|By ~Bruce Eder|
Elgin Evans, born Elga Edmonds, was notable as the first permanent drummer in Muddy Waters' band. Born in 1909, he played the washboard as a rural blues musician, in settings where drums were unavailable or inappropriate; but by the 1940's he had moved to Chicago and was a busy drummer on that city's burgeoning postwar blues scene. Fate took a hand at the end of the 1940's, as Muddy Waters had set about organizing a permanent band. The one he led had used Baby Face Leroy on drums but in early 1950 Muddy replaced Leroy with Evans in his performing band. It took some time for Evans to make it onto a Muddy Waters record, however, as Leonard Chess, who ran the label bearing his name for which Muddy recorded, apparently had little faith at the time in Evans' sound.
Muddy's records from around this time featured other players (including Chess himself on one session, for which he replaced Evans to get the bass-drum sound he was looking for). Ironically for a member of Muddy's band, Evans' earliest Chess recordings were with Jimmy Rogers, and it wasn't until 1953 that he was actually credited with playing on one of Muddy's sessions. He was subsequently a part of Little Walter's band, while Fred Below and, later, Francis Clay ultimately replaced him in Muddy's band from 1954 onward. Evans ceased recording work at the end of the 1950's, and his whereabouts since are unknown.
HAPPY BIRTHDAY SKIP JAMES
"Skip" James, Jazz guitar/piano
b. Yazoo City, MS, USA.
~by Cub KodaAmong the earliest and most influential Delta bluesmen to record, Skip James was the best known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any. Coupling an oddball guitar tuning set against eerie, falsetto vocals, James's early recordings could make the hair stand up on the back of your neck. Even more surprising was when blues scholars rediscovered him in the '60s and found his singing and playing skills intact. Influencing everyone from a young Robert Johnson (Skip's "Devil Got My Woman" became the basis of Johnson's "Hellhound on My Trail") to Eric Clapton (who recorded James's "I'm So Glad" on the first Cream album), Skip James's music, while from a commonly shared regional tradition, remains infused with his own unique personal spirit.
~by Cub Koda Among the earliest and most influential Delta bluesmen to record, Skip James was the best known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any.
Coupling an oddball guitar tuning set against eerie, falsetto vocals, James's early recordings could make the hair stand up on the back of your neck. Even more surprising was when blues scholars rediscovered him in the '60s and found his singing and playing skills intact. Influencing everyone from a young Robert Johnson (Skip's "Devil Got My Woman" became the basis of Johnson's "Hellhound on My Trail") to Eric Clapton (who recorded James's "I'm So Glad" on the first Cream album), Skip James's music, while from a commonly shared regional tradition, remains infused with his own unique personal spirit.
Booker Collins, Bass b. Roswell, NM, USA
The role of a jazz bassist has evolved through the history of the music and could be generalized as an increase in input into the music above and beyond just timekeeping. It is true that perhaps some bassists get carried away, hiring other bassists to back them up while they play solos. Or perhaps that's what they all should be doing. Listeners who agree with the latter musical dogma, or simply enjoy a lively bassist, can count in Booker Collins as an early example of mucho rather than macho bass. By the mid-'30s, when he was keeping very good company indeed in the groups of the fine pianist Mary Lou Williams, a typical Collins performance would have a remarkable stature when contrasted with what other bassists were playing in similar groups. In fact, considering that the bassist in question hailed from Roswell, NM, it is no doubt acceptable to describe him as an alien among his contemporary rhythm section players.
Collins was indeed a westerner, emerging from the New Mexico Military Institute to play in Bat Brown's Band, an aptly named territorial band for a territory whose night skies were dotted with the creatures. Trombonist Bert Johnson was another playing partner of Collins, both of them going for a fattened midsection as if preparing for film roles as bouncers.
He was only 16 when he was cutting sides with Williams, part of a busy and sometimes even thriving Chicago recording scene in which jazz, rhythm & blues, and just plain blues players mingled and collaborated for independent label releases. In 1934, his break came when he got into the band of Andy Kirk and he stayed in this active group for the next decade, often playing alongside his old pal Williams in the rhythm section. Kirk was actually adding an instrument to his lineup as well as a player: The hiring represented the bandleader's decision to add double bass to the rhythm section, leaving the tuba in the closet to collect whatever tubas collect. Most bassists of Collins' generation doubled on the horn and he was no exception. Knowing what tubas collect firsthand, he was probably happy to leave it behind when the Kirk band hit the road.
The bassist's final job of note was with Chicago guitarist and drummer Floyd Smith's trio, a stint that lasted from 1946 until the early '50s, when this great bass man finally laid his big instrument down in terms of full-time playing; he made a few appearances at festival occasions in the ensuing decades and was also in Chicago recording studios in the late '50s cutting sides for independent labels. Perhaps figuring that it was insane to stay out of the music business, he joined a combo called the Shades of Rhythm to backup blues singer Mad Man Jones on the demanding "Come Here." Collins had been involved with this group, whose personnel shifted like the tide along the Chicago lakeside, since 1952 when he was part of a version that took the risk of cutting sides for the Chance label.
~ Eugene Chadbourne
Henry S. Creamer
Afro-American lyricist/vaudevillian b. Richmond, VA, USA
d. Oct. 14, 1930 Henry Creamer From Wikipedia, the free encyclopedia Henry Creamer (June 21, 1879 – October 14, 1930) was an American popular song lyricist. He was born in Richmond, Virginia and died in New York. He co-wrote many popular songs in the years from 1900 to 1929, often collaborating with Turner Layton, with whom he also appeared in Vaudeville. Creamer was a co-founder with James Reese Europe of the Clef Club, an important early African American musicians & entertainers organization in New York City. Some Famous Works:
"Alabama Stomp" w. Henry Creamer m. James P. Johnson (1926) "'Way Down Yonder In New Orleans" w. Henry Creamer m. Turner Layton (1922) "Dear Old Southland" w. Henry Creamer m. Turner Layton (1921) "Strut Miss Lizzie" w. Henry Creamer m. Turner Layton (1921) "After You've Gone" w. Henry Creamer m. Turner Layton (1918) "Ev'rybody's Crazy 'bout the Doggone Blues, But I'm Happy" by Henry Creamer and Turner Layton (1918) "The Bombo-Shay" by Henry Creamer (1917) "Sweet Emalina My Gal" w.m. Henry Creamer & Turner Layton (1917) "That's A Plenty" w. Henry Creamer m. Bert A. Williams (1909)
Elgin Evans, drums
Elgin Evans: Information from Answers.com
Harry Goodman, bass b. Chicago, IL, USA
His family emigrated to New York, NY, ca 1908. Mack first started acting in vaudeville and then turned lyricist. He teamed with the UK emigre pianist Harry Revel writing music for the 1931 edition of the Ziegfeld Follies, and the team was then signed by Paramount Pictures. He divorced his first wife - Rose - in 1936, and remarried Elizabeth Cook (1939-'48). co-owner of Arc Music Corp.
Dewey Jackson, Trumpet
b. St.Louis, MO, USA, d. 1994
~by Scott YanowIt seems strange that Dewey Jackson made so few recordings because he was one of the biggest names in St. Louis jazz of the 1920's and was considered a legend for decades. Jackson played early on with the Odd Fellows Boys' Band (1912), Tommy Evans (1916-17) and George Reynolds' Keystone Band. After working on riverboats with Charles Creath, Jackson led his Golden Melody band (1920-23).
During 1924-41 the trumpeter was a fixture on the riverboats, either heading his own groups (including the St. Louis Peacock Charleston Orchestra) or working as a sideman with Fate Marable and Charlie Creath. The one exception was a four-month stretch in 1926 when Jackson was with Andrew Preer's Orchestra at New York's Cotton Club. He was only a part-time player in the 1940's, having a day job, but then worked fairly frequently in the 1950's including with Singleton Palmer and Don Ewell's Trio (1951). Jackson was active into the 1960's. Dewey Jackson recorded just four titles as a leader (in 1926 including a classic "She's Cryin' For Me"), in 1927 he recorded with Charlie Creath and in 1950 appeared on a Singleton Palmer record. Among Jackson's sidemen through the years were Pops Foster, Willie Humphrey, Don Stovall and Clark Terry (1937).
tenor & baritone saxes/clarinet/leader
b. El Paso, Texas, USA (raised in Los Angeles)
d. July 19, 1977.His professional career began working with Charlie Echols, and he later enjoyed a long association with Johnny Otis. Wynn was a sideman on hundreds of West Coast recordings. From 1945 to 1959, he recorded sporadically with many labels including '4 Star/Gilt Edge' (perhaps his best-known side, "Ee-Bobaliba"), 'Supreme', 'Mercury', 'Modern', and 'Specialty'. He continued working as a sideman well into the 1970s, switching to baritone sax late in his career.
this date include:
Ragtime pianist Ford T. Dabney
died in New York, NY, USA.
Age: 75 Ford T. Dabney
John Lee Hooker
died in California.
on this date include:
Club Royal Orchestra
Art Landry and His Orchestra
Dewy Jackson's Peacock Orchestra
Arthur Sims and his Creole Roof Orchestra
St. Louis Levee Band
Red McKenzie and his Music Box
Red Nichols and his Orchestra
Troy Floyd and his Shadowland Orchestra
Ted Weems and his Orchestra in 1929
Ted Weems and his Orchestra