Monday

NOVEMBER 29TH





BIRTHDAYS


1902

Danny Alvin, Drums
b. New York, NY, USA
d. Dec. 6, 1958, Chicago, IL, USA.
Father of Guitaries Teddy Walters. Danny played with Sophie Tucker at Reisenweber's in 1919 New York; then settled in Chicago where he played with many Dixielanders incl. Sidney Bechet; Joe Marsala; George Brunis; Buck Clayton; Wingy Manone; and Wild Bill Davison.
~Biography
Danny Alvin had a lengthy career playing drums in many traditional jazz groups. The father of guitarist Teddy Walters, Alvin's first major job came playing with Sophie Tucker at Reisenweber's in New York in 1919. He moved to Chicago in the early '20s, then divided his time between there and New York. Alvin played and recorded with such greats as Sidney Bechet, George Brunis, Buck Clayton, Wild Bill Davison, Wingy Manone, Joe Marsala, Art Hodes, Mezz Mezzrow and George Zack. His legacy as a leader is slim, with his best release being a 1958 session for Stepheny.

1895
Busby Berkeley, choreographer
d. 1976.
If you ever enjoyed watching all those great 
early Hollywood musicals such as Footlight Parade', 
the 'Golddiggers of 1930' series, etc., then you were 
looking at Busby's work - as a choreographer... 
He didn't play any musical instrument - the Chorus-
line was his instrument! But, there.. is absolutely 
no doubt that his dance stagings enhanced the tunes.)


~Mini Biography
Busby Berkeley was one of the greatest choreographers in the US movie musical. He started his career in the US Army in 1918, as a lieutenant in the artillery conducting and directing parades. After the cease fire he was ordered to stage camp shows for the soldiers. Back in the US he became stage actor and assistant director in smaller acting troops. After being forced to take over the direction of the musical "Holka-Polka" he discovered his talent for staging extravagant dance routines, and he beamed as one of the top Broadway dance directors. Producer Florenz Ziegfeld Jr. called him to direct the dance routines for his production "A Connecticut Yankee on King Arthur's Court". Eddie Cantor, who starred in the long running Ziegfeld production "Whoopee!" suggested Berkley create the dance routines in the film version, and Ziegfeld agreed.


At first in Hollywood, he wasn't satisfied with the possibilities of his job - at the time, dance directors trained the dancers and staged the dances. The director chose the position for the cameras and the editor chose which of the takes were shown to the audience. Berkeley wanted to direct the dances himself and convinced the producer Samuel Goldwyn to let him try. One of the first chances he took was that he used only one camera in his films. He also showed close-ups of the chorus girls. Asked about this he explained: "Well, we've got all the beautiful girls in the picture, why not let the public see them?"

With the decline of musicals in 1931 and 1932, he was thinking of returning to Broadway, when Darryl F. Zanuck, chief producer at Warner Brothers called him in to direct the musicals numbers of their newest project, the backstage drama 42nd Street (1933). Berkeley accepted and directed great numbers like "Shuffle Off To Buffalo", "Young and Healthy" and the grandiose story of urban life, the finale "42nd Street". The film was a smash hit, and Warner Brothers knew who made it such an extraordinary success: Berkeley, as well as the composer Harry Warren and the lyricist Al Dubin got seven year contracts.


Berkeley created musical numbers for almost every great musical that Warner Brothers produced from 1933 to 1937. His overhead shots forced him to drill holes in the studio roofs, and he used more dancers with each succeeding picture. But with the second declining of the musical picture in 1938, he had nothing to do as a choreographer. He directed two non-musical pictures for Warner Brothers, then he went to MGM, where he choreographed the final number from Broadway Serenade (1939) with Jeanette MacDonald. As a director and choreographer, he worked on four pictures with the teenage stars Judy Garland and Mickey Rooney. He also choreographed the Fascinatin' Rhythm finale for MGM's reigning tapping star, Eleanor Powell in Lady Be Good (1941). He directed Gene Kelly in his first picture, in For Me and My Gal (1942). Kelly, who choreographed his own numbers, learned a lot from Berkeley. He worked for 20th Century-Fox in The Amazing Mr. Forrest (1939) with its surrealistic number "The Lady in the Tutti-Frutti Hat".

At the end of the 40s he directed his last picture, Take Me Out to the Ball Game (1949), but this time the choreography was direct by Gene Kelly. He did a few numbers in the early 50s, but by the end of the decade, he was all but forgotten. A revival of his films in the late 60s brought him some popularity and he was asked to return to Broadway and supervise the dance direction in the revival a Vincent Youmans musical comedy from 1925. One of the actresses in this production was Ruby Keeler, one of his leading ladies in Warner musicals. When the production went on tour in 1972, one of the road cast was Eleanor Powell. The production was a smash hit. When he walked on stage after on opening night, the house exploded with applause. A strange fact is that Busby Berkeley never had a dancing lesson, and in his early days, he was very afraid of people finding out. He often drove his producers almost crazy when he gave orders to build a set and then sat in front of it for a few days, thinking up the numbers.
IMDb Mini Biography 
By: Stephan Eichenberg & A.Nonymous 
Harry Blons, clar/tenor sax
b. St. Paul, MN, USA.
Biography
Clarinetist Harry Blons emerged out of the midwest to join the touring groups of Hal McIntyre, Red Nichols and Red Dougherty. Blons' background had been in the local combos of St. Paul and Minneapolis, the details of which are too sketchy to provide any further information regarding a predominance in his life of bandleaders nicknamed "Red." On the subject of names, this musician was actually born Harry Yblonski.

At the end of the '40s Blons bounded out of something of a lull to begin fronting his own group playing in the Dixieland style. In 1954 he was featured on both clarinet and tenor sax in the Doc Evans combo, not abandoning the Harry Blons Six as the group remained active in the mid '50s. Blons continued to be associted with his native St. Paul. While much of his group's recorded output is out of print, various live recordings done in Minnesota when stars such as Bunk Johnson and Don Ewell came through town remain in circulation. His recordings as a leader include the excellent "Singin' the Blues", originally released by Mercury. The reed man also created vinyl product for the Zephyr and Audio Fidelity labels.
~ Eugene Chadbourne




1889
Richie Brunies, cornet
b. New Orleans, Louisiana, USA
d. March 28, 1961.
A member of the musical Brunies family of old New Orleans, LA, which included guitarist Ada, bassist Rudy, Trombonist Henny, Cornetist and Trombonist Marritt, Cornetist Abbie, and Trombonist George Brunies.




1894
Lucille Hegamin, Blues vocalist
b. Macon, GA, USA
d. March 1, 1970.
née: Lucille Nelson, and aka Fanny Baker. 

Biography
A classic blues singer from the 1920's, Lucille Hegamin survived long enough to be recorded again in the 1960's. She sang in a church choir and locally before touring at age 15 with the Leonard Harper Revue. She was married to pianist Bill Hegamin from 1914-23. After performing in Seattle for a long period, Hegamin became one of the first blues singers to record, cutting "Jazz Me Blues" and "Everybody's Blues" in Nov. 1920, shortly after moving to New York. She toured with her Blue Flame Syncopators and later on led the Dixie Daisies.
In addition to performing at clubs, Hegamin appeared in several Broadway shows in the 1920's. She worked with Doc Hyder's Southernaires later in the decade and performed at Atlantic City in 1933-34 but eventually left music, becoming a nurse in 1938. In the 1960's she emerged, appearing at a few charity benefits before retiring from music again. In all, Lucille Hegamin recorded 68 selections during 1920-26, two songs in 1932, appeared on part of a 1961 Bluesville LP (resulting in four titles) and recorded three additional cuts on a 1962 Spivey album.
~ Scott Yanow


1914
Albinia Jones, vocals
b. Gulfport, MS, USA
d. June 24, 1989



Albinia Jones was born on November 1914 in Gulfport, Mississippi and died on June 1989, New York City, New York, USA. Jones arrived in New York in 1932, her only singing experience at the Mt. Holy Baptists Church in Gulfport.
Her first professional engagement was at the Elk's Rendez-vous Club, which proved so successful that she was retained for nine months. Other nightclubs she sang in included the Club Harlem, the Village Vanguard and Murrains Cafe. Her first recordings in late 30's and early 40's featured jazz musicians Lester Young and Dizzy Gillespie.


1924
Jack Kane, clarinet/leader/arranger
b. London, England, UK.
d. 1961.
One of Canada's best known entertainers. His father was a British vaudevillian. The family moved to Canada while Jack was still a child, and he was already performing on stage with his dad when he was just 9 years old.
BIO




1914
Harold W. "Hal" McIntyre
Alto Sax/Leader
b. Cromwell, CT, USA.
d. May 5, 1959, Los Angeles, CA, USA.
(in his apartment in fire caused by cigarette)
Hal McIntyre Biography
A founding member of the Glenn Miller Orchestra as well as the leader of his own big band, alto saxophonist and clarinetist Hal McIntyre was born November 29, 1914 in Cromwell, CT. By his late teens he was already the veteran of a series of groups and formed his own eight-piece band in 1935, later landing his big break when offered a temporary gig playing alto behind Benny Goodman.

The Goodman stint lasted just ten days, but it brought McIntyre to the attention of Miller, and in 1937 he joined the first incarnation of the Glenn Miller Orchestra, remaining with the group for four years. At that point Miller urged McIntyre to form his own band, even offering financial support; billed as "The Band America Loves," the McIntyre Orchestra debuted at the Glen Island Casino in New Rochelle, NY in 1941. Featuring vocalists Gloria Van, Ruth Gaylor and Al Nobel, as well as headline venues including New York's Commodore Hotel, Hollywood's Palladium Ballroom and Chicago's Sherman Hotel. During the war years the group regularaly played overseas for U.S. troops as well. McIntyre continued leading the orchestra well into the 1950s (including an appearance backing the Mills Brothers on their 1952 chart-topper "Glow Worm") before its ranks finally splintered; he died in a house fire at his home in Los Angeles on May 5,1959.
~ Jason Ankeny
The Hal McIntyre Orchestra
James "Chippie" Outcalt, trombone
b. Newark, NJ, USA.
Worked with the Tiny Bradshaw Orch.


1885
Luigi Romanelli, leader
b. Bellsville, ONT, Canada
d. 1942.
Perhaps no other name in the history of Canadian 
Dance Bands conjures as much fondness as 
The Romanellis, - and in particular as Luigi Romanelli.
Romanelli, Luigi


1915
William "Billy or Swee' Pea" Strayhorn
Composer/Lyricist/piano
b. Dayton, OH, USA. (but raised in Hillsboro, NC, USA.), d. 1967. Studied music with private instructor. Schooled in Pittsburgh, PA, where he played the classics in school orch. His deep desire was to be a lyricist for Duke Ellington, whom he met in 1938. On meeting the Duke, Billy played him one of his compositions - "Lush Life". He then went on to work for Mercer Ellington before full time with the Duke In 1939, when he became full time arranger, and part time pianist for Ellington's band.
In later years, band members recalled that the sympathy between Billy and the Duke was such that at times it was impossible to tell at which point one's work fell off and the other's carried on. Yet, curiously, he rarely appeared publicly with the band - usually only when he temporarily replaced the Duke on Piano. (He demonstrated a fine swinging style.) Among Billy's best known tunes are: "Midriff"; "Take The A Train"; "After All"; "Raincheck"; "Johnny Come Lately"; "Chelsea Bridge"; and "Day Dream".
He was less active in early 1950s, but productive again in late '50s, again collaborating with the Duke on such works as "A Drum is A Woman"; "Such Sweet Thunder" (composed for Canada's Stratford, Ontario, Shakespeare Festival). In very eary 1958, he led his own 'Ellington's Indigos Trio', with himself, Jimmy Grissom and Johnny Hodges.
MORE

AND MORE


Notable Events Occurring
On This Date Include:


1932.
Cole Porter's musical 
"The Gay Divorcee" 
starring Fred Astaire 
was in New York. 
(Hit song was "Night and Day").


1954.
Dink Johnson
clarinet/piano/drums
died in Portland, OR, USA.
Age: 62



Cléoma and Joseph Falcon were the first Cajun 
recording artists and were widely popular in the 
1920s and 1930s.
1965.
Joseph Falcon
Cajun accordion
died in Crowley, LA, USA.
Age: 65.
In 1928, Falcon, one of the pioneers of Cajun music, made the first 
commercial Cajun recording, "Lafayette", with his wife Cleoma 
(playing the guitar and singing).
Joe Falcon: Information from Answers.com







Songs Recorded/Released
On This Date Include: 


1920

Marion Harris
Yankee
    1921

    Paul Whiteman and his Orchestra

    The California Ramblers 



    1924

    Arcadia Peacock Orchestra of St. Louis 


    Ah! Ah! Archie
    early jazz1926

    Ray Tellier and his San Francisco Orchestra
    Duke Ellington and his 
    Kentucky Club Orchestra 




    Clara Smith 



    1927

    Johnny Hamp's Kentucky Serenaders

    Ben Pollack and His Park Central Orchestra 




    Coon Sanders Nighthawks Orchestra
    1930

    Bennie Moten's Kansas City Orchestra
    1936

    Fats Waller and his Rhythm
    LYRICS:

    NIGHT AND DAY 
    ~Cole Porter
    Like the beat beat beat of the tom-tom
    When the jungle shadows fall,
    Like the tick tick tock of the stately clock
    As it stands against the wall,
    Like the drip drip drip of the raindrops
    When the sum'r show'r is through,
    So a voice within me keeps repeating
    You-You-You

    Night and day you are the one,
    Only you beneath the moon and sun,
    Whether near me or far
    It's no matter, darling, where you are,
    I think of you, night and day.
    Day and night, why is it so
    That this longing for you follows wherever I go?
    In the roaring traffic's boom,
    In the silence of my lonely room,
    I think of you, night and day.

    Night and day under the hide of me
    There's an, oh, such a hungry yearning
    Burning inside of me,
    And its torment won't be through
    Till you let me spent my life making love to you
    Day and night, night and day 



    All that Meat
    and No Potatoes 
    ~(Lyrics by Ed Kirkeby, tune by Fats Waller)
    A man works hard then comes on home,
    Expects to find stew with that fine ham bone.
    He opens the door, then start to lookin',
    Says, "Woman, what's this stuff you're cookin'?"

    All that meat and no potatoes
    Just ain't right, like green tomatoes.
    Here I'm waiting, palpitatin',
    For all that meat and no potatoes.

    All that meat and no potatoes
    All that food to the alligators, yes.
    Hold me steady. I am ready
    For all that meat and no potatoes.

    I don't think that peas are bad.
    With meat most anything goes.
    I look into the pot. I'm fit to bite
    'Cause, woman, you know that mess ain't right.

    All that meat and no potatoes
    Just ain't right, like green tomatoes.
    Yes, I'm steamin'. I'm really screamin'
    All that meat and no potatoes.

    Where is my fry and ham bone? 
    Where is it? 

    TubaGirlFin
    brought to you by...   ~confetta
    Special Thanks To:
    Scott Yanow, And all who have provided content for this site.