111.,

March

19,

own

small band and is considered one of the main representatives of the "progressive" school. Strongly influ1919.

trio.

were two or three or more trom-

Blind.

his

enced by contemporary European music, he is hardly a jazzman.

TROMRONE

The trombone

generally used by jazz musicians is the slide; the valve trombone is used only occasionally. For many years the trombone has been one of the three principal "melody" instruments in jazz orchestras, equal in importance to the trumpet and clarinet. In New Orleans style it occupied a position

between the bass and a melody

in-

strument, sometimes contributing to the basic chords and sometimes

harmonizing with the trumpet part. When big bands were first organized they generally had a brass section of two trumpets and one trombone, which supplied the bass

The trombone is one of the most powerful instruments in a band. It has a full, majestic tone. Nothing is more imposing than a trombone ensemble well played. Duke Ellington wrote some beautiful trombone trios, notably Slippery horn (1932).

The best trombone players are or were: Kid Ory, Honore Dutrey, Jimmy Harrison, Charlie Green, Tricky Sam, Jimmy Archey, Albert Wynn, Floyd O'Brien, Dickie Wells, J. C. Higginbotham, Benny Morton,

Sandy Williams, Vic Dickenson, Young, Henderson Chambers, Al Hayes, Henry Coker,

Trummy

Benny Green, Al Grey.

TRUMPET

In the early days

of jazz, musicians used the valve

Between 1920 and 1926 the valve trumpet replaced the cornet; there is very little difference between them. The trumpet has always been the instrument that normally takes the principal part in a jazz band. In the New Orleans bands it was the trumpet which stated the theme and led cornet.

B

flat

275

.

TROTMAN - TRUMBAUER the subsequent collective improvisations, the clarinet and trombone conforming. When big bands were developed (using 3 trumpets, 3 saxophones, and 1 or 2 trombones), it was still the trumpet section which played the main part. Similarly up to about 1940 the greater part of the solos were given to the trumpet or trumpets; after that date the tenor sax has been given as big if not a bigger share. The trumpet is not only the most difficult instrument to play of any used in jazz but it is also the most tiring (particularly to the lips); but, except perhaps for piano and drums, it attracts more musicians than any other instrument, because of its predominant position in a

band and its powers of expression, which exceed those of any other melody instrument. It is the instrument on which the greatest proportion of the major soloists have expressed themselves: Louis Arm-

King Oliver, Tommy Ladnier, Joe Smith, Bubber Miley, Lee Collins, George Mitchell, Eddie Allen, Sidney de Paris, Rex Stewart,

1925. Played with

1951-52.

Has

a

Johnny Hodges good tone

very

and a supple yet decisive swing.

One of the best brass players in the Jimmy Blanton-Oscar Pettiford tradition. Records: with Oscar Pettiford, Perdido; with Johnny Hodges, Sideways, Who's excited,

A pound

of blues, Globe-trotter, Castle rock; with Al Sears, Marshall plan, Berry well ( 1951 )

TRUEHEART, JOHNNY

Gui-

banjo, arranger, b. Baltimore, Md., ca. 1900, d. 1949. Played in

tar,

New

York in various small bands, including Billy Fowler's. From 1926 to 1937 was a member of Chick

Webb's band and

after the leader's

death he stayed on with Ella Fitzgerald who took the band over. A solid band musician. Records: with Chick Webb, Blue minor (Decca version), Don't be that way with Ella Fitzgerald, (1934);

Darktown

strutters' ball (1936).

strong,

Bobby

Stark,

Cootie

Williams,

Jonah Jones, Buck Clayton, Lips Page, Benny Carter, Bill Coleman, Sy Oliver, Roy Eldridge, Irving Mouse Randolph, Harry Edison, Joe Thomas, Taft Jordan, Emmett Walter Fuller, Charley Berry, Shavers, El Baron, Harold Baker, Walter Williams, and Wallace Davenport among them.

TRUMBAUER, FRANK Saxophone, b. Carbondale, 111., May 30, 1902. Played with Jean Goldkette 1927-36, then with Paul Whiteman; later on formed his own band. In 1940 gave up music for flying. Trumbauer played the C melody tenor sax and the alto sax in an attractive "singing" style, with good tone. His phrasing sounds very much like that of Bix Beiderbecke on trumpet, which isn't surprising since they played together for so

many

TROTMAN, LLOYD 276

Bass. b.

years.

Trumbauer

is

among

the finest white saxes, and his solo

TUBA-TURPIN in Singing the

often imitated

blues (1927) was by other musicians.

Other characteristic records:

down yonder no reason at twistin

in

New

all in

Way

Orleans, For

C, Wringin and

(1927).

TUBA A bass wind instrument. In the early days of jazz in New Orleans, the tuba was preferred to the string bass because it could be carried by its player in street parades. Usually the tuba played the bass part, but occasionally was given a solo break. Between 1930 and 1934 it was completely eclipsed by the string bass and has rarely been used since. The tuba is obviously a heavier instrument than the string bass: it's capable of fewer nuances and doesn't lend itself to swing as easily as a string bass, but nevertheless it can bring to ensembles a depth of volume and a certain tonal color that the bass can't give. The truth is that the tuba should never have been allowed to disappear entirely from jazz, because it could produce certain effects that a string bass can't, and vice versa. The great tuba men were: June Cole, Pete Biggs, Bill Benford, Cyrus St. Clair, Billy Taylor, John Kirby, and Elmer James.

TURNER, JOE b.

Kansas City, Mo.,

many

Singer, ca. 1910.

Sang

years in his home town with the pianist Pete Johnson. Went to New York in 1938 to take part in a Carnegie Hall concert. for

Made a number of records and was very popular while singing at Cafe Society and other night clubs, often with Pete Johnson. A great blues shouter with a beautiful voice and a powerful, very moving style. Records: with Pete Johnson,

Lovin mama with Art Tatum, My last goodbye to you (1941); under his own name, Piney Brown blues, Careless love, Somebody's got to

away

Goin

blues

(

blues,

1939 )

Nobody

;

mind (1941), Little same old story (1944); Old Piney Brown is gone

go,

in

bittie gal, It's the

(1947).

TURNER, JOE

Piano, b. Balti-

more, Md., Nov. 3, 1907. His mother started teaching him piano when he was 5 years old. Went to New York and played in Harlem for some years with a small band including June Clark and Jimmy Harrison. Played with Louis Armstrong and accompanied Adelaide Hall with whom he went to Europe in the

thirties.

He went

back

to

rope a few years after World II

and

settled there.

An

Eu-

War

excellent

was formed under the influence of James P. Johnson and Fats Waller, with both of whom he often played in Harlem; he has also borrowed something from Art Tatum. Records: piano solos, honey, The ladstride

pianist

whose

style

der (1939).

TURPIN,

TOM

Piano and com-

poser, b. Savannah, Ga., ca. 1873,

277

TWELFTH - VARIATIONS St. Louis, Mo., Aug. 13, 1922. Pioneer of the school of ragtime pianists that developed in St. Louis. Owned a saloon, the Rosebud, in St. Louis, where he played and

d.

wrote many rags of which the best

known

that has survived

is

Harlem

rag (1898).

TWELFTH STREET RAG

One

of the greatest of all the old stand-

Composed in 1909 by Euday Bowman. Comprises two themes of ards.

32 bars, without release, an interlude of 4 bars which is usually played by way of introduction and a 16-bar theme no longer played. Best recordings: Louis Armstrong (1927), Fats Waller (1935), Count Basie Lionel Hampton (1939), (1939), Willie "the Lion" Smith pi-

ano solo

(1949).

U UKULELE A small 4- (either gut or metal) stringed instrument played like a banjo. Because of its weak volume it is used very little in jazz. The one leading ukulele is Douglas Daniels (of the Spirits of

UNDECIDED

Composed

in

1938 by Charlie Shavers. Chorus of 32 bars with release. Best recordings: John Kirby (1938), Chick Webb (1939), Buck Clayton (1954).

Rhythm ) who also plays the "tipple." ,

V VALAIDA.

See Snow, Valaida

soloist builds his

more

VARIATIONS tions to

The transforma-

which musicians subject a

theme, either rhythmic, melodic, or harmonic. The variations may be worked out by a soloist, usually improvising, or by an arranger.

The rhythm

section of the

band

marks the chords of the number and it is on these chords that the 278

new melodic

line,

reminiscent of the original melody. The most frequent variations used in jazz are rhythmic; they are the means by which a tune borrowed from a non-jazz idiom may be brought into use; the theme remains unchanged (or little more than slightly modified) so far as its melody is concerned but the value of the notes is changed. A or

less

.

VAUDEVILLE -VENTURA perfect example is the final trumpet chorus in Louis Armstrong's When you're smiling (recorded 1929). The degree of the melodic variations varies with the temperament of the soloist as much as with the nature of the number: many musicians never try to modify the theme of a number which belongs to the language of jazz, particularly the old New Orleans themes. On the other hand, there are cases where the original air

may be the

entirely

soloist

abandoned and

creates

new melodic

line

completely

a

on

the

basic

chords (except for the first few bars ) as for example in the famous ,

Body and soul by Coleman Hawkins ( recorded 1939 )

interpretation of

In

improvisations the variations are fairly restrained so that it's possible for the various mucollective

sicians to

fit

in their parts.

VAUDEVILLE The circuits

were important

vaudeville

in the early

history of jazz because they gave to a number of muwell as singers, such as Rainey and Bessie Smith. The

employment sicians, as

Ma

shows were performed either tents,

like

circuses,

or

in

in

local

theaters.

VAUGHAN, SARAH b.

Newark, N.

Came

J.,

March

to the fore in 1943

by

Ella Fitzgerald and Billie Holiday, she later turned "commercial"

but

is still remarkable for her outstandingly beautiful voice and per-

fect control.

V-DISCS World War

Recorded II

during

for distribution in

the American armed forces. They are both originals and copies.

The

copies are merely re-pressings of records already marketed commercially of which the right to re-

produce was donated by the recording company. The originals are records

made

forces

specially for the armed by well-known musicians

who gave their services for nothing; the greatest players such as Louis Armstrong, Duke Ellington, Count Basie, Lionel Hampton, Art Tatum, Fats Waller, and King Cole all contributed. These originals

were

not marketed, but there was an agreement reached between the

Army authorities and the Victor Company which led to the public release of the records made by Fats Waller, and this gives some hope the records made by other great musicians may eventually be allowed to appear. Where unavailable under other labels, V-Disc recordings are indicated here.

that

Singer. 27, 1924.

when

she

sang with Earl Hines. Later on sang with Billy Eckstine and (in 1946) John Kirby, then did a solo night-club act. Originally influenced

VENTURA, CHARLIE

Tenor

saxophone, b. Philadelphia, Pa., Dec. 2, 1916. Played with Gene

Krupa and "Jazz at the Philharmonic." Enjoys considerable reputation but has only managed to 279

VENUTI - VINSON absorb the superficial aspects of

ings that the vibraphone could also

the traditional jazz idiom.

be taken seriously as a solo instrument. Various musicians followed him and the vibraphone completely superseded the previously used xylophone (a somewhat similar instrument without the electric vi-

VENUTI, JOE (GUISEPPE) Sept. 1, 1904 aboard a on the way to the United States. Formed a band with Eddie Lang, the guitarist. Played with Roger Wolfe Kahn, Paul Whiteman, and then again formed a band of his own. Influenced by Eddie South, but hasn't quite got the same outstanding swing, melodic invention, or tone. Record: with his Blue Four, Put and take (1930). Violin, b.

ship

VIBRAPHONE

An

instrument

made up

of metal strips of varying length forming a scale, struck with mallets. These strips are related to a metal pipe open at both ends, each tube hanging at right angles

corresponding strip. At the top of each tube is a metal disc; these discs are connected by an axle which is run by electricity and their rotation produces a vibrato in the sound of each note struck on the metal strips and echoed down the pipes— hence the name vibraphone. A pedal controls a set of felt dampers like a piano and when it

below

is

its

used, the effect

is

similar to the

loud pedal of the piano. The vibraphone began to be used in jazz about 1930. To begin with, it was used for occasional

accompaniments or in the coda of some numbers, and it was played as a side line by the drummer. But in 1936 Lionel Hampton showed by some brilliant record-

Up to the

present time, howthe only musician who has really got anything worthwhile out of the vibraphone. brato).

ever,

Hampton

is

VIBRATO The

individuality of expressed more clearly through his vibrato than any other single element. There can be a sharp, violent vibrato like that of

a jazz musician

is

Johnny Dodds; discreet like Johnny Hodges, Barney Bigard, or Don Byas; or incisive and poignant like King Oliver, Tommy Ladnier,

Benny Carter, or Jimmy Harrison; vigorous like Coleman Hawkins, Herschel Evans, or Lucky Thompson; or ultra-sensitive like

Jimmie

Noone and Milton Mezzrow. The vibrato of Louis Armstrong

is

the

most beautiful of all—very pronounced but extremely sensitive and emotional. Some trumpets sometimes use the "shake," almost a trill, which breaks up the note and has somewhat the same dynamic effect as a "growl." A jazz musician can be identified more easily by his vibrato than by any other aspect of his style.

effects in

280

VINSON, EDDIE ("CLEANHEAD") Singer and alto saxophone, 1917.

b.

Houston, Tex., Dec. 18, sax at the age of 17

Took up

VIOLIN - VIPER and soon joined Milt Larkin's band, with which he stayed for six years, often singing blues.

Count Basie

heard him and recommended him to Cootie Williams, who was then organizing his first band. Eddie Vinson played and sang with Cootie Williams from 1941 until the beginning of 1945 when he was

He was released in April same year and went back to

drafted.

of the

Cootie Williams with

whom

he

re-

mained until September when he formed a band of his own. Premature baldness earned him his nickname. Vinson is a superb blues shouter with a rich sparkling voice and a style full of humor. He plays very straightforward alto sax, without any complicated phrasing but with great swing. Records: with Cootie Williams, When I left my baby, Things ain't what they used to be, Somebody's got to go, Is you is or is you ain't (1944); under his own name, Juice head baby, Mr. Clean-

head (1945).

VIOLIN This instrument is not generally used in present-day jazz bands, since it doesn't have enough to hold its own with wind instruments such as the trumpet,

power

trombone, and

Nevertheless there was almost always a violinist in the early New Orleans bands; his role was to state the

theme

clarinet.

in soft passages.

Much

later

"commercial" jazz bands often included a trio of violins. In genuine jazz bands one of the musicians will

down his regular instrument to play a chorus on the violin— for example Darnell Howard in Earl Hines' band— but the instrument does not command a permanent place. On the other hand in small bands— trios, quartets, or quintets— playing the jazz equivalent of classical chamber music, the violin can sometimes figure promioccasionally lay

example in Eddie and the Quintet of the Hot Club de France. About 1935 Stuff Smith began to use an nently;

for

South's Quintet

electric

violin

amplifier attached to

which made

it

his

possible for

him to hold his own in a small band containing a trumpet. Besides Eddie South, Stuff Smith, and Darnell Howard, the best jazz violinists are: Edgar Sampson, Juice Wilson, Ray Perry, Ray Nance, and Stephane Grappelly.

VIOLONCELLO An instrument never used in jazz except by the bass player Oscar Pettiford, who has recorded several pizzicato cello solos, among them: Perdido, Blues for Blanton (1950). VIPER Slang phrase for a marijuana smoker; found in the title of several numbers, such as Rosetta Howard's If you'se a viper, Milton Mezzrow's Sendin the vipers, Fats Waller's Vipers drag.

281

WABASH - WALLER

W WABASH BLUES A

good vehicle

for improvisation.

Best recording: Fletcher Henderson (1927, originally released under the name of the "Dixie Stampers").

WALKER, JOE Alto saxophone, 1900. A good musician

b. La., ca.

who played in Chicago during the twenties. Known only by the records he made with the New Orleans

New Orleans Bootblacks, such as Mad dog, Flat foot, Papa dip (1926). Wanderers and the

WALKER, "T-BONE" (AARON) Blues singer and guitar, b. Linden, Tex., 1913. When he was young,

accompanied a number of wellknown blues singers such as Ida Cox and Ma Rainey. In 1934 moved

About 1940 began to and became very well known. At first he sang something like Leroy Carr, but later became more of a "shouter." Plays electric guitar with swing and biting attack to California.

record

reminiscent of Charlie Christian, who had a great influence on him. T-Bone's style is really more "jazz" than "blues." Records: Mean old

world (1942); First love blues, Born to no good, Vacation blues (1950); Strollin with bones (guitar solo, 1950).

282

WALLACE, CEDRIC

Composed

1921 by Meinken and Ringle. Chorus of 32 bars without release.

in

Bass,

Miami, Fla., Aug. 3, 1909. Played with Fats Waller, Jimmie Lunceford, Pat Flowers. A sober and solid musician, with a round tone and intense swing. Records: with Fats Waller, Pantin in the panther room, Shame shame, The moon is low, You meet the nicest people in your dreams (1938-41). b.

WALLER, "FATS" (THOMAS WRIGHT) Piano, organ, singer, composer, band leader, b. New York, N. Y., May 21, 1904, d. on a transcontinental train, Dec. 15, 1943. As a small child Fats was

taught piano and organ. His father, a minister, intended him for the church, but Fats was early attracted to music, and started out professionally when he was 15. In 1921 he formed his first band and in 1922 made his first records. During the following years he accompanied a number of singers on tour, including Bessie Smith, and played piano and organ in various night clubs and theaters in New York, where his popularity began to grow. In 1925 went to Chicago and played for a short while in Erskine

who was

band at the Vendome Theawith Louis Armstrong. In 1926 returned to New York and became one of the best-known musicians in Harlem. (It was at this time that his Tate's

ter,

WALLER increasing weight earned

nickname

him the

He began

imitable

value

in

a

band

and

a

brought out the very best in the

steady stream of recordings, first organ and then piano solos. Up to this time his reputation, though great, had extended mainly among musicians, but he really became

other musicians. Most of the best performers of Fats' time much preferred to play with him than with any other piano, and it's a fact that there are many who never played so well as when they were with him. A musician of incomparable technique, Fats Waller played with absolutely natural ease and abandon. His solos poured out— authoritative, imperturbable and charming, touched here and there with delightful humor. He gave an impression both of enormous strength and of the lightest delicacy. His influence, coupled with that of James P. Johnson, can be heard in the playing of

"Fats.")

well known to the general public in 1930 when he went to Cincinnati and appeared in a long series of broadcasts, singing and playing piano. In 1931 he was at Connie's Inn, New York, with an excellent band; in 1932 he made a trip to Paris. When he got home he organized another band and for some years alternated between New York and Chicago, and a series of nationwide tours. A considerable part of 1938 he spent in England touring as a single; on his return to America he once more formed a band. In 1943 he went to Hollywood and ap-

peared in Stormy Weather, and he can be heard and seen at his best

A few months later he died of a heart attack aboard the train on which he was returnin this movie.

ing to New York. Fats Waller was one of the greatest jazz musicians of all time. He was influenced by James P. Johnson, to whose playing his own was sometimes strikingly similar, particularly in his early records; but whereas Johnson is at his best as a single and accompanying singers, Fats Waller was in addition a pro-

digious

band pianist— the

greatest

ever known. His solid tempo, his powerful bass, his constant vitality and tremendous swing were of in-

numerous

Duke

pianists,

Ellington, Art

Basie, Cliff Jackson,

among them Tatum, Count

Don

Frye, Joe

Ralph Sutton. Fats Waller played the organ as well as he did the piano, and was far and away the finest jazz organSullivan,

He

never considered himself a Nevertheless his vocal choruses are always full of swing and humor. He had the knack of making something out ist.

real

singer.

words of pop by interspersing irresistibly comic asides or by parodying the style of sentimental pop of

the

numbers

driveling either

singers.

Waller was one of the great jazz composers. The number of his charming and moving compositions is legion; among the best are:

Lenox

Avenue

blues,

Alligator

283

.

WALLER crawl,

Six

or seven times,

Black

me, Let's pretend

there's a

moon,

and blue, Ain't misbehavin, Sweet Savannah Sue, I've got a feeling

Believe it beloved, Honeysuckle rose (1934), Baby Brown, Because

My fate is in your hands,

upon a time, I ain't got nobody, I'm gonna sit right down and write myself a letter, 12th st. rag, Sweet Sue (1935), Sweet thing, Moon rose, Christopher Columbus, It's a sin to tell a lie, You're not the kind, Sposin. Taint good, Hallelujah things look rosy now, Swingin them jingle bells, Nero, One in a million, I'm sorry I made you cry (1936), The meanest thing you ever did

I'm

falling,

Honeysuckle

rose,

Blue

turning

grey over you, If it ain't love, Keeping out of mischief now, and in collaboration with Spencer Williams, Squeeze me. With Louis Armstrong, Fats Waller is the jazz musician who has made the greatest proportion of

good records. He was

as unself-

conscious in the recording studio as he was in a night club, unlike so many musicians who tighten up when they know they have to record. This relaxed ease he could communicate to those playing with him, and his records represent the best kind of night-club jazz. his best records:

piano

Among

solos, Bir-

mingham

blues, Muscle Shoal blues Handful of keys, Numb fumblin, Sweet Savannah Sue, Valentine stomp, Goin about, Smashing thirds, My feelings are

(1922),

hurt

(1929), Alligator crawl, Vi-

drag (1934), 7 ain't got nobody, Keepin out of mischief now (1937), Ring dem bells, Carolina shout, Georgia on my mind ( 1941 ); organ solos, Lenox Avenue blues, Louis blues (1926), Soothin St. syrup, Loveless love, Sloppy water blues, Sugar, Beale st. blues, I ain't per's

nobody (1927), That's all (1929), Go down Moses, Water boy with bands, Do me a favor, ( 1938 ) You're not the only oyster in the stew, Sweetie pie, Serenade for a got

;

wealthy widow,

284

How

can you face

of once

was kiss me, Boo hoo, Sweet heartache, Honeysuckle rose, Blue turning grey over you, Don't you know or don't you care, The joint is jumpin

( 1937), Something tells me, sheik of Araby, If I were you, I'll never forgive myself, Two sleepy people, You look good to me,

The

Yacht club swing (1938), Step up and shake my hand, Undecided, Squeeze me, Your feet's too big,

Darktown strutters' ball (1939), The moon is low, Oh Frenchy, Mighty fine, Swinga dilla street, Too tired, Hey stop kissin my sister,

My mommie

store,

sent

me

to

the

Dry bones, Taint nobody's

bizness

if

I

do (1940), Liver

lip

Jones, Pantin in the panther room,

You're gonna be sorry, Chant of the groove, Buck jumpin (1941); Moppin and boppin, Ain't misbehavin (1943, both from the sound track of Stormy

Weather )

In addition to Stormy Weather (1943), Fats Waller made a short

appearance in King of Burlesque (1935), and was in several shorts.

WALTON - WASHBOARD WALTON, GREELY

Tenor

saxophone, b. Mobile, Ala., Oct. 4, 1904. Played with Luis Russell, Louis Armstrong, Horace Henderson, Cootie Williams, and Cab Calloway. Record: with Luis Russell, Case on down (1931).

WARE,

"L.

W." (LEONARD)

Played with various small bands; gave up music Guitar,

b.

ca.

1908.

in the late forties.

One

of the

to use the electric guitar

of the finest specialists

strument,

playing

on

first

and one this in-

with

a wellbalanced style full of swing. Records: with Sidney Bechet,

What

a dream, Jungle drums (1938); with Joe Turner, the singer, Ice man, Somebody's got to go, Nobody in mind, Chewed up grass (1941).

WARREN, EARL

Altc

saxo-

phone, b. Cincinnati, Ohio, 1913. Played with Count Basie almost continuously from 1937-50. A good first alto sax. Played the alto solos in: with Count Basie, Out of the window (1937) and Pound cake (1939).

WASHBOARD

The washboard

held upright and played by rhythmically drawing the fingers, wearing thimbles, or a pair of spoons, across it. It can have with it, by way of cymbals, various other "spasm" instruments such as a bottle turned upside down, a tin can, a saucepan, frying pan, etc. A good washboard player can produce with his thimbles a sound similar to a roll on the snare drum. is

There have been a number of brilliant washboard players, but few of them were ever recorded. Jimmy Bertrand, Floyd Casey, Jasper Taylor, Bruce Johnson, Harold Smith, Willie Williams, and Washboard Sam are the best known; most of

them

also play drums.

A Washboard Band

is one in which the washboard takes the place of drums; such bands are often "spasm" bands containing kazoos and jugs. The Washboard Serenaders, who have made a few

records, are typical; others are the

Washboard Rhvthm Kings who can be heard playing: Pepper steak, Tiger rag (1932, Harold Smith on washboard); Ghost of a chance (1932, with Louis Armstrong on trumpet); Blue drag (1932).

WA0HBOARD SAM (ROBERT BROWN) singer,

b.

Washboard and blues Memphis, Tenn., 1910.

Half-brother of the singer Big Bill Broonzy. Made a number of records on which he sings blues much in the style of Big Bill and plays washboard with a lot of swing, generally

accompanied by excellent

blues men such as Joshua Altheimer, Memphis Slim, and Big Bill; among his best records are: Booker T. blues, Gonna hit the

highway, Broadcast blues,

I

laid

my

cards on the table, Lovers' lane blues, I've been treated wrong, Block and tackle, I'm gonna keep my hair parted, Diggin my potatoes (1940). In 1949 gave up music to join the Chicago police force.

285

.

.

WASHINGTON - WATERS WASHINGTON,

AL

Tenor

saxophone, b. 1905. Played mostly in Chicago, and was in Louis Armband 1931-32. Musician strong's o with a sober, robust style. Record: with Louis Armstrong, I got rhythm (1931).

WASHINGTON, "BUCK" (FORD LEE)

Piano, b. Louisville, Ken., Oct. 16, 1903, d. New York,

N.

Y., Jan. 31, 1955.

When

still

very

young joined the great dancer Bubform the well known act "Buck and Bubbles." Recorded with bles to

Louis Armstrong, Coleman HawBuck played in a style not too different from that of Earl Hines— less active in the right hand, but harmonically fuller in the left hand. Records: with Louis Armstrong, Dear old southland, My sweet ( 1930 ) with Coleman Hawkins, I ain't got nobody (1934); piano solo, Old fashioned love (1934). Buck and Bubbles appeared in two movies: Cabin in the kins, Bessie Smith.

;

Sky (1943) and

A

Song

Is

Born

(1948).

WASHINGTON, DINAH (RUTH JONES)

Singer, b. TuscaAug. 29, 1924. Raised in Chicago. Sang with Lionel Hampton 1943-45, but never became widely known until a few years loosa, Ala.,

later.

A

first-class singer, full of fire

and drive. Records: under her own name, Evil gal blues, Salty papa blues (1943); with Lionel HampBlow top blues (1945); under her own name, Trouble in mind, It ton,

286

isn't

Love for sale, Wishing Teach me tonight ( 1953 )

fair,

well,

WASHINGTON, JACK

Bari-

Kansas City, Kan., 1912. Played with Bennie Moten, and with Count Basie from 1935-44, when he was drafted. After his discharge in 1946 he returned for a while to the Basie band. A very good section man and a creditable soloist. Records: with tone saxophone,

b.

Count Basie, Topsy (1937); Doggin around ( 1938 )

WASHINGTON, STEVE d.

Gui-

and arranger, b. ca. 1900. 1936. For many years a mem-

tar,

singer

ber of the Washboard Rhythm Kings; his vocal chorus on their Blue drag (1932) has inspired Freddy Taylor's vocal in the same

number.

WATERS, ETHEL b.

Chester,

Pa.,

Oct.

Singer, 31,

1900.

Started out in 1917 as singer and dancer in a touring vaudeville com-

pany. Went to New York about 1919 and made a big hit there. She then went on tour, accompanied by an excellent band led by Fletcher Henderson. For many years she alternated between theatrical and night club engagements in New York and nation-wide tours; she sang in the Blackbirds revue in New York. In 1939 she turned to the legitimate theater and received critical acclaim for her acting in several ticularly

plays

on Broadway, par-

Mamba's Daughters. Af-

WATERS - WATTERS ter acting for

some years, she ran and decided in

into a thin streak

1947 to return to singing, accompanied first by Herman Chittison, then Fletcher Henderson. Later she again returned to the stage. In 1951 she published her autobiography, His Eye Is on the Sparrow. Compared with the powerful, dramatic blues singers such as Bessie Smith and Ma Rainey, Ethel Waters seems delicate and smooth, but she nevertheless sings with a great deal of feeling and swing. Although she sings good blues, she is

particularly brilliant in lighter

numbers which she interprets with grace and remarkable vitality. Her voice is admirably balanced and has an astonishing compass; she is completely at her ease in any vocal register, singing with wonderfully accurate intonation. Her diction is impeccable. After Bessie Smith she is probably the finest of all jazz singers, and has had an enormous influence on

all

who have come

after.

Down

Records:

home

blues

(1923); (1921); Georgia blues Black spatch blues, I want somebody all my own, Backbitin mama (1924); Sweet Georgia Brown, Go back where you stayed last night, Dinah, Shake that thing (1925); Make me a pallet on the floor, I've found a new baby, He brought joy to my soid, I'm coming Virginia (1926);

My

handy

last

night,

West end

man,

Organ grinder

blues

Guess

Do what you

who's in town, (

did

blues,

1928 ) Better keep ;

your eye on your man (1929); J got rhythm, Three little words (1930); I can't give you anything but love, Porgy, St. Louis blues (1932); Stormy weather (1933); Dinah, When it's sleepy time down south ( 1934 ) V rankie and Johnnie, Jeepers creepers (1938); Cabin in ;

Am

I blue (1946). the sky, Ethel Waters appeared for the

time in movies in 1929; among others she played in Tales of Manhattan (1942), Cabin in the Sky

first

(

1943 ) and Pinky ,

(

1949 ) She also .

Broadway in Member the Wedding (1949). starred on

WATERS, MUDDY.

of

Muddy

See

Waters

WATSON, LEO

Singer, b.

Kan-

Mo., March 27, 1898, d. Los Angeles, Calif., May 2, 1950. For many years sang with the Spirits of Rhythm group, and with Gene Krupa's band. A wonderful scat singer, full of swing, who sang with a great sense of humor. Influenced a number of singers, notably Slim Gaillard and Taps Miller. Records: with the Spirits of Rhythm, sas

City,

Jingle

bells,

Honeysuckle

Coquette, Scattin the blues

WATTERS, LU band

(

rose,

1945).

Trumpet and

leader, b. Santa Cruz, Calif.,

Dec. 19, 1911. In 1940 founded the Yerba Buena Jazz Band, the makeup and style of which were based on King Oliver's band. This band was a great success in San Francisco and through its records be-

287

WA-WA - WEATHERFORD came widely known

as the chief

"New

Orleans Revival." Retired in 1951; then came back with another band.

exponent of the

themes

the first theme leaving room for break solos in its first four bars; 2) a 16-bar theme in

B

WA-WA A bell of a

mute placed in the trumpet or trombone and

moved

constantly

a

little in

order

which this name is onomatopoeic. The mute can be used to produce comedy effects or, on the other hand, sounds to

produce sounds

for

that are very moving. Duke Ellington often makes remarkable use of these effects, and writes passages in which the whole brass section uses them, for example such recorded numbers as Black and tan fantasy (1928) and Echoes of the Musicians distinjungle ( 1931 ) guished by their use of the "wa.

wa" mute

are:

King Oliver, Bubber

with release, with which an

flat

is

ideal for

ing.

The

,

the

Noone

WEARY BLUES

Composed made up

two

distinct

288

parts:

1)

T ravelin

blues.

WEATHERFORD, TEDDY

Pi-

ano, b. Blue Fields, W. Va., Sept. 11, 1903, d. Calcutta, India, April 25, 1945.

Took up piano at the age went to New Orleans

of 14. In 1915

where he made

moved

his

professional

Chicago about 1921 and played with Erskine Tate, gain-

ing

a

great

to

reputation.

In

1926

and shortly afterwards went to Asia; he played in China, Japan, India, and the East Indies and liked it so much that he to

California,

decided to settle in those parts. In 1937 made a European tour and spent several months in Paris; after

in

of

Erskine Tate, Static

(1936),

Louis Armstrong (1951, in "Satchmo at Pasadena").

1915 by Art Matthews,

of

title

where he played throughout the war. Weatherford was a great pianist, straightforward, with a powerful left hand. He played blues with a breadth and a nostalgia proper to a musician from the South; he could also play good rags. Records: with

,

recordings: Jimmie

Orleans style play-

best recordings are: Louis ,

moved

in

off.

Armstrong ( 1927 ) Tommy Ladnier (1938), Kid Ory (1945). There is also an excellent slightly modified version made in 1924 by Lovie Austin with Tommy Ladnier under

Sy Oliver, Sidney de Paris on trumSam and Charlie Green on trombone.

1922 by Turner Layton, a singer who settled in England and with his partner Johnson enjoyed many years of popular success. Chorus of 28 bars in an unusual form: A, 8 bars, A 2 12 bars, A 3 8 bars. Best

New

number is Weary blues

the

of

always rounded

start;

WAY DOWN YONDER IN NEW ORLEANS Composed

twice,

interpretation

Miley, Cootie Williams, Lips Page, pet; Tricky

each of 12 bars, each

in F,

repeated

two blues

that returned to the East

off

let's

go

(1926);

strut,

piano

Stomp solos,

.

WEBB Weatherbeaten blues, Maple rag, I ain't got nobody ( 1937 )

leaf

years he increased the size of his

band

to twelve

men and

continued

to play mostly at the Savoy. Early

WEBB, WILLIAM "CHICK" Drums and band

leader, b. Balti-

more, Md., Feb. 10, 1909, d. Baltimore, Md., June 16, 1939. From the age of 3 Chick Webb began to beat out a rhythm on anything that came within his reach. At 11 he was playing drums on a boat plying back and forth on Sheepshead Bay; next he worked with a band known as the Jazzbo Orchestra. A meeting with the guitar player John Trueheart decided him to go to New York.

When he got there he showed

night when Edward Dowell's band was giving an audition; as the drummer didn't come Chick Webb sat in, and the group was hired on condition that he was retained on drums. Once launched in New York, he became famous among musicians for his extraordinary gifts. About 1926 he formed a band of his own which included

up

one

Johnny Hodges, Bobby Stark, Don Kirkpatrick, and John Trueheart. He played for five months at the Black Bottom Club, then, with three pieces added, at the Paddock Club. None of his musicians could read music, but among them they produced head arrangements so good that they "cut" Fletcher Henderson and the other well-known bands which met them in competition at the Savoy Ballroom in New York. This success was largely due to the prodigious swing of Chick Webb himself. During the next five

Benny Carter and Jimmy Harrison joined him. Although his reputation stood very high with other musicians, Chick Webb was still quite unknown to the general public. In 1934 at an amateur contest he heard a young singer who seemed to him very promising and sent her to his manager. The manager, confronted by a shabbylooking 16-year-old, asked Chick Webb if he had gone crazy, but the drummer put up the money for the girl's clothes and introduced her with his own band at the Savoy. Her success was immediate— her in 1931

name was

Ella Fitzgerald.

that date, largely

Chick

owing

to

From Ella,

Webb

enjoyed nation-wide success, touring triumphantly and returning from each journey to reign as uncrowned king of the Savoy; there he "cut" Benny Good-

man on and

memorable night in 1937, Count Basie himself afterwards. But he had cona

then

shortly

tracted tuberculosis; under constant

pressure from managers he continued to work instead of taking the rest he needed, and he got rapidly worse and died in the Johns Hopkins Hospital in Baltimore. Chick Webb was the greatest of

drummers. Deformed, and delicate, he looked like a very fragile little man, but when he sat down at the drums he turned out to be a real dynamo. No matter how good his band was, all

jazz

dwarfish,

289

WEBB

With Louis Armstrong, Fats Waller, and a few others, he belongs to that small top class made up of the

Krupa, and Dave Tough, among others, owe a lot to him. A selection of records on which Chick Webb's drumming is reasonably well recorded: with his own big band, Get together, Stomping at the Savoy, Don't be that way (1934), Go Harlem, Devoting my time to you, Sing me a swing song, A little bit later on, Vote for Mr. Rhythm (1936), Rusty hinge, Cryin mood, Clap hands here comes Charlie, That naughty waltz, Just a simple melody, I got a guy, Harlem congo, Strictly jive, Rock it for me, Squeeze me, I want to be happy, Hallelujah, The dipsy doodle, Midnight in Harlem (1937), Liza, Spinnin the Webb, Pack up your sins and go to the devil, Everybody step, McPherson's rehearsin to swing, Who ya hunchin (1938), Undecided, In the groove at the Grove ( 1939 ) with his Quintet, Chick Webb and his little Chicks, Sweet Sue, I got rhythm (1937); with Ella Fitzgerald, Darktown strutters' ball (1936); with Milton Mezzrow, Sendin the vipers, Apologies, 35th and Calumet, Old fashioned love (1934); with the Gotham Stompers, Where are you ( 1937 ) with Louis Armstrong, That's my home, Hobo (1932). Chick Webb always managed to get excellent musicians in his band:

musicians jazz has proinfluenced all the good drummers from his time onward; Sidney Catlett, Cozy Cole, Jo Jones, James Crawford, Alvin Burroughs,

Taft Jordan on trumpet; Sandy Edgar Williams on trombone; Sampson, Hilton Jefferson on alto saxophone; John Trueheart and

Chick Webb's drum always stole show completely, and his clamorous fans kept the Savoy jumping and rocking with their

the

enthusiasm.

He was first New Orleans

influenced by the musicians, but it

wasn't long before he developed a style of his own. He usually played with a strong accent on the off beats, and at the same time a sort of rebound onto the strong beats which gave a lot of body and fullness to his swing. His fourbeats-to-the-bar on the bass drum were extraordinarily powerful, with a magnificent tone and a most sensitive beat. His attack on the snare drums, cymbals, and traps was breaks explosive. His literally brought the band together and drove them forward to the next

phase with tremendous authority.

One

main reasons for the impression Chick Webb made was the resonance he produced from the snare drum and the cymbals, a good solid resonance of the

great

had no over-run, for each sound was cut off as sharply as it was begun. For these reasons, Chick Webb's drumming was greatly superior to anyone else's. that

greatest

duced.

Keg

He

Purnell,

290

Rudy

Traylor,

Gene

;

;

Bobby

Stark,

Reunald Jones, and

Bobby Johnson on

guitar;

Elmer

WEBSTER - WEBSTER James, John Kirby, and Beverly Peer on bass; first-class arrangers in Edgar Sampson and Charlie Dixon; and a great singer in the person of Ella Fitzgerald. The records of his excellent band which give the best impression of its quality are: Stomping at the Savoy (1934); That naughty waltz, Harlem congo, I want to be happy, The dipsy doodle ( 1937 ) Liza, Who ya hunchin (1938). These are all typical of what has been called "Savoy swing." ;

WEBSTER, BEN

Tenor saxoKansas City, Kan., March 27, 1909. Began by playing piano and started out professionally with a band that included Budd Johnson at Enid, Okla. In 1929 switched to the tenor sax on the advice of Lester Young's father. Played with Bennie Moten, and then in 1932 with Andy Kirk. In 1934 joined Fletcher Henderson, then played with Willie Bryant 1935, Cab Callophone,

way

b.

1936-37, returned to Fletcher

Henderson 1937-38, then played with Roy Eldridge. During 1940-43 he was with Duke Ellington, then he had a spell playing on 52d Street in New York and in Chicago with various small bands including his own and Sidney Catlett's Quartet. In 1948-49 he played with Duke Ellington again, and then went Kansas City. He returned to New York in 1953 and played with various small groups and "Jazz

home

to

and Coleman Hawkins. His warm, smooth tone, his poignant vibrato and his musicianly breath control are reminiscent of Hawkins; but the grace of his melodic line makes you think of Benny Carter. His playing is sometimes tender, sometimes fiery and dramatic. He influenced a number of other tenor saxes, including Paul Gonsalves

and Flip

Phillips.

Records: with Teddy Wilson, I'll see you in my dreams, Tea for two (1936); with Lionel Hampton, Early session hop (1939); with Duke Ellington, Truckin (1935), Conga brava, Cotton tail, All too soon, Chloe

(1940), Just a-settin

and a-rockin, Five

o'clock

drag

(1941), Perdido, What am I here for, Mauve ( 1942 ) with Rex Stewart, Linger awhile, Mobile bay ;

(1940); with James P. Johnson, Victory stride, After you've gone, Blue mizz (1944); under his own name, Danny boy, That's all, Jive at six, Bounce blues, Tenderly, Don't get around much anymore (1953).

WEBSTER, FREDDY pet, b.

1947.

Trum-

Cleveland, Ohio, 1917, d. Played with Earl Hines,

Lucky ford,

Millinder, Jimmie LunceEddie Durham, Benny Carter,

A talented musician died too early to have the opportunity of doing himself justice

John Kirby.

who

on records.

at the Philharmonic."

Ben Webster very successfully combines the styles of Benny Carter

WEBSTER, PAUL FRANCIS Trumpet,

b.

Kansas City, Mo., Aug. 291

WEISS -WELLS Played with Andy Kirk, Bennie Moten, Jimmie Lunceford 1935-43, Cab Calloway 1944-47 and 1951-52. A wonderful performer in the upper register, but also capable of playing good solos in the middle register. Records: with Jimmie Lunceford, Since my best girl turned me down, Four or five times (1935); I'll see you in my dreams (1936); For dancers 24, 1909.

only (1937).

WEISS, "SID" (SIDNEY)

Bass,

Schenectady, N. Y., April 30, 1914. Played with Wingy Manone, Charlie Barnet, Artie Shaw, Tommy Dorsey, and Benny Goodman. One of the best white bass players, gifted with suppleness and swing. Records: with Rex Stewart, The b.

little

goose, Zaza (1944).

WELDON, WILLIAM.

See

"Casey Bill"

WELLS, "DICKIE" (WILLIAM) Trombone, June

b.

10, 1907.

Centerville,

Tenn.,

Started playing pro-

fessionally in 1922.

He went to New

York and played with Charlie Johnson, Lloyd Scott, and Cecil Scott. Later on played in the bands of Luis Russell 1931, Elmer Snowden 1931-32, Benny Carter 1932-33, Fletcher Henderson 1933, Teddy Hill 1935-37; toured France and

England with Teddy Hill in 1937. From 1938 to 1946 was with Count J. C. Heard's group, then moved to Sy Oliver's big band and stayed until 1947, when he rejoined Basie for

Basie. In 1946 joined

small

292

two years. In 1950 he played with James Rushing and in 1952 toured Europe in Bill Coleman's band. Dickie Wells is one of the best trombones playing. He was much influenced by Jimmy Harrison, particularly in his phrasing, but his playing is more impulsive and exuberant. During the first part of his career he played with a great deal of drive and astonishing power; but later his playing became smoother and more legato, extremely imaginative in the melodic line, and no longer anything like Harrison. Records: with Cecil Scott, In a corner (1929); with Spike Hughes, Fanfare,

Arabesque,

Sweet

Sue

(1933); with Fletcher Henderson, Rhythm crazy (1933); under his own name, Between the devil and the deep blue sea, Bugle call rag, Hot club blues, Lady be good, Dickie Wells blues (1937, the last two are trombone solos); with Basie, Panassie stomp Count (1938); Dickie's dream, Taxi war dance ( 1939 ) with the Kansas City Six, I got rhythm; with the Kansas City Seven, After theater jump ;

with Sy (1944); daddy-o (1947).

Oliver,

Hey

WELLS, JOHNNY Drums, b. ca. 1905.

Jimmie

Played

Noone

in

Chicago 1927-30.

with

About

twelve years later was playing with Joe Sullivan in New York, after which he dropped out of sight. A remarkable drummer in New Orleans style; aften sounds like Tubby Hall. Records: with Jimmie Noone,

WEST-WHETSEL Every evening, Sweet Sue, Ready

Apex blues (1928).

for the river,

Com-

posed by King Oliver ca. 1925. (The West End is a resort on Lake Pontchartrain on the outskirts of New Orleans.) The number comprises two blues themes of 12 bars each, with an outstandingly beautiful melodic line. Immortalized by Louis Armstrong in his famous 1928 record which some consider the most beautiful jazz record ever made. Armstrong recorded the number again in 1939. Other good recordings: Ethel Waters (1928), Cootie Williams (1941), Buck Clay-

WETTLING, GEORGE

Drums,

Topeka, Kan., Nov. 28, 1907. Went to Chicago and remained there almost constantly until 1936, playing with all the principal "Chicagoans." Moved to New York in 1936 and played with a number of big bands such as Artie Shaw's, b.

Berigan's,

Red

Norvo's,

and

Paul Whiteman's; since the early forties with various small Dixieland groups.

Much

influenced by

Baby

Dodds, he's one of the few really good white drummers. Records: with Ralph Sutton, Drop me off at Harlem, Sugar rose, Bee's knees, "A" flat dream (1952).

WHEATSTRAW, "PEETIE" (WILLIAM BUNCH) tar,

1941.

A fine voice, bass rather than the usual blues tenor. One of the best of the old school. son-in-law."

Records:

Letter

(1935);

Road tramp

Possum den

writing

blues,

blues blues (1938);

Machine gun

(1939); Pocket knife blues (1940).

blues

WHEN IT'S SLEEPY TIME DOWN SOUTH Composed in 1931 by Leon Rene, Otis Rene, and Clarence Muse. Chorus of 32 bars with release. Louis Armstrong

made

this number well known as theme song; he recorded it in 1931, 1932, 1941, 1951, and 1955 (the latter in the LP "Louis Arm-

his

ton (1953).

Bunny

where met her death Dec. Nicknamed "the devil's level crossing

Bessie Smith 21,

WEST END BLUES

same

at the

blues singer, b.

St.

Piano, guiLouis, Mo.,

1894, d. in an automobile accident

strong at the Crescendo"); versions are different

all five

and

all

re-

markable.

WHEN THE SAINTS GO MARCHING IN Anonymous number,

called

cause

its

origins

1955,

the

bego back to the earliest days of jazz. It is both sung as a spiritual and played as a march. It has become a New Orleans-style "cliche." Chorus of 16 bars with release. The best recordings are: Louis Armstrong (1938

and

"traditional"

latter

Armstrong cendo"), Kid Ory

"Louis

at

the LP the Cres-

in

(1953),

Mahalia

Jackson (1955).

WHETSEL, ARTHUR ("SCHIEFE") 1905, d.

May

1,

Trumpet, b. Fla., 1940. Played with 293

WHITE - WILBER Elmer Snowden beside Duke Elwas in EllingA good first

lington in 1923, and ton's band 1928-36.

trumpet, but often lacked swing in his solos. His best solo occurs in Ellington's Big house blues (1930).

has acquired a great reputation as a singer of folk songs; on guitar he plays excellent blues; but his singing is perhaps somewhat too "refined" for the blues.

WHITE, SONNY WHITE, GEORGIA piano, b.

March

9,

Singer and

Worked

1903.

mostly in Chicago and

New

York,

11, 1915.

Piano, b. Nov. Played with Willie Bryant

1937-38, and on various occasions between 1939 and 1947 with Benny Carter. Plays with much the same

and made a large number of records between 1935 and 1941. A

pleasant, easy style as

beautiful soprano. Records Trouble

son. Records:

:

mind (1936); New trouble in mind Freddie blues (1937);

in

(1938);

Panama

babies

Jazzin

limited blues,

blues,

You ought

Teddy Wilwith Milton Mezzrow, Hot club stomp (1937); with Sidney Bechet, One o'clock jump (1940); with Benny Carter, Cock-

tails for

two (1940).

be ashamed of yourself (1940);

to

When

you're

WHITTAKER, HUDSON.

away (1941).

See

"Tampa Red"

WHITE, HARRY ("FATHER") Trombone and

arranger, b. Bethle-

Played with Duke Ellington 1929, Cab Calloway 1930, Blue Rhythm Band 1931-32, again with Cab Calloway 1932-35, Lips Page 1938, Happy Cauldwell 1952-

hem,

53.

Pa., 1898.

On trombone

his drive

and

his

powerful tone are reminiscent of Higginbotham. His arrangements are always simple and swinging. On trombone he can be heard in the Blue Rhythm Band's Blue rhythm (1931); Doin the shake (1932). He arranged Wild waves for the Blue Rhythm Band (1932).

WHITE, JOSH

Guitar

singer, b. Greensville, S.

C,

and 1908.

In his youth acted as guide to blind singers such as Blind Blake and Blind Lemon Jefferson. Since 1940

294

WHITEMAN, PAUL leader, b. Denver, Colo.,

Band March 28,

1890. Played almost exclusively commercial jazz which was advertised under the rather pompous name of "symphonic jazz"; but occasionally he had in his band some fine musicians such as Bix Beiderbecke and Frankie Trumbauer. In recent years has been music director of a broadcasting network

(ABC).

WILBER, BOB

Clarinet,

prano and tenor saxophone,

b.

so-

New

York, N. Y., 1926. Taught by Sidney Bechet, Wilber is often so much like Sidney that it's difficult to tell their playing apart. He went to the Festival of Jazz at Nice, France, in

1948 with

Milton

Mezzrow and

.

WILCOX - WILLIAMS then headed a fine small

New

Or-

band which included Pops Foster and Jimmy Archey. leans-style

He

going "progressive." Records: blues, Sweet Georgia

is

Limehouse

Brown

(1949).

others. His best arrangements have not been recorded; among those which have been, note: Lucky Millinder's Prelude to a stomp, Rhythm jam (1937); Louis Armstrong's Struttin with some barbecue (1938).

WILCOX, EDDIE (EDWIN) Piano,

arranger,

band

leader,

Method, N. C, 1909. Played with Jimmie Lunceford 1926-47; after Lunceford's death he directed the band, first with Joe Thomas, b.

then alone. Wilcox's talent as a pianist

is

somewhat limited

though he recorded some choruses, such as Since

my

(al-

good

best girl

me down

1934); but he is an excellent arranger who wrote

turned

some

fine orchestrations for

Lunce-

ford, including Sleepy time gal, I'm

nuts about screwy music (1935); I'll see you in my dreams, Honest

and

truly (1937).

WILD MAN BLUES posed

in 1927

Com-

by Louis Armstrong

WILLIAMS, BERT singer

and comedian

A.

Famous

of the late

19th century, d. ca. 1930. Appeared many years in vaudeville with George W. Walker as the famous "coon" act, Williams and Walker. In 1896 composed a highly successful song Dora Dean as a tribute to the greatest cake-walk dancer of the age; Williams and Walker were also sensational cake walkers. Williams was still at the top in 1916 when he featured a number which has remained famous: I ain't got nobody. Two great jazz musicians named tunes in his honor: Jelly Roll Morton wrote his rag Bert Williams in 1911, and Duke Ellington his Portrait of Bert Williams in 1940. for

and

Jelly Roll Morton. Chorus of 32 bars without release. The best

WILLIAMS, BILLY SMALL-

recordings are those of the composers: Louis Armstrong (twice in 1927, the first released under the

WOOD

name

age of 9 and switched to the tenor sax shortly afterwards. Played with

Johnny Dodds ) and Jelly Roll Morton (1927). Other good recordings are: Johnny Dodds (1938), Sidney Bechet (1940). of

,

WILLET, CHAPPIE b.

ca.

1910.

Wrote

Arranger,

orchestrations

Lucky Millinder, Louis ArmJimmie Lunceford, Duke Ellington, and Gene Krupa among

Tenor saxophone, b. WashC, 1930. Son of a minis-

ington, D. ter.

Started playing alto sax at the

Lionel Hampton 1948-49. Plays with a lot of swing, not unlike Arnett Cobb. Records: with Lionel

Hampton, sister

Wee

boogie

(

Albert,

Beulah's

1949 )

for

strong,

WILLIAMS, CLARENCE ano and composer,

b.

Pi-

Plaquemine, 295

.

WILLIAMS La., Oct. 6, 1893.

Composer

of the

famous Royal garden blues and Ain't gonna give nobody none of

my

jelly roll in

collaboration with

Spencer Williams, and a number of other tunes in the finest Louisiana tradition, such as

:

Sugar blues, Baby

you please come home, Cushion foot stomp, Gulf Coast blues, Organ grinder blues, Kansas City man blues. Has made innumerable recordings with studio bands, the most important of which are those made in 1924-25 with Louis Armstrong on trumpet, and sometimes Sidney Bechet, sometimes Buster Bailey on soprano sax: Everybody loves my baby, Of all the wrongs you've done me, Mandy, I'm a little blackbird won't

among them. Clarence

Williams'

later records are not quite in the

same

although some of them are very good New Orleans jazz, such as: Church Street sobbin class,

blues,

Yama yama

blues

(1927);

Sweet Emaline, Log cabin blues (1928). He's also a fine blues piand has often recorded accompanying great singers such as Bessie Smith Downhearted blues, anist

Gulf Coast blues, (1923); Them "has been" blues ( 1926 ) and Ethel Waters' West End blues (1928). He also made several good piano solos, among them the remarkable Organ grinder blues ( 1928 ) ,

WILLIAMS, "COOTIE" (CHARLES MELVIN) Trumpet, singer,

band

leader, b. Mobile, Ala.,

July 24, 1904.

296

He was

very

much

interested in music from his early childhood, and wanted to learn

trumpet. He couldn't afford an instrument, but managed to take lessons from a tailor who had once played, and pressed pants by way of payment. In 1925 played with the Eagle Eyes Shields Band in Florida; later joined Alonzo Ross, with whose band he made a tour through the South. Early in 1928 went to New York with this band, and then for a short time played with Chick Webb and Fletcher Henderson. In February 1929 joined Duke Ellington and stayed until

joined

November 1940, when he Benny Goodman. A year

Goodman to form a big own which he headed with great success until 1947, when later left

band

of his

he reduced

it to seven pieces. Cootie Williams is one of the great jazz trumpeters. He is known primarily as a "wa-wa" and "growl"

specialist,

and certainly no one

ex-

cept Bubber Miley (whom he replaced in Ellington's band) ever surpassed him in this. But Cootie Williams also plays without mute in a powerful and moving style like the Armstrong of 1928-32. Cootie has one of the most beautiful tones ever heard— ample, round, and

warm. The precision with which he articulates his phrases is extremely impressive. Full of vitality, he gives his best every time he plays. When he states a theme, he does so with the smoothness and the tenderness of Joe Smith. In his most inspired solos he has some-

,

.

WILLIAMS - WILLIAMS thing

of

the

grandeur of Louis

Armstrong. Best records: with Duke EllingSaratoga swing, Jazz lips (1929), Double check stomp, Sweet jazz o' mine, Shout 'em Aunt Tillie,

ton,

Sweet chariot (1930), Echoes of the Jungle (1931); Bugle call rag, Ducky mucky (1932), Bundle of blues, Hyde Park (1933), Troubled waters (1934), Echoes of Harlem 1936 ) Harmony in Harlem ( 1937 ) Riding on a blue note, Mighty (

,

the blues (1938), Country gal (1939), Concerto for Cootie, In a mellotone, Chloe ( 1940 ) under his own name with a group drawn from the Ellington band, Watching (1937), Delta mood, Mobile blues, like

;

Gal

Boudoir (1938), Beautiful romance, She's

Somebody's gotta go (1944); Juice head baby, When my baby left me (1945); among the few purely instrumental records are Blue garden blues Salt Lake City (1944); bounce (1945); Echoes of Harlem (1946).

WILLIAMS, FRED Drums, 1900's. Made a number

early

records about 1940 as accompanist of various blues singers for whom his precise swing and solid beat on the pedal were well suited. Records: with Big Bill Broonzy, My last goodbye to you, Just a dream No. 2 (1939); I've got to dig you,

When

gone (1939), Black butterfly, Give it up (1940); under his own name with a group drawn from Benny Goodman's band, West end blues with Barney Bigard, Clouds ( 1941 ) in my heart (1936); with Johnny Hodges, Pyramid; with Lionel Hampton, Ring dem bells (1938); with his big band, Echoes of

I

had money

(

1940 )

WILLIAMS, FREDDY

avantin'

Benny,

b.

of

Tenor

saxophone, b. ca. 1912. Played with Benny Carter and Sy Oliver. Sounds something like Coleman Hawkins. Record: with Sy Oliver, Slow burn (1947).

;

Harlem (1946). Cootie Williams' big band was the best during the midforties, playing in a style somewhat influenced by Count Basie and sometimes also by Duke Ellington; most of the records which they made are notable for the excellent singing and saxophone playing of Eddie Vinson: Cherry red blues, Things ain't what they used to be, Is you is or is you ain't my baby,

among

WILLIAMS, JOE Guitar and blues singer, b. Mississippi, early 1900's. Plays the ten-string guitar, and sings blues with great purity. Records: under the name of "Big Joe," Brother James, I know that you gonna mass me ( 1935 ) Vitamin Somebody's been worrying (1945). It should be noted that some of the records published un;

A,

der the name of "Big Joe" are made by Joe Williams but by

not Joe

McCoy. Nor must Joe Williams be confused with a younger singer by the same name who has been featured with Count Basie's orchestra. 297

WILLIAMS - WILLIAMS WILLIAMS, JOHNNY

Bass,

man

in the "growl" style.

Played with Lucky Millinder 1937, Frank Newton 1939, Coleman Hawkins 1940, Louis Armstrong 1940-41, Edmund Hall 1945-

with

Duke

1915.

ca.

b.

A

Ellington,

Record:

Brown Betty

(1951).

WILLIAMS, "RUBBERLEGS"

good musician who has never been too well recorded; he can be heard on

Dancer and singer. Recorded several good vocal numbers, such as

Louis Armstrong's Long long ago, I cover the waterfront, Hey Lawdy

now, I want every bit of it, accompanied by an excellent pickup band directed by Clyde Hart

47,

Johnny Hodges 1954.

mama

(1941).

That's the blues, What's the matter

(1945).

WILLIAMS, MARY LOU ano and arranger, Pa.,

May

8,

sical music,

Pi-

Pittsburgh,

b.

1910. First studied clas-

then switched to jazz

under the influence of Earl Hines. Played with John Williams, a saxo-

phone player, whom she married, and then in 1928 joined Andy Kirk's band in Kansas City. She stayed with Andy Kirk until 1942, and then spent the great part of her time in writing arrangements. In the early part of her career Mary Lou Williams successfully combined the styles of Earl Hines and Fats Waller, as for example in her piano solos Night life (1930), Swingin for joy ( 1936 ) The pearls Later she went in for bop. ( 1938 ) She wrote a number of excellent arrangements, notably Trumpets no end recorded by Duke Ellington in 1946. ,

.

WILLIAMS,

pet, b.

Montgomery,

1917. Played with

Trum-

Ala., Sept. 26,

Duke

Ellington

1949-51. At the end of 1951 settled in France. A capable musician, inspired by

298

Roy Eldridge and

a good

Trom-

b.

forward style; sometimes erratic, but at his best he's one of the great

trombone

WILLIAMS, NELSON

SANDY

Summerville, S. C, Oct. 24, 1906. When a very young boy, worked as a dishwasher in a restaurant in order to save the money to buy his first trombone. Started out professionally at the age of 15. Played with Claude Hopkins at Atlantic City in 1924, with Horace Henderson 1929-31, Fletcher Henderson 1932-33, Chick Webb 193339, then with various bands such Coleman Hawkins, Fletcher as Henderson again, Cootie Williams, Roy Eldridge, and Claude Hopkins once more. Toured Europe 194748 with Rex Stewart. Influenced by Jimmy Harrison and Louis Armstrong, he plays with great power and swing in a generally straightbone,

players.

Records: with Fletcher Henderson, Can you take it (1933); with

Chick Webb,

When

dreams come Blue minor (Decca version), Stomping at the Savoy, That rhythm man (1934),

true,

I

can't

dance,

;

.

.

WILLIAMS - WILSON The dipsy doodle (1937), In the groove at the Grove (1939); with Sidney Bechet, Nobody knows de way I feel dis mornin, Old man blues, Shake it and break it ( 1940 ) with Rex Stewart, Jug blues, Feel-

Clarence Williams (Chizzlin Sam,

High

society,

and Willie

1932),

Lion" Smith (Harlem joys, What can I do with a foolish little girl like you, Streamline gal, Swing brother swing, 1935 ) "the

ing fine (1947).

WILLIAMS, SPENCER poser, b.

New Orleans,

One

1880.

we owe some such

ards,

Basin

La., Oct. 14,

comTo him

of the earliest jazz

and one of the

posers,

Com-

as:

Street

best.

of the great standI ain't got

blues,

nobody,

Everybody

my

baby, I found a new baby, Shim-me-sha-wabble, Mahogany Hall stomp, Arkansas blues, Fireworks, Skip the gutter, Tishomingo blues, No one can love me like the way you do, and with Clarence Williams, Royal garden blues and I ain't gonna give nobody loves

none of my jelly roll. Gave up music during the late twenties and retired in London, England.

WILLIAMS,

WALTER

Trum-

Chicago, 111., March 20, 1917. Played with Les Hite, Benny Carter, and Johnny Otis. From 1947 till 1954 spent almost all his time in Lionel Hampton's band. An excellent 1st trumpet, and a powerful soloist, full of bite, also a good "growl" man. Records: with Lionel Hampton, Free press oui, Real crazy, Walkin at the Trocadero, Blue Panassie (1953).

pet,

b.

WILLIAMS, WILLIE

Wash-

board player who recorded with

WILLIAMSON,

JOHN

("SONNY BOY")

LEE

Harmonica and

blues singer, b. Jackson, Tenn., ca. 1912; murdered in 1948 by an un-

known

assailant

who

stabbed him

One of the greatest blues singers on records. Both his voice and his diction were ideal for the blues. He played a phrase on the harmonica after each vocal phrase and was so dexterous that it was hard to believe the same man was both singing and playing. He drew marvelous blues from his instrument. Records: Collector man blues, Decorain the

tion

head with an

blues,

Thinking

icepick.

Number

blues,

five

my

blues away, T.B. blues, Good for nothin blues, Decoration day blues No. 2, War time blues, I been dealin with the devil, Million years blues, Black panther blues, Early in the morning, Sonny boy's cold chills, My black name blues, Rub a dub, Stop breaking down ( 1936-47 )

WILSON, BUSTER b.

Atlanta,

Angeles,

Ga.,

Calif.,

Piano,

1897,

Oct.

d.

23,

Los 1949.

Played with Lionel Hampton 193536, and Kid Ory from 1943 until his death. Played in a style like Jelly Roll Morton's.

299

.

;

.

WILSON -WILSON WILSON, DICK phone,

b.

Tenor saxo111., Nov.

Mount Vernon,

11, 1911, d.

Nov., 1941. Started out

and played with Andy Kirk 1935-41. He had a warm, smooth tone, full of invention and swing. in 1929,

His style resembled to a certain exboth Herschel Evans's and Chu Berry's. Records: with Andy Steppin Bearcat shuffle, Kirk,

tent

(1936); In the groove, night hop ( 1937 )

pretty

Wednesday

WILSON, GARLAND. Piano, b. Martinsburg, W. Va., 1909, d. Paris, France, May 31, 1954. Went

New

where he became very popular, accompanying singers and playing as a single in Harlem night clubs. Went to France in 1932 with the singer Nina Mae McKinney and settled there until the outbreak of the war in 1939 when he came home to the U. S. After the war he returned several to

York

in 1931

times to Europe. A pianist with a brilliant technique, a firm touch

and

incisive

trills,

Garland Wilson

excelled pre-eminently in the blues

and

in

accompanying

singers.

Rec-

B flat, The way I

ords: piano solos, Blues in

Get up Bessie (1933); The blues got me, the

feel (1934);

blues I love to play

(

1938 )

WILSON, JUICE

Violin, b. St.

Mo., Jan. 21, 1904. First played in Chicago, then in 1929 Louis,

went

to Europe and played in France and Spain; moved on to North Africa, and settled in Malta. One of the great jazz violinists. His style

in

is

some ways reminiscent

New

Orleans trumpet. He plays with intense swing, and has the gift of developing a melody in a simple yet extremely attractive of the

way.

He

has apparently

made

only

two records: with Noble Sissle, Kansas City Kitty and Miranda (1929).

QUINN

WILSON, Bass, tuba, arranger, b. ca. 1900. Played in Chicago during the twenties and was in Earl Hines' band from 1931 to 1940. After having been a brilliant tuba, Wilson took up string bass which he played with bite and power in a manner very near to the New Orleans style of Pops Foster and Wellman Braud. Records: tuba, with Jelly Roll Morton, Beale st. blues, The pearls ( 1927 ) on bass, with Earl Hines, Maple leaf rag, Swingin down, Darkness (1934); G.T. stomp, Riff melody Tantalizing a Cuban (1939); ( 1940 ) He arranged Harlem lament .

WILSON, GERALD and arranger, Played with 1939-42 and

Trumpet

for Hines.

b. Shelby, Miss., 1914.

Jimmie

Lunceford

Benny Carter; has own band off and on ever

WILSON, "SHADOW" (ROSSIERE)

Jacquet,

alone Yard dog mazurka (1941).

Garner.

300

Drums,

b.

Yonkers, N.

1919. Played with Lionel

led his since. In collaboration with Roger Segure arranged Hi spook, and

Y.,

Hampton,

Earl Hines, Count Basie, Illinois

Woody Herman,

Erroll

A good jazzman in his early

;

WILSON - WINDHURST Wilson

later often deviated Records: with Count Basie, Red bank boogie, Taps Miller (1944); with Erroll Garner, When you're smiling (1950).

years,

bop.

into

WILSON, TEDDY ranger,

Nov.

band

24, 1912.

violin,

Piano, ar-

leader, b. Austin, Tex.,

Began by learning

then changed to piano be-

cause his school orchestra had no one to play that instrument. In 1929 went to Detroit where he heard McKinney's Cotton Pickers and Fletcher Henderson; that was all

he needed to make up his mind that he wanted to become a jazz musician. From 1931 to 1933 he played in Chicago and on tour with Erskine Tate, Louis Armstrong, and Jimmie Noone. In 1933 went to New York and played with Benny Carter and Willie Bryant. He be-

came well known

to the general public in 1935 when Benny Goodman hired him in his trio; he stayed

with

Goodman

until 1939,

when he

own

band, which was not a great success. Since the forties he has worked mainly in left to

form

his

ous

talented

Clyde

Dave

Hart, Rivera.

such

followers

Sonny White,

as

and

Records: with the Chocolate Dandies, Once upon a time ( 1933 ) with Benny Carter, Blue Lou (1933), Shoot the works (1935); piano solos, Don't blame me (1937), Them there eyes (1942), Time on my hands (1952); with Coleman Hawkins, I only have eyes for you (1944).

WILSON, WESLEY "KID")

("SOX" or

Piano, singer, composer.

b. ca. 1900.

With

"Coot" Grant,

his wife,

made

a

Leola B.

number

of

vaudeville tours during the twen-

A good pianist, particularly as an accompanist, Sox Wilson composed and wrote lyrics for a number of tunes, often with a touch of poetry and humor, such as: recorded by Bessie Smith, Take me for a buggy ride, Do your duty, I'm down in the dumps, Gimme a pigfoot; recorded by him with his wife, Come on Coot do that thing, Have your chill, You can't do that

ties.

to

me

(1931).

radio.

Teddy Wilson was influenced first by Fats Waller, then by Earl Hines and Art Tatum, and it's the two latter whose styles have predominated in his playing. All the same, Teddy Wilson is one of the fastest pianists, one of the best technicians known in jazz and he has a great sense of harmony with plenty of invention. From 1935 his influence

was considerable and he had

vari-

WINDHURST, JOHNNY TrumNew York, N. Y., Nov. 5,

pet, b.

1926.

Has played most

of his time

bands around New York and Chicago, mainly with Sidney Bechet, Eddie Condon, Edmund Hall, and in Hollywood with Louis in small

Armstrong. Shows great invention and sensitivity in his improvisations, which bear a marked resemblance to Armstrong's. A very gifted

301

WOLVERINE - XYLOPHONE Harry Barris and Ted Koehler. Chorus of 32 bars with release. Best recordings: Louis Armstrong Don Byas-Erroll Garner (1931),

musician. Never had the chance of

making good

records.

WOLVERINE BLUES

Com-

Morton ca. 1920. It is made up of two ragtime themes of 16 bars and a 32-bar theme without release (separated from the two preceding themes by posed by

Jelly

Roll

(1945),

Milton Mezzrow (1953), Art

Tatum piano

a 4-bar interlude); all interpretations are concluded with the last 32-bar theme. One of Jelly Roll Morton's finest compositions, and a wonderful "springboard" for improvisation. Best recordings: Jelly Roll Morton Trio (1927), Earl Hines Louis Armstrong (1940), (1934), Baby Dodds Trio (1946), Kid Ory

b.

solo (1954).

WYNN, ALBERT Trombone, New Orleans, La., July 29, 1907.

Went

to

around

1920

in various

bands

Chicago

where he played

including that of Earl Hines. to

Went

Europe with Sam Wooding

1928; returned to the U.

S. in

in

1932

Trom-

and settled in Chicago where he was hired in 1934 by Carroll Dickerson; in 1937 played at the Apex with Jimmie Noone, in 1937-38 with Fletcher Henderson, and later

bone, b. Los Angeles, Calif., 1920. Played with Les Hite 1940, Eddie Heywood 1945, Lionel Hampton 1947; in 1951 joined Duke Ellington. A superb technician, capable of considerable swing. Records:

with various small bands. Albert Wynn's style is a mixture of the original New Orleans trombone style with that of Jimmy Harrison, by whom he was much influenced; he plays with a very direct swing.

(1954).

WOODMAN, BRITT

with

Duke

Ellington,

Fancy Dan

(1951); Sultry serenade (1952, in "Ellington's Seattle Concert").

LP

WRAP YOUR TROUBLES DREAMS Composed in 1931

IN by

There are no records which give any impression of his importance, but he can be heard on his own band's Down by the levee (1928) and with Sam Wooding, Hallelujah (French Pathe, 1929).

X XYLOPHONE

In the early days

drummer occasionally played xylophone— Jimmy Bertrand of jazz the

and Jasper Taylor are two drum302

mers of that period who were also well known on xylophone. (Bertrand can be heard on the recording of South bound rag made by Blind

YANCEY -YERB A Blake and Johnny Dodds, 1928.)

occasionally

The xylophone ceased to be used when the vibraphone took over around 1935. But Lionel Hampton

(1953).

YANCEY, JIMMY singer,

b.

Chicago,

Piano and 111.,

1898,

d.

Sept. 18, 1951. One of the greatest blues musicians, remarkable for the variety and the melodious char-

acter of his ideas. Played brilliant

boogie woogie. His life was lived quietly in Chicago, for he was shy of public appearances and was hardly known except through records. His influence was very great;

among

Pinetop

his

Smith,

followers

Albert

were

Ammons,

and Meade Lux Lewis who composed and played two numbers in his honor, Yancey special and Yancey's pride. His wife, Mama Yancey, was a very good singer

who remained

quite unknown except to her friends until she recorded for the first time in 1943. Records: Jimmy's stuff, Yancey stomp, State street special, Tell 'em 'bout me, The fives, Five o'clock blues (1939); 35th and Dearborn (1940); Boodlin, At the window, Sweet patootie, The rocks, Yancey's mixture (1943).

used the instrument and may be heard to advantage on the second half of Mezz and Hamp

1915.

Made

musicians.

JOHNSON)

Blues singer, b. ca.

number

of records in

A

rather erratic singer,

but sometimes very good. Records: I'd rather drink muddy water, No. 2 (1935); Milk man blues (1936); Evil old nightmare, See saw blues, Black ghost blues (1942).

YELLOW DOG BLUES posed by inspired

Com-

C. Handy in 1914, the song of a wayside

W.

by

singer

whom

much

older

he had heard as far back as 1903; the tune is probably still.

Originally called

Yellow dog rag. Two themes of 12 bars each. Best recordings: Bessie Smith (1925), Duke Ellington (1928), Louis Armstrong (1954, "Louis Armstrong plays W. C.

Handy").

YERBA BUENA BAND A band formed by a group of young enthusiasts on the West Coast shortly before World several

"YAS YAS" GIRL (MERLINE

a

Chicago between 1935 and 1942, accompanied by various fine blues

War II, who recorded

traditional

numbers

and

imitated the style of the early New Orleans bands, down to reintroduc-

303

YOU - YOUNG ing a tuba instead of the string bass. See Waiters,. Lu.

YOU CAN DEPEND ON ME Composed

in 1931 by Earl Hines, Louis Dunlap, and Charles Carpenter. Chorus of 32 bars with release. Best recordings: Louis Armstrong (1932), Fletcher Henderson (1936), Count Basie (1939), Louis Armstrong (1951, "Satchmo at Pasadena" concert).

YOUMANS, VINCENT poser,

b.

1898,

d.

April

Com5,

1946.

Wrote the musical comedy No, No, Nanette from which came two numbers often played by jazz musicians: Tea for two and I want to be happy; he also wrote I know you know, Sometimes I'm happy, Time on my hands, Without a song, More than you know. that

YOUNG, "TRUMMY" (JAMES) Trombone and singer, b. near Savannah, Ga., Jan. 12, 1912. Played with Earl Hines 1933-37, but never became well known until the end of 1937 when he joined Jimmie Lunceford. He left Lunceford in 1943 and joined Charlie Barnet, then formed a small band of his own with which he played mostly in Chicago through 1944. The following year he was with Benny Goodman for a few months, then once again formed his own small band. Next went to Tiny Grimes, and played with "J azz at the Philharmonic"; in 1947 went to Honolulu and stayed until 1952 when he 304

joined Louis Armstrong, with

whom

he made two European tours (1952 and 1955). Trummy Young is one of the really great trombone players. He

was much influenced by Jimmy Harrison and even more by Louis Armstrong, whose turn of phrase he has completely assimilated. His attack is extraordinarily powerful and his playing can be by turns vehement—almost violent— or soft and delicate but without the least affectation. He plays with absolute ease in the upper register in which his tone has an astonishing expressive force and tension. His influence has been so great that since about 1940 most trombone players have more or less imitated his style, trying primarily to reproduce the sharpness of his tone and the power of his attack. Dick Harris, Henry Coker,

Henderson Chambers, Al Hayes, Al Grey, among others, have been influenced by him. Best records: with Earl Hines, Copenhagen (1934); with Jimmie Lunceford, Annie Laurie (1937), Margie, Down by the old mill stream (1938), Blue blazes, Easter parade, Belgium stomp, Think of me little daddy, Lunceford special (1939), Bugs parade (1940); under his own name, Behind the eighth bar with Buck Clayton, I want ( 1945 ) a little girl (1946, T.Y. plays the first half of the second chorus); with Tiny Grimes, Flying home with Illinois Jacquet, (1946); Jumpin at the Apollo ( 1946 ) with Louis Armstrong, Margie (1954, ;

;

YOUNG - YOUNG the LP "Selections from the Glenn Miller Story"), Ole miss, Chantez-les bas, Long gone (1954, in LP "Louis Armstrong plays W. C. Handy"), Taint what you do, When the saints go marching in, Tin roof bines, Back o' town blues (1955, in LP "Louis Armstrong at in

the Crescendo").

YOUNG, LEE

Drums,

b.

New

Orleans, La., March 7, 1917. Brother of Lester Young. Moved while still

young

to

California

where

he

played mainly with Buck Clayton 1935, Les Hite 1938. He was with Lionel Hampton in 1940. From 1941-43 played with his brother; since 1953 has been playing with King Cole. Records: with Fats Waller,

My window

faces south,

Every day's a holiday (1937).

and soon afterwards went back again to Count Basie. In 1936 he went to New York with the Count and became very well known, as did all the leading musicians in that great band. Remained with Basie until late 1940 when he formed a band with his brother. This lasted until March 1943 when Lester Young joined Al Sears and made tours of army camps. He rejoined Basie at the end of 1943 and left again the following year when he was drafted. When he got out of the service he played with "Jazz at the Philharmonic" in 1946, then led various small bands of his own. Lester Young created a new style on tenor sax, and after the early forties had almost as great an influence on other tenor players as

Coleman Hawkins, from

whom

he

almost every respect. His tone is rather small and lacks the same velvet smoothness; his vibrato differs in

YOUNG, LESTER Tenor

saxophone

("PREZ")

and

clarinet.

Woodville, Miss., Aug. 27, 1909. Raised in New Orleans. Son of a musician, Billy Young, who had his

b.

own band on boats.

kid

Lester

when he

the Mississippi riverYoung was a small

started playing in his band. At first played drums, but found the equipment too heavy for him to carry around and took up alto sax. Left his father's band in 1931, switched to tenor sax, and after making several tours through the West joined Count Basie. In 1934 he was hired by Fletcher Henderson to replace Coleman Hawkins, but after a few months left to join Andy Kirk in Kansas City, father's

is

less

make

pronounced and he doesn't

instrument sing in the his melodic invention is almost as remarkable as that of Hawkins, and his phrases have an extraordinary variety of rhythm. He cultivates the "gag," an unexpected melodic turn which he his

same way; but

manages

to

make sound

natural.

His music is emotional in a very subtle way, something that isn't

found

in

any of

his

numerous

fol-

lowers such as Paul Quinichette,

Dexter Gordon, Gene Ammons, and Wardell Gray. Records: with Jones Smith, Inc. (actually

five

members

of

Count 305

.

,

.

YOUNG - ZURKE band), Lady be good, Shoe with Count Basie, ( 1936 ) Roseland shuffle, Honeysuckle rose, Time out ( 1937 ) Every tub ( 1938 ) Lester leaps in, 12th st. rag, Miss thing (first solo), Clap hands here comes Charlie ( 1939 ) Easy does it, Five o'clock whistle (1940); with the Kansas City Seven ( drawn from Basie's band), Lester leaps again, After theater jump (1944); under his own name, Afternoon of a Basie-ite, Sometimes I'm happy, I never knew, Just you just me Basie's

shine boy

;

,

,

(1943), I don't stand the ghost of a chance, Lester's Savoy jump

(1944), D. B. blues, These foolish things,

Lover come back

to

me,

It's

only a paper moon, She's funny that way (1946), On the sunny side of the street, Confessin ( 1947 )

YOUNG, "SNOOKY"

ZENO, HENRY b.

Louisiana

d.

New

in

New

late

Trom-

bone,

b. ca. 1918. Played with Jimmie Lunceford 1939-42, Benny Carter 1943, Count Basie 1945, Lionel Hampton 1944 and again in 1947. Although similar to Harry Edison, he plays in a more com-

plicated style with frequent excursions into the upper register and effects.

Record:

with Jimmie Lunceford,

Uptown

various

virtuoso

blues (1939).

YSAGUIRE, BOB Redman 1931-40

apart from a few one of which, in 1933, he played tuba with Louis Armstrong. Plays bass with a vigor and swing reminiscent of the New Orleans style by which he has been much influenced. Records: with Don Redman, Shakin the African I got rhythm ( 1932 ) ( 1931 ) brief periods during

,

Drums,

Mich., Jan. 17, 1912, d. Los Angeles,

Feb. 16, 1944. Played with Crosby 1936-39, when he formed his own band. Did much to make boogie woogie popular. Records with Bob Crosby, Tea for two, Yancey special (1938).

century,

Orleans.

Calif.,

Bob

:

306

and

Don

19th

Orleans, La., 1917. Said to be one of the best early drummers

ZURKE, BOB

Bass

tuba. b. ca. 1905. Played with

Piano, b. Detroit,

APPENDIX A

Selection of the best 33 r.p.m. Long-play Jazz Records

ALBERT AMMONS and PETE JOHNSON:

RCA Victor LPT 9

"Eight to the Bar" LOUIS ARMSTRONG:

The Armstrong

Story, Vol.

strong and His

The Armstrong

Story, Vol.

strong and His

1:

Columbia ML-4383

2:

'Louis

Arm-

Columbia ML-4384

'Louis

Arm-

Columbia ML-4385

'Louis

Arm-

Columbia ML-4386

Hot Seven"

The Armstrong

Story, Vol. 3: strong and Earl Hines"

The Armstrong

"Louis Arm-

Hot Five"

Story, Vol. 4:

strong Favorites"

"Louis Armstrong Sings the Blues" "Satchmo at Symphony Hall," Vol. 1 "Satchmo at Symphony Hall," Vol. 2 "New Orleans Days" "Satchmo at Pasadena" "The Glen Miller Story" "Louis Armstrong Plays W. C. Handy" "Louis Armstrong Plays at the Crescendo,'

RCA Victor LJM 1005 Decca DL 8037 Decca DL 8038 Decca DL 5279 Decca DL 8041 Decca DL 5532 Columbia CL 591 Decca DL 8168

Vol. 1

"Louis Armstrong Plays at the Crescendo/'

Decca

DL 8169

Vol. 2

"Satch Plays Fats"

"Guide to Jazz" (Anthology)

CL 708 RCA Victor LPM 1393 Columbia

COUNT

BASIE: "Jazz Classics" "Basie's Best" "Lester Leaps In" "Let's Go to Prez" "Basie's Back In Town"

Decca DL 8049 Brunswick 58019 Epic LG 3107 Epic LN 3168 Epic LN 3169

"Guide

RCA Victor LPM

to Jazz"

(Anthology)

SIDNEY BECHET: "A Treasury of Immortal Performances by Sidney Bechet" "Guide to Jazz" (Anthology) BIG BILL BROONZY: "Folk Blues" "Big Bill Broonzy Sings'

1393

RCA Victor LPT 22 RCA Victor LPM

1393

Emarcy 26034 Period

SPL 1114 307

:

DON BYAS: Savoy 9007

"Tenor Sax Solos"

BENNY CARTER: "The Formidable Benny Carter" "The Urbane Mr. Carter"

Norgran Norgran

MGN-21 MGN-10

BUCK CLAYTON: "Americans Abroad," Vol. 2 "A Buck Clayton Jam Session" (Huckle Buck and Robbin's Nest) "Buck Clayton Jams Benny Goodman"

Pax 6015 Columbia

CL 584

Columbia

CL 614

ARNETT COBB: "Swinging With Arnett Cobb"

Apollo 105

KING COLE: "Penthouse Serenade"

Capitol

WILBUR DE

"New

H-332

PARIS: Atlantic 141

Orleans Jazz"

VIC DICKENSON: "Vic Dickenson Septet." Vol. 1 "Vic Dickenson Septet," Vol. 2

BABY DODDS: "Talking and Drum Solos"

Vanguard VRS 8001 Vanguard VRS 8002

(Footnotes

to

Folkways

FP 30

Jazz, Vol. 1)

JOHNNY DODDS "Johnny Dodds" "Washboard Band" "Guide to Jazz" (Anthology)

Brunswick BL 58016 "X" LX 3006 RCA Victor LPM 1393

roy eldrddge: "The Roy Eldridge Quintet"

Clef

MGC-150

DUKE ELLINGTON: "This

is

Duke

RCA Victor LPT 3017

Ellington"

Brunswick Brunswick

"Ellingtonia," Vol. 1 "Ellingtonia," Vol. 2

"The Duke Plays Ellington" (Piano "Ellington '55"

"Guide

to Jazz" (Anthology)

SLEEPY JOHN ESTES: "Guide to Jazz" (Anthology)

308

solos)

BL 58002 BL 58012

Capitol H-447 Capitol W-521 RCA Victor

LPM

1393

RCA Victor LPM

1393

:

ERROLL GARNER: "Piano Moods" "Erroll

Columbia Columbia

Gamer Gems"

LIONEL HAMPTON: "Hamp's Boogie Woogie"

"Moonglow" "A Treasury of Immortal Performances by Lionel Hampton" "The Lionel Hampton Quartet"

Hamp"

"Hamp

in Paris"

"Guide

to Jazz"

DL 5230 DL 5297

RCA Victor LPT Clef

18

MGC-142 BLP 5046

Blue Note

"Jazztime Paris"

"Crazy

Decca Decca

CL 6139 CL 583

Emarcy MG-26038 Emarcy MG 36032

RCA Victor LPM

(Anthology)

1393

COLEMAN HAWKINS: "Coleman Hawkins and His Orchestra' "King of the Tenor Sax"

Apollo 101

Commodore 20025 Brunswick

"Tenor Sax Stylings," Vol. 1 "Guide to Jazz" (Anthology)

BL 58030

RCA Victor LPM

ERSKINE HAWKINS: "After Hours"

1393

Coral 56061

FLETCHER HENDERSON: "Memorial Album" "Connie's Inn Orchestra"

Decca DL 6025 "X" 3013

"Guide to Jazz" (Anthology)

RCA Victor LPM

1393

EARL HINES: "X" LVA-3023

"Piano Solos" "Earl Hines All Stars" Trio "Earl Hines and All Stars" "Earl Hines and His All Stars' "Piano Moods"

"Guide

Dial 303 Dial 306

Mercury MG 25018 Columbia CL 6171 RCA Victor LPM 1393

to Jazz" (Anthology)

JOHNNY HODGES "Johnny Hodges and His Alto Sax" "Johnny Hodges Collates" "Swing With Johnny Hodges"

MAHALIA JACKSON: "Queen of the Gospel

Clef

MCG 111

Norgran

MGN-1

Apollo 201

Singers"

"The World's Greatest Gospel

RCA Victor LPT 3000

Singer'

Columbia

CL 644

ILLINOIS JACQUET:

"Jam Session with

Illinois

Jacquet"

Apollo 104

309

1

BLIND LEMON JEFFERSON: "The Folk Blues of Blind Lemon Jefferson" "Blind Lemon's Penitentiary Blues"

Riverside 1014 Riverside 1053

HANK JONES: "Hank Jones' Piano"

Clef

JAMES P. JOHNSON: "The Daddy of the Piano" "Rent Party Piano"

Decca DL 5190 Blue Note 7011

MCG 100

PETE JOHNSON: "Boogie Woogie Mood"

TOMMY LADNIER: "Tommy Ladnier" "Tommy Ladnier" "Guide

to Jazz" (Anthology)

jimmie lunceford: "Jimmie Lunceford and His Orchestra" "Lunceford Special" "Guide to Jazz" (Anthology)

MEZZ MEZZROW: "Mezz Mezzrow" "Mezz Mezzrow and His Band" "Americans Abroad" Vol. 1 "Guide to Jazz" (Anthology)

Brunswick

"X"

BL 58041

LVA 3027

Riverside 1026 RCA Victor

LPM

1393

Decca DL 8050 Columbia CL 634

RCA Victor LPM

1393

"X" LX 3015 Blue Note 7023 Pax 6009

RCA Victor LPM

1393

JELLY ROLL MORTON:

"Red Hot Peppers," Vol. 2 Orleans Memories" "Guide to Jazz" (Anthology)

"New

"X" LVA-3028 Commodore 30000 RCA Victor LPM 1393

jimmie noone: "Jimmie Noone Apex Club"

Brunswick

KING OLIVER: "King Oliver" "Louis Armstrong with King Oliver's Creole

Brunswick BL 58020 Riverside 1029

Jazz Band" "Guide to Jazz" (Anthology)

kid ory: 'Kid Ory's Creole Jazz Band 1944/45," Vol. 1 'Kid Ory's Creole Jazz Band 1944/45," Vol. 2 'Kid Ory and his Creole Dixieland Band" 'Kid Ory's Creole Jazz Band 1953" 'Kid Ory's Creole Jazz Band 1954"

310

BL 58006

RCA Victor LPM Good Time Good Time Columbia

1393

Jazz 10 Jazz 1

CL 6145

Good Time Jazz GTJ-1-21 Good Time Jazz GTJ-L-12004

)

MA

rainey:

"Ma Rainey" "Ma Rainey" "Ma Rainev"

Riverside 1003 Riverside 1016 Riverside 1045

Vol. 1 Vol. 2 Vol. 3

DJANGO REINHARDT: "The Great Artistry

of

Django Reinhardt"

"Django's Guitar"

Clef MGC 516 Angel 60011

JIMMY RUSHING: "Jimmy Rushing Sings the blues"

Vanguard VRS 8011

CHARLIE SHAVERS: "Horn o' Plenty"

Bethlehem

BESSIE smith: The Bessie Smith Story, Vol. 1 "With Louis

Columbia

4ML 4807

Armstrong" The Bessie Smith Story, Vol. 2 "Blues to Bar-

Columbia

4ML 4808

Columbia

4ML 4809

Columbia

ML 4810

relhouse" The Bessie Smith Story, Vol. 3 "With Joe Smith and Fletcher Henderson's Hot Six" The Bessie Smith Story, Vol. 4 "With James P. Johnson and Charlie Green"

WILLIE THE LION SMITH: 'Willie The Lion Reminiscing

the

Piano

BCP

1007

Dial 305

Greats"

RALPH SUTTON: "Ralph Sutton at the Piano"

Circle

L 413

Decca

DL 5086

art tatum: Piano Solos "Piano Solos," Vol. 1 "Art Tatum" "The Genuis of Art Tatum," Vols. 1 to 10

Capitol T-216 Clef 612, 613, 614, 618, 657, 658, 659, 660, 661

Trio

"Art

Tatum

Trio"

FATS WALLER: 'Fats Waller Plays and Sings" 'Fats Waller" (organ) 'Fats" (two 12-inch of previously unreleased performances 'Guide to Jazz" (Anthology)

BL 58013

Brunswick

RCA Victor LPT 1001 RCA Victor LPT 3040 Victor

LPT

6001

RCA Victor LPM

1393

311

BEN WEBSTER: "The Consummate

Artistry of

Ben Webster"

Norgran

MGN 1001

TEDDY WILSON: "Teddy Wilson and His Piano"

Columbia

JIMMY YANCEY: "Jimmy Yancey" "Blues and Boogie"

"X"

"Guide

to Jazz"

(Anthology)

CL 6098

Atlantic 134

LX 3000 RCA Victor LPM

LESTER YOUNG: "Lester

312

Young Trio"

Clef

MGC

104

1393

continued from front flap

of jazz as a "respectable" art. His recent

book The Real Jazz was acclaimed by musicians and amateurs alike as containing the most authoritative, sensitive criticism ever published on the subject; was praised in reviews for its "solid musical analysis and the etched words with which it describes performers and their styles." Louis Armstrong praises the author for having "helped people to under-

stand jazz better. beautifully,"

.

.

and says

ple have gotten to

He explains it so "How many peo-

.

:

know

real jazz

and

been converted through Panassie!" Originally published in France in 1954 under the title Dictionnaire du Jazz, the Guide has been brought completely up to date and expanded for the American edition by jazz expert A. A.

known to readers of Metronome, Downbeat, etc., for his critical essays, and a collaborator with Panassie Gurwitch,

in the

production of the

first

Interna-

tional Jazz Festival at Nice, France.

Much more than just

a reference

book

— although does contain over seventy biographies not be found elsewhere — the Guide Jazz a perit

to

to

is

colorful,

sonal expression of the views

of the

them all. In addition to being a must for anyone who wants to know what jazz is all about, it's an indispensable companion to a greatest authority of

record collection. For the confirmed fan, of course,

it's

the most!

Jacket hy George Kelley

Photo Feher

P anassie and two jazz greats:

Mezz Mezzrow and Louis Armstrong, taken in Paris when France was first discovering jazz. Louis and Mezz are among the musicians who can be heard on RCA Victor

LPM

"Guide to Jazz," sixteen top jazz classics selected by Panassie and released in conjunction with

this

book.

»•