Tuesday

DECEMBER 28TH

BIRTHDAYS



1905
Earl "Fatha" Hines
Piano/Leader/Composer
b. Duquesne, PA, USA
d. April 22, 1983, Oakland, CA, USA.
We could write a book about the "Fatha".

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.
Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club.
1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.
A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.
In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band.
Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD.
~ Scott Yanow




1906
Rene Compere
b. Brussels, Belgium
d. April 24, 1969



1915
Al Klink
Tenor Sax
b. Danbury, CT, USA.
d. March 7, 1991, Bradenton, FL, USA.
Perhaps best recalled for his work in the Glenn Miller orchestra.
Although few realize it, most people have heard Al Klink's tenor literally hundreds of times; he can be heard trading off with fellow tenor Tex Beneke on the famous version of Glenn Miller's "In The Mood!" Klink, a much better jazz improviser than Beneke, unfortunately never received any real fame. Klink was with Miller's Orchestra during its main years (1939-42) but was rarely featured.

After Miller went into the military, Klink worked with Benny Goodman and Tommy Dorsey. He became a studio musician when the swing era ended and was little heard from in jazz circles other than his playing with the Sauter-Finegan Orchestra during 1952-53. Klink re-emerged in 1974 when he became an occasional member of the World's Greatest Jazz Band. He had opportunities to record with Glenn Zottola and George Masso in the late 1970's for the Famous Door label and was active until retiring to Florida in the mid-1980's. Al Klink's only record date as a leader resulted in six titles for a 1955 Grand Award album that he shared with Bob Alexander.
~ Scott Yanow
Al Klink - Wikipedia




1925
Hildegard Knef
vocals/actress
b: Ulm, Germany
d. February 1, 2002, Berlin, Germany.
She was also a good friend of Marlene Dietrich. She found fame in the U.S. for her performance as a Soviet commissar in Cole Porter's 'Silk Stockings'. She starred opposite Gregory Peck in 'The Snows of Kilimanjaro'. (Not Jazz Age per se, but -I am throwin' her in cuz I like her) - and in the words of Annette Hanshaw, "That's All".
WIKI BIO


1912
Billy Mackel, Guitar
b. Baltimore, MD, USA.
d. May 5. 1986.
He played with Lionel Hampton from 1944 to 1982.

One of the great examples of loyalty in the music business was guitarist William "Billy" Mackel's relationship with charismatic vibraphonist and bandleader Lionel Hampton. Concerning Mackel, who like many string players from his generation started out on banjo, some biographers would like to write simply: "He played with Lionel Hampton." Furthermore, they made a lot of records, considering that the stack of Hampton sides in which Mackel gets a tackle could be utilized to obscure a vibraphone from visibility were such an action to be required for security purposes. Vague as that is, it does summarize quite a bit of Mackel's life. It would also be only fair to mention the city of Baltimore, where Mackel was born and where he retired after more than three decades on the road with Hampton.

Up until 1982, the date of the guitarist's final performance with Hampton, the grinning bandleader would always create a special feature for the retired Mackel during any appearance in the Baltimore area. Mackel theoretically retired from the band five years earlier. From 1944 onward he had played almost exclusively for Hampton, for a short time moving over to a vocal group led by Billy Williams, who both wrote and performed the song "I'm Going to Sit Right Down and Write Myself a Letter," most likely on the subject of returning to the Hampton band. For an understanding of Mackel's musical outlook prior to coming into contact with Hampton, a Baltimore resident who heard him play sometime over the decade beginning in the early '30s would have to provide anecdotal description. During this time Mackel was gigging on banjo and leading his own group.

Digging through the piles of documentation that resulted from the long Hampton and Mackel association, the final year of recording studio involvement seems to be 1978. By then the guitarist had worked on more than 120 recording sessions with Hampton, but only one on his own, the 1977 At Last. Hampton's retirement present to the accompanist who had kept such perfect time in so many situations was a watch made out of solid gold, inscribed "To Mackel, Thanks for a great 32 -- Hamp."
~ Eugene Chadbourne
The Billy Mackel Story & Guitarplayer for Lionel Hampton 1944-1982 
Billy Mackel Tribute 
William Mackel - Verve Records





1871
Manuel Perez
Cornet/Leader
b. New Orleans, LA, USA. d.1946

Manuel Perez's place in the history of Jazz would probably have been greater if he would have talked to historians, but when scholars became interested in the history of Jazz in the 1930s, he refused to speak about his past or his music. Perez played cornet and in his time he was famous for his work in New Orleans' brass bands. He was playing in the Onward Brass Band before the turn of the century and put together his Imperial Orchestra in 1900. Perez was in great demand for parade and dance work in the years leading up to the First World War.

Perez is said to have been an excellent reading musician and demanded the same from his musicians, unlike the more improvised music of his contemporary Buddy Bolden. In 1915 he left New Orleans and played with Charles Elgar's Creole Orchestra at the Arsonia Café in Chicago, and with the Arthur Sims Band in Chicago. He returned to New Orleans and led bands in the Storyville district and he played excursions with Fate Marable aboard the SS Capitol. During the early 1920s he played parades with the Maple Leaf Orchestra and other bands. In the mid-1920s he was up north again playing with Elgar's Creole Orchestra and he made his only recordings with Elgar in 1926. He continued to play until 1931 when he quit trying to make living as a musician and returned to his trade of cigar making. In the early 1940s he suffered a series of strokes that left him disabled.
~from 




1899
Abner Silver, composer
b. New York, NY, USA
d. Nov. 24, 1966, New York, NY, USA.
Abner Silver (born Silberman) was an American songwriter who worked primarily during the Tin Pan Alley era of the craft. He was born on December 28, 1899 in New York, NY. Usually composing the music while others handled the lyrics, Silver wrote for almost half a century, starting with World War I–era songs such as 1918's "You Can't Blame the Girlies (They All Want to Marry a Soldier)," and continuing through the decades with such classics as 1921's "I'm Going South"; "Chasing Shadows" in 1925; and 1940's "How Did He Look?" Silver frequently teamed with lyricists Benny Davis, Al Sherman and Al Lewis.
Between 1931 and 1934, during the last days of Vaudeville, Silver and several of his fellow hitmakers formed a sensational revue called "Songwriters On Parade", performing all across the Eastern seaboard on the Loew's and Keith circuits. Toward the end of his career, he was commissioned to pen several numbers that Elvis Presley performed in his movies, including the songs "Young and Beautiful," "What's She Really Like?" and "Lover Doll." Sung by Tom Jones, Silver's "With These Hands" (with lyrics by Benny Davis) was featured in the movie Edward Scissorhands, starring Johnny Depp. His early song "He's So Unusual" was covered by Cyndi Lauper on her breakout album, the similarly titled She's So Unusual. Silver died on November 24, 1966, in New York, NY.
1909
Leonard Ware
Guitar/Composer
b. Richmond, VA, USA.Biography
by Chris Kelsey 

One of the early electric guitarists, Ware played on clarinetist/saxophonist Sidney Bechet 's first (belated) recordings as leader in November 1938 for the Vocalion label. Soon after, Bechet teamed Ware with fellow guitarist Jimmy Shirley , making the group perhaps the first to include two electric guitars. Ware attended Tuskegee Institute in his youth, where he learned to play oboe. He switched to guitar and began leading his own trio, which performed in New York during the ‘30s and ‘40s. Besides his work with Bechet , Ware also recorded with Buddy Johnson ,Don Byas ,Joe Turner , and Albinia Jones . He recorded as a leader in 1947; shortly thereafter, Ware stopped working as a full-time musician.

1916
Billy Williams, vocals
b: Waco, TX, USA
INFO



Notable Events Occurring
On This Date Include: 


1949.
Ivie Anderson, vocals
died in Los Angeles, CA, USA.
Age: 44 
Ivie Anderson was a classy yet swinging singer, the best that Duke Ellington ever had. Early on she worked at the Cotton Club in shows and sang with Anson Weeks, Curtis Mosby, Paul Howard's Quality Serenaders, and Earl Hines (1930). 

And then, from February 1931 until 1942, Ivie Anderson was an integral part of the Duke Ellington Orchestra, introducing "It Don't Mean a Thing" and singing such numbers as "Stormy Weather," "I'm Checkin' Out -- Go'om Bye," and a variety of pop tunes. 

When she left Ellington, it was because of asthma. She opened up a restaurant in Los Angeles and recorded eight songs in 1946, but her illness eventually struck her down.
~ Scott Yanow


Songs Recorded/Released 
On This Date Include:

1923

The Virginians
  • I'm Goin' South (from "Bombo"), Vocal refrain by Georgie Price, (Abner Silver / Harry Woods)
1925

Busse's Buzzards
Isham Jones and his Orchestra 


Paul Whiteman and his Orchestra 


Ted Lewis and his Band 

1926

Original Memphis Five

Ben Selvin and his Orchestra
Rosa Henderson accompanied
by the Three Jolly Miners 


Clarence Jones and his Sock Four 


The California Ramblers 


Harry Reser and his Orchestra 

1934

Buster Bailey and his Seven Chocolate Dandies
TubaGirlFin
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~confetta
Special Thanks To:
Scott Yanow, 
And all who have provided 
content for this site.