NOVEMBER 7TH


BIRTHDAYS


1916
Joseph "Joe" Bushkin
Piano/Leader
b. New York, NY. USA
d. Nov. 3, 2004, Santa Barbara, CA, USA. (pneumonia).
Age: 87.
First professional job (1935) was playing piano at the 'Famous Door' club on New York's famed 52nd Street. Played with Louis Prima, Bunny Berigan, Joe Marsala, and Muggsy Spanier. During 1936-'39, he often recorded with vocalist Lee Wiley, Eddie Condon, and Sharkey Bonnano. 1940 saw his first solo session recording for Commodore Records. 1940 joined Tommy Dorsey's Orch. While with Tommy, he and John DeVries composed the song "Oh Look At Me Now", which became a huge hit. From Dorsey he entered the U. S. Army (WWII Jan. 1942), where he played Trumpet in Air Force band, then assisted David Rose with the famous Air Force show 'Winged Victory', -and eventually replaced David Rose as the Musical Director.

He saw service in the South Pacific and Japan. After WWII, he joined Benny Goodman's band (Spring 1946). Freelanced during '47, and also toured South America with his own group. On his return, he gave solo concerts and wrote arrangements, -and originals, for various dance bands. In 1949, had acting role in Broadway show "The Rat Race". In 1951 led his own group at club called 'The Embers' in New York City. In 1953, briefly joined Louis Armstrong, then led his own group called Joe Bushkin and His Swinging Strings . In early '50s, he was a popular performer at 'Society' gatherings. He also recorded with actress Tallulah Bankhead, and was heard singing on Radio and TV. Joe went into semi-retirement in late 1950s.
Joe Bushkin: Information from Answers.com

1922
Alois Maxwell "Al" Hirt, Trumpet/Leader
d. April 27, 1999, New Orleans, LA, USA. Age 76
Among the men with whom Al worked are: Tommy and Jimmy Dorsey; Ray McKinley, Horace Heidt and Billy May
Al Hirt - Wikipedia

Bix Beiderbecke & Red Ingle.

1907
Red Ingle, vocals/comic/saxes/clarinet/leader
b: Toledo, OH, USA.
d: 1965, Santa Barbara, CA, USA. CA,
né: Ernest Jansen.
Red worked with such musical greats as Bix Biederbecke, and Gene Goldkette; Paul Mertz; The Dorsey Brothers; Ted Weems 1931-1941; Spike Jones 1943-1946
MORE:
Best known for his work with Spike Jones and his own Natural Seven sides for Capitol, Red Ingle was a true multi-talent. A fine musician, a great comedic singer and gag writer, a human sound-effects machine, an excellent cartoonist and caricaturist, and consummate arranger, Ingle truly lived up to the oft-bandied-about description,'he can do it all.'

He was born Ernest Jansen Ingle in Toledo, Ohio on November 7, 1906. Ingle came to music early, being taught the rudiments of the violin at age five by family friend Fritz Kreisler. He stayed with the instrument until he reached the age of 13, at which time he started playing the saxophone, the predominant instrument for the rest of his life. Two years later, Ingle was playing his first professional job as a member of Al Amato's band. By his late teens, Ingle was touring steadily with the Jean Goldkette Orchestra, sharing the bandstand with future jazz legends Bix Beiderbecke and Frankie Trumbauer. After a bandleading stint at Chicago's Merry Gardens Ballroom and a brief tenure under bandleader Maurice Sherman, Ingle and his tenor sax joined up with Ted Weems in 1931. The teaming was good for both men, lasting into the following decade with Ingle contributing comedy vocals to several Weems recordings, including "Jelly Bean," "Tain't So," "Sittin' Up Waitin' for You," and "The Man from the South." The boy singer for the band, Perry Como, would later recall Ingle as 'one of the most talented men I've ever met.'


The second World War found him working him a government job as an instructor for the CAA. But upon his discharge from service in 1943, after flunking the eye examination to enlist in the Air Force, he joined up instead with Spike Jones & His City Slickers. He came to the Jones organization through the auspices of founding member and banjoist Country Washburne, his former band mate in the Weems orchestra. But his hiring was not based so much on his fine musicianship, but rather on his broad comedic flair and his amazing arsenal of vocal effects. Spike Jones started featuring him front-and-center right from the start and it was Ingle's outrageous stage presence that started changing the City Slickers from a cornball music act to a far more visual act.

Certainly Ingle wasn't the only funny man in the newly formed City Slickers; he had awfully strong competition in Carl Grayson, Del Porter and trumpeter George Rock. But his true talent was recognized by everyone: "There was nobody in the band as funny as Red," opined original Slicker clarinetist Zep Meissner, "Guys like him were funny in themselves, they didn't need material." And the band got noisier -- if such a notion is possible -- when Ingle joined up. As his son, Don Ingle, pointed out, "The stage shows became more active -- or more violent -- when Dad came on the band. He had basically a vaudevillian's approach to musical sight gags -- the facial things, the body motions, the running gags; shooting the arrow in the wings, with a midget running back on with an arrow pinned to the seat of his pants." Ingle's early skits pointed Spike Jones in the right direction and soon the band was a complete stage presentation that would later reach its apogee with Jones' mammoth "Musical Depreciation Revues" that ran successfully into the early '50s.

The big hit of one of the early shows was Ingle's takeoff of the old vaudeville pop chestnut, "Chloe." He would run on in combat boots, a fright wig, and a nightgown, swinging a lantern, making his song-ending escape into an outhouse with the cry, "I gotta go!" This routine was showcased to good effect in the movie Bring on the Girls and became Spike Jones' third gold record, spending four weeks in the Top Ten. Other outstanding examples of Red Ingle on record with the band are "You Always Hurt the One You Love" and "Glow Worm," both major hits for the City Slickers, the latter being reprised in the film Breakfast in Hollywood. Ingle was also the band's resident caricaturist, designing many of the Spike Jones likenesses used in stage backdrops, media print ads, and other band promotions.
After three very successful years with the organization, Ingle left in November of 1946 over a salary dispute with Jones. He freelanced in radio and movie work for a while, making unexpected -- but well-received -- appearances with the Los Angeles and San Francisco Light Opera companies. Cutting a cornball spoof of the then-current hit "Temptation" with Jo Stafford for the fledgling Capitol label started the second career of Red Ingle. "Tim-Tay-Shun" went on to sell over three-million singles, and basking in the unexpected glow of success, Ingle immediately formed a regular band to cash in. Working under the moniker of Red Ingle and His Natural Seven, the group included Country Washburne (the man who had arranged "Tim-Tay-Shun") and Luther Roundtree as well as several other former City Slickers. The hits kept coming with Ingle scoring big with "Cigareetes, Whuskey, and Wild, Wild Women," "Them Durn Fool Things," and " 'A', You're a Dopey Gal." During this flurry of activity, Ingle and the band took time to film several numbers for Snader Transcriptions, an early forerunner of today's music videos.

Disbanding the group in 1952, Ingle went back to his old boss Ted Weems for a short spell, later chair hopping onto the bandstands of Eddy Howard and Freddie Fisher. As he eased himself out of show business, tiring of road travel and preferring to spend time with his family, he opened a saddlery shop and started cashing his royalty checks. His last appearance in a recording studio was in 1963 at the behest of his old boss, Spike Jones. Jones was recording a new album to be entitled Persuasive Concussion and asked Ingle to come in and reprise "Chloe" one more time. He agreed, but unfortunately the album was never issued, staying unfinished at the time of Jones' death in May of 1965. Red Ingle passed away only a few months later that same year, a victim of an internal hemorrhage. And with the passing of both men, so went a style of musical comedy lunacy that will never be duplicated again.
~ Cub Koda


1909
Ernie Newton
C&W Acoustic Bass
b. Hartford, CT, USA.
Did you know that in 1937, guitarist Les Paul first recorded with a trio consisting of Les on guitar, bassist Ernie Newton and rhythm guitarist Jim Atkins (the older half-brother of Chet Atkins, with whom (in 1995) Paul would cut the album 'Chester and Lester'). (Note: Originally, Les Paul had a country-music act working in Chicago, IL, billing himself as "Rhubarb Red". Les played harmonica and guitar, and recited "rube" humor. By the early 1930s, Les was earning $1000 a week. But,.. Chicago is a 'bustling' town with much music to hear and to play. Les once said 'In the morning I was hillbilly, and at night I was playing Jazz with Roy Eldridge, Coleman Hawkins, Nat Cole and Art Tatum.' In 1936, Paul cut his first record, backing blues singer-pianist Georgia White as she belted out Andy Razaf's raunchy "If I can't sell it, I'll keep sittin' on it, before I give it away." The next year, he formed a C&W trio with Newton and Atkins.

1890
Phil Spitalny, leader
(all Girl orchestra)
b: Odessa, Russia d. 1970
Phil Spitalny is one of those popular bandleaders of the 1920's and 1930's whose fame didn't survive him. Born in Russia, he was brought to the United States as a boy, and by the 1920's was fronting his own band. Among his other successful records from the 1920's were "Jackass Blues" and "I Want To Meander In the Meadow," credited to Phil Spitalny's Music.
Spitalny later distinguished himself from virtually all of the competition with a gimmick that worked, leading orchestras made up entirely of women, billed as Phil Spitalny and His All-Girl Orchestra. They were a good outfit, able to play "jazzed" classics and light classical with equal aplomb, and were definitely easy to look at-although curiously enough, they broke through initially in radio, where there was no visual impact, on a program called "The Hour of Charm." (There was one other all-woman orchestra, truly all woman including its leader, that had major national exposure on radio, Ina Ray Hutton & Her Melodears).
Later on, they were signed to Universal Pictures and appeared in features and short subjects that exploited the orchestra's visual appeal. Spitalny found women who were good at their instruments-Mary McClanahan was a top-flight drummer in her time-but who were also very good to look at. In all of its incarnations, the featured member of the orchestra was Evelyn & Her Magic Violin. The virtuoso Evelyn, who was a very flashy and charismatic player, later became Mrs. Spitalny. The rest of the orchestra membership was fairly fluid-there was no shortage of women with musical training, (although McLanahan distinguished herself among all drummers), especially during the war years, and presumably they came and went as better gigs or, even more likely, marriage beckoned.

Alas, the only extant video on which Spitalny and his orchestra can be seen is the Abbott & Costello film Here Come The Coeds (1945), where the orchestra gets a couple of great featured spots. Unfortunately, expecting to be noticed in any movie in which Lou Costello gets knocked on the head and wakes up thinking he's a woman basketball player is a sucker bet, because if the notion of Lou Costello as a basketball player is funny enough, Lou Costello as a female basketball player is downright hysterical, and overshadows a lot else including Spitalny and company, who play some very attractive light Romantic classics.

Spitalny continued to work in music into the 1950's, and retired to Miami, where he died in 1970. The University of Miami offers two academic awards, The Evelyn and Phil Spitnalny Music Achievement Award and The Evelyn and Phil Spitnalny Scholarship, and former members of the orchestra continue to play in the 1990's, most notably in the Venice Symphony Orchestra of Venice, Florida, a semi-professional ensemble.
~ Bruce Eder
Notable Events
on this date include:


1927.
Florence Mills
dancer and singer
died in New York City. Age: 32
Florence Mills


1945.
Gus Edwards
songwriter/producer/vaudevillian
died in Los Angeles, CA, USA.
Age: 66


1956.
Una Mae Carlisle, piano
died in New York, NY, USA.
Age: 40

1960.
Alvin Pleasant Delaney "A.P." Carter
(The Carter Family)
died in Kingsport, TN, USA.
Age: 69

1972.
Ace Black, guitar
died in Fort Worth, TX, USA.
Age: 66

1987.
Charles Holland, vocals
died in Amsterdam, Holland.
Age: 77.

1992.
Duke Groner, bass
died in Chicago, IL, USA.

1992.
Theodore Thomas, tenor sax
died in Hartford, CT, USA.
Age: 84


1993.
Adelaide Hall, vocals
died in London, UK.
Age: 92


Songs Recorded/Released
On this date include:

1923

Benson Orchestra of Chicago

1924

Fletcher Henderson and His Orchestra

The California Ramblers

1927
1929

McKinney's Cotton Pickers

Andy Kirk and his Twelve Clouds Of Joy


1930

Memphis Jug Band

1934

Fats Waller and his Rhythm

LYRICS:

Honeysuckle Rose
~Fats Waller

Every honey bee fills with jealousy
When they see you out with me
I don't blame them
Goodness knows
Honeysuckle rose

When you're passin' by,
Flowers droop and sigh
I know the reason why
You're much sweeter
Goodness knows
Honeysuckle rose

Well, don't buy sugar
You just have to touch my cup
You're my sugar
And it's oh so sweet when you stir it up

When I'm takin' sips
From your tasty lips
Seems the honey fairly drips
You're confection
Goodness knows
Honeysuckle rose

Well, don't buy sugar
You just have to touch my cup
You're my sugar
And it's oh so sweet when you stir it up

When I'm takin' sips
From your tasty lips
Seems the honey fairly drips
You're confection
Goodness knows
Honeysuckle rose


TubaGirlFin
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.
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Jelly Roll Morton