Connee Boswell, Vocal
b. New Orleans, LA, USA
d. Oct. 11, 1976. Cancer.
One of the finest jazz singers of the 1930's, Connee Boswell 
(who was always cited by Ella Fitzgerald as her main early influence) 
originally rose to fame as a member of the Boswell Sisters, one of 
the premiere jazz vocal groups. Connee contracted polio as an infant 
and always used a wheelchair although her disability was usually well 
covered up on stage. Early on she played cello, piano, alto sax and 
trombone but unfortunately never recorded on any instruments.

The three Boswell Sisters (with Martha on piano and Vet on violin) did have an opportunity to perform with the New Orleans Philharmonic but soon they gave up playing their instruments (except for Martha on piano) and chose to work on developing as a vocal group. Although they recorded both "Nights When I'm Lonely" and Connee's solo number "I'm Gonna Cry" in 1925, the Boswells did not begin catching on (and recording regularly) until late-1930. During 1931-36 the Boswell Sisters became quite popular on radio and in concert, making occasional appearances in films (most notably 1932's The Big Broadcast). During the same period, Connee Boswell (who worked out most of the Boswell's surprising arrangements) occasionally recorded solo sides of her own.

When Vet and Martha got married and decided to retire from singing in 1936, Connee (who also was married during the same period) officially launched her own solo career. Although she never broke through to become a major star, Connee Boswell was fairly well-known and worked steadily into the 1950's, appearing in some films (including "Kiss The Boys Goodbye" and "Syncopation") and on the short-lived television show Pete Kelly's Blues. 

Most notable of her recordings was a 1937 session with Bob Crosby's Bob Cats that resulted in inventive and hard-swinging versions of "Martha" and "Home On The Range." Connee Boswell also recorded a notable (but long-out-of-print) 1956 jazz album with Billy Butterfield, Miff Mole and Jimmy Lytell, who came together as the Original Memphis Five.
~ Scott Yanow

Corky Cornelius, Trumpet
b. Indianapolis, Indiana, USA
d. August 3, 1943.

Gussie Lord Davis
Gussie Lord Davis
Afro-American songwriter
b. Cincinnati, OH, USA.Gussie Lord Davis (1863-1899) was a celebrated composer of minstrels and the first Black songwriter to achieve major success in New York's commercial music district, Tin Pan Alley. Davis received his musical education at the Nelson Musical College in Cincinnati. Denied formal admission because of his race, he agreed to perform janitorial duties at the college for partial wages in return for private lessons. His first commercial success, "We Sat Beneath the Maple on the Hill" (1880) was written when he was only 18.

He moved to New York in 1886, where his songs were published by some of the leading music companies of Tin Pan Alley. In 1895, his song "Send Back the Picture and the Ring" won second place in a songwriting contest sponsored by the New York World. His most popular songs were "In the Baggage Coach Ahead," "Down on Poverty Row," and "The Fatal Wedding." An extremely versatile composer and performer, Davis experimented with many musical forms, including sentimental ballads, comic minstrel songs, art songs, and choral music. His works were often featured in performances of his troupe, the Davis Operatic and Plantation Minstrels.

Baron Elliott, Leader/Reeds
b. Pittsburgh, PA, USA.
né: Charles Craft
Sammy Nestico was in the trombone chair (and did the arranging) while Billy May was playing the trumpet. Vocalist Lisa Kirk later went on to achieve success on the Broadway stage.
Big Band Leader Known Widely As Baron Elliott

Brad Gowans, Trombone
b. Billerica, MA, USA.
d. 1954
Brad Gowans had a colorful and versatile career in prebop jazz, seeking to stretch the boundaries of the music in unusual ways. A multi-instrumentalist who was skilled on both reeds and brass, Gowans alternated early on between clarinet and valve trombone. He worked with the Rhapsody Makers Band, Tommy DeRosa's New Orleans Jazz Band and Perley Breed's Orchestra. He played cornet in 1926 with Joe Venuti, gigged with Jimmy Durante (who led a jazz band during the era) and then worked with Mal Hallett (1927-29) and Bert Lown's Orchestra. Discouraged by the Depression, Gowans worked outside of music for several years before joining Bobby Hackett in 1936.

After working in Boston with Frank Ward, in 1938 he joined Wingy Manone as a valve trombonist and played again with Bobby Hackett. A brief stint with Joe Marsala was followed by Gowans becoming a member of Bud Freeman's Summa Cum Laude Band (1939-40). He was a regular at Nick's, playing dixieland with a variety of top Chicago jazz musicians. After working with Ray McKinley's big band and Art Hodes, Gowans recreated the Original Dixieland Jazz Band (playing clarinet) on an interesting series of recordings.

After leaving music for a short period, he played with Max Kaminsky (1945-46), was with the Jimmy Dorsey Big Band and worked with Nappy Lamare (1949-50). Gowans freelanced (mostly in California and Las Vegas). He collapsed in Jan. 1954 while playing with Eddie Skrivanek's Sextet from Hunger and never recovered, passing away eight months later. Brad Gowans, who wrote arrangements for recordings by Freeman and Lee Wiley and invented the valide (a combination slide/valve trombone that never caught on), made many records as a sideman including with Red Nichols' Red Heads as early as 1926. As a leader he recorded four obscure titles (in 1926, 1927 and 1934) plus a full album for Victor in 1946.~ Scott Yanow
Brad Gowans - Wikipedia

Ronnie Gubertini, Drums
b. England, UK.
d. 1960s

Paul Lingle, Piano
b. Denver, CO, USA.
Paul Lingle was a local legend in San Francisco during the 1940s. A talented stride pianist who also played ragtime, Lingle was a fan of Jelly Roll Morton. He started playing piano when he was six and first worked professionally in San Francisco in the 1920s. Lingle was Al Jolson's accompanist in the late '20s, recording the soundtrack of some of his first sound films. He spent the 1930s working in radio and with Al Zohn's jazz band in San Francisco. During the Dixieland revival of the 1940s, Lingle at first was a piano tuner in Santa Cruz, but by 1944 was playing in San Francisco clubs, generally solo. When Leadbelly and Bunk Johnson passed through town, they both asked for him. In 1952, Lingle moved to Honolulu where he continued playing up until his death. Unfortunately, he was reluctant to record throughout his career and his only studio session resulted in just eight songs cut for Good Time Jazz in 1952. However, three and a half albums of private tapes from 1951-1952 were released posthumously on the Euphonic label that allow listeners to get a fuller picture of Paul Lingle's talent.
~ Scott Yanow
Paul Lingle - Wikipedia

Joe 'Brother Cornbread' Thomas, Clarinet
b. New Orleans, LA, USA.
d. 1981, USA

A huge hunk of cornbread would not have been more welcome during the potato famine than it is as a nickname in the career of New Orleans jazz reed player and vocalist Joe "Cornbread" Thomas. Thanks to the appetizing moniker this superior player -- who kept busy with trad jazz up through his senior years -- has more than a tasty chance of being told apart from the Joe Thomas that played trumpet, the Kansas City jazz saxophonist who took over the Jimmie Lunceford band, or the funky flute player whose recording named Plato's Retreat was a hit.

The New Orleans Thomas is the elder statesman of all these name-alikes, having a bit less than a decade of a head's start over either the trumpeter or the Kansas City jazz Thomas, both of whom were born in 1909. Jelly Roll Morton was among the earliest of bandleaders to put the cornbread in the musical oven, so to speak; at any rate, the Morton discography represents a body of work involving Thomas that has managed to remain in print for listener perusal. Early Thomas can also be sampled on a New Orleans jazz compilation titled Prelude to the Revival, Vol. 1.

Thomas did extremely well through the '60s and '70s in various New Orleans revival outfits, some of them fronted by European and Scandinavian players. Teaming up with the entertaining Kid Sheik Cola, the reedman was also billed as Brother Cornbread during this period, a name that sounds something like a movie that would star Bill Cosby and Harry Belafonte, nonetheless effectively documented on a series of live recordings released by the dedicated Jazz Crusade imprint. Thomas was a superb soloist in his later years, often given special billing as in Barry Martyn's Living Legends Band Featuring Joe "Cornbread" Thomas. He also performed and recorded with Peter Nissen's New Orleans Jazz Band.
~ Eugene Chadbourne

Notable Events 
Occurring On 
This Date Include:

Dick Reinhart
(Western Swing) vocalist
died. Age: 41

"Porkchop" (né: Eddie Hines), drums
died in Chicago, IL, USA.
Age: 79

Jimmy Shirley, guitar
died in New York (Harlem), NY, USA.
Age: 76
Jimmy Shirley



The Happy Six

Piron's New Orleans Orchestra

Fess Williams and his 
Royal Flush Orchestra
The Little Ramblers

Harry Reser and his Orchestra

Ben Pollack and His 
Park Central Orchestra
Chicago Footwarmers
Bud Freeman and his Orchestra
Coon Sanders Nighthawks Orchestra

Tiny Parham and his Musicians
Clarence Williams' Jazz Kings

Chocolate Dandies
Ben Tobier and his California Cyclones
Sammy Price and his Four Quarters

Lonnie Johnson
Paul Whiteman and his Orchestra

Sentimental Baby

Sentimental baby, sweet and gentle baby
Just the way a baby oughta be
Heaven in the morning, heaven in the evening
How did such an angel get to me?
Cuddle and caress me, snuggle up and "Yes" me
I'm a guy who loves a clinging vine
Kiss me, baby, kiss me and then
Do it, baby, over again
Sentimental baby, tell me you're my baby
Sentimental baby of mine

I'm a guy who loves a clinging vine
Kiss me, baby, kiss me and then
Do it, baby, all over again
Sentimental baby, tell me you're my baby
Sentimental baby of mine

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