Tuesday

APRIL 23RD



BIRTHDAYS
1894
Charles "Cow-Cow" Davenport
Piano/Vocal
b. Anniston, AL, USA. d. Dec. 2, 1955, USA. 
~Biography by Cub Koda
Charles "Cow Cow" Davenport is one of those seldom remembered names in the annals of early blues history. But a little investigation will unearth the salient fact that he played an important part in developing one of the most enduring strains of the music; yes, "Cow Cow" Davenport was one hell of a boogie-woogie piano player. Davenport worked on numerous vaudeville tours on the TOBA circuit in the '20s and early '30s, usually in the company of vocalist Dora Carr.
While he's principally noted as the composer of his signature tune, "The Cow Cow Boogie," which would be revived by jazz band vocalist Ella Mae Morse during the boogie woogie craze of the early '40s, he also claimed to have written Louis Armstrong's "I'll Be Glad When You're Dead, You Rascal You," selling the tune outright and receiving no royalties or composer credits. He recorded for a variety of labels from 1929 to 1946, eventually settling in Cleveland, Ohio, where he died in 1955 of hardening of the arteries.
1903
Bob Garber, leader/piano
b.Washington, D.C.
d. March 6, 1988, Ormond-By-The-Sea, FL, USA.
(Ormond Beach is inland)
Bob led a part-time "territorial" band in the Washington, DC area.



1915
Joe Lipman, piano
b. Boston MA, USA.
Joe was a very popular arranger all through the Big Bands era, and into the 'bop' era as well. Among those bands for whom he wrote are Artie Shaw (and the Peg La Centra vocals), Benny Goodman, Jimmy Dorsey (and many Helen O'Connell hits), Stan Kenton, Charlie Parker, Dizzy Gillespie, and others.


1912
Orville Minor, trumpet
b. Kansas City, MO, USA.
What is worse than a name such as Orville Minor would be acquiring the nickname of "Piggy" to go along with it. Thankfully from the point of view of recording credits, "Piggy" seems to have stayed in the sty and it is under the full name of Orville Minor that this famous denizen of Kansas City is identified, seemingly without exception. Minor may have acquired the nickname from overdoing it on local specialities such as hickory-smoked turkey breasts. Or possibly it was for placing his lips on more than what it considered a normal amount of brass instrument mouthpieces at one time. A legendary oldtimer who remained active on the Kansas City jazz scene through the '80s, Minor attracted major attention with his personal habit of blowing trumpet and valve trombone simultaneously, a mouthful even when chewing according to Kansas City standards.
Minor also minored in vibraphone. His use of all three instruments as the focal point of his own group in the '50s represented a flowering of talent first noticed in romping pianist Jay McShann's small '30s combos. When the path leads to McShann's door, an early Charlie Parker sighting inevitably doth follow. Even alongside a prodigous talent such as Parker the abilities of this trumpeter attracted the attention of critics. From the Downbeat magazine archive comes this song of praise, immediately following more of the same for no less than a Charlie Parker solo: "As for trumpets, Bob Merrill and Buddy Anderson seem to get the hot work but my tastes prefer the more delicate and well-controlled solo performances of Orville Minor, who also does well on much growl trumpet work. This lad needs only a couple of years to be one of the country's top-notchers, I think. His talent has been underestimated."
This description involving three trumpets signifies that bandleader McShann had expanded his activities to a big band. Minor was additionally involved with the groups of players such as Dee Stewart and Clint Weaver. His discography is simultaneously as accessible as a tan in the summer and frustratingly incomplete. Of course the early McShann material in which Parker was involved helps fill a tote bag full of anthologies, compilations, Kansas City jazz tributes and "historical" abominations (i.e. the Ken Burns project). The fact that Minor's career continued for some 40 years after that does not seem to have gone entirely without recorded evidence--there are discography credits here and there for Minor up through 1984, but nothing involving his own groups has remained in print. In 1999 he received a standing ovation at the an honorary Charlie Parker symposium and monument dedication, but did not survive past the summer of that year. ~ Eugene Chadbourne, Rovi
1895
Jimmy Noone, Clarinet/leader
b. Cut Off, LA, USA.
d. April 19, 1944.
One of the great 1920s New Orleans clarinetists. 
~Biography by Scott Yanow
Considered one of the three top New Orleans clarinetists of the 1920s (with Johnny Dodds and Sidney Bechet), Jimmie Noone had a smoother tone than his contemporaries that appealed to players of the swing era (including Benny Goodman). He played guitar as a child, and at age 15 took clarinet lessons from Lorenzo Tio Jr. and Sidney Bechet (the latter was only 13, shockingly enough). Noone developed quickly, and he played with Freddie Keppard (1913-1914), Buddy Petit, and the Young Olympia Band (1916), which he also led. In 1917, he went to Chicago to join Keppard's Creole band. After it broke up the following year he became a member of King Oliver's band, staying until he joined Doc Cook's Dreamland Orchestra (1920-1926).
Although Noone recorded with Cook, it was when he started leading a band at the Apex Club that he hit his stride. By 1928, he had pianist Earl Hines and altoist Joe Poston in the unusual quintet (Poston stuck to playing melodies behind Noone), and was recording for Vocalion, creating classic music including an early version of "Sweet Lorraine" (his theme song) and "Four or Five Times." Noone worked steadily in Chicago throughout the 1930s (although he received less attention from the jazz world), and he used Charlie Shavers on some of his late-'30s recordings and welcomed the young singer Joe Williams to the bandstand; unfortunately, they never recorded together.
In 1944, Noone was in Kid Ory's band on the West Coast and seemed on the brink of greater fame when he unexpectedly died. Thanks to European reissue series, Jimmie Noone's recordings are readily available on CD. His son, Jimmie Noone Jr., suddenly emerged out of obscurity in the 1980s to play clarinet and tenor with the Cheathams.
Jimmie Noone - Wikipedia




Notable Events Occurring 
On This Date Include:

1984.
"Red" Garland, piano, died.

1900.
The word "Hillbilly" appeared in print
for the first time in a 'The New York Journal'
article.

Walter Barnes and his Royal Creolians
1940.
Walter Barnes
alto sax/clarinet
died Natchez, MS, USA.
Age: 35
Walter Barnes (July 8, 1905, Vicksburg, Mississippi - April 23, 1940, Natchez, Mississippi) was an American jazz clarinetist, saxophonist and bandleader.
Barnes grew up in Chicago and studied under Franz Schoepp in addition to attending the Chicago Musical College and the American Conservatory of Music. He led his own bands from the early 1920s in addition to playing with Detroit Shannon and his Royal Creolians. After Shannon's retinue became dissatisfied with his leadership, Barnes took control of this group as well. He played mostly in Chicago, though the band did hold a residency at the Savoy Ballroom in New York City as well. His band recorded in 1928-29 for Brunswick Records. He toured the American South in the 1930s to considerable success, touring there yearly; by 1938 his ensemble included 16 members.
Barnes was one of the victims of the Rhythm Club Fire in Natchez, Mississippi on April 23, 1940. He played in an eight-piece band that night when the club caught fire; he had the group continue playing the song "Marie" in order to keep the crowd from stampeding out of the building. All of the band's members, including Paul Stott and vocalist Juanita Avery, were among the 201 victims of the fire. Barnes's death was repeatedly immortalized in song thereafter.

1988.
Ocie Stockard
Western Swing/multi-instrumentalist
died in Fort Worth, TX, USA.
Age: 78.
On This Date Include:

1919

Joseph C. Smith's Orchestra

  • Out Of The East
  • Rainy Day Blues

1923

Original Capitol Orchestra

  • Chicago


1924

Clara Smith

  • Don't Advertise Your Man

Ray Miller's Orchestra

  • Lots O' Mama

1926

King Oliver's Dixie Syncopators

  • Jackass Blues - Vocal Chorus by Georgia Taylor


Jean Goldkette and his Orchestra

  • "Gimme" a Little Kiss, Will "Ya"? Huh
  • Lonesome and Sorry

1928

State Street Ramblers

  • My Baby
  • Oriental Man
  • Pleasure Mad
  • Shanghai Honeymoon
  • Some Do And Some Don't
  • Tack It Down

Paul Whiteman and his Orchestra

  • Dixie Dawn
  • Louisiana

1929

Louisiana Rhythm Kings

  • Ballin' The Jack
  • I'm Walking Through Clover

Tom Dorsey and his Novelty Orchestra

  • Daddy Change Your Mind
  • You Can't Cheat A Cheater

1930

Clarence Williams' Washboard Band

  • Whip Me Plenty Of Love
  • Wore Out Blues

1934

Dorsey Brothers Orchestra

  • Judy

LYRICS:

Gimme a little kiss, will you, huh?
~Songwriter: Maceo Pinkard

Gimme a little kiss, will you, huh?
Whadda ya gonna miss, will you, huh?

Gosh oh gee, why do you refuse?
I can't see what you gonna lose.

Gimme a little squeeze, will you, huh?
Why do you wanna make me blue?
I wouldn't say a word if I were asking for the world,
But what's a little kiss between a fella and his girl?

Gimme a little kiss, will you, huh?
And I'll give it right back to you.
brought to you by... 
~confetta
Special Thanks To:
The Red Hot Jazz Archives,
The Big Band Database, Scott Yanow, 

and all those who have provided content,
images and sound files for this site.