HAPPY BIRTHDAY HELEN MORGAN!!
BIRTHDAYS
BIRTHDAYS
1900
Helen Morgan, vocals
b. Danville, IL, USA.
d. October 9, 1941, Chicago, IL, USA. (liver ailment)
d. October 9, 1941, Chicago, IL, USA. (liver ailment)
née: Helen Riggins A very renowned singer and actress who, during the 1920's and '30's, worked on Broadway and in New York nightclubs. She also starred in ten Hollywood films of the early sound era, including the first Hollywood isssue of Jerome Kern's historic play "Showboat".
Helen made her screen "debut" in the sound prologue to the 1929 part-talking film of "Show Boat", she sang the songs that she made famous in the original Broadway stage version, but didn't appear on the the screen (the role of Julie LaVerne was played silently by Alma Rubens) . But in 1936, Morgan finally got the chance to both act and sing the role of Julie in the first all-talking film version of "Show Boat". Unfortunately, it was her last film. She died (Alcoholism) just five years later. Her spouses were : Maurice Maschke, Jr. (1933 - 1935, divorced), and Lloyd Johnston (1941 - 1941, 'til her death)
2.Born in Danville, Illinois, on August 2, 1900, Helen Riggins took the name Morgan in her childhood when her divorced mother remarried.
Various conflicting accounts of her entry into show business survive, but she apparently obtained some voice training, sang in speakeasies, and in 1920 got a job in the chorus of Florenz Ziegfeld's Sally.
More nightclub singing in Chicago and perhaps a beauty contest in Montreal led to a small role in George White's Scandals in 1925. In that year she had an engagement at Billy Rose's Backstage Club, where the crowded conditions obliged her to perch on her accompanist's piano, an informal touch that soon became a trademark.
1923
"Bixie" Crawford, vocals
"Bixie" Crawford, vocals
b. Oklahoma City, OK, USA.
Sang with the Count Basie band.
1896Anatie "Natty" Dominique, trumpet
b. New Orleans, LA, USA.
d. Aug. 30, 1982, USA.
In the 1920s, he recorded with "Jelly Roll" Morton and Johnny Dodds, et al, and even in the 1940s, he was still active and recorded with Dodds and Jimmy Noone. Very early on, he worked in Emmanuel Perez's Imperial Band (Perez taught him to play the trumpet). When WW1 ended, he went to Chicago and worked (2 years) with Jimmy Noone, then Carroll Dickenson's band for 4 years, and along with such N.O. Jazzmen as George Filhe and the Dodds brothers played various Chicago clubs. He eventally retired, became a 'redcap' at the Chicago airport, - but would occasionally play with the Dodds' and others. : )
Natty Dominique - Wikipedia
Red Hot Jazz Bio
Natty Dominique - Wikipedia
Red Hot Jazz Bio
1924
Joe Harnell, composer/arranger
b. New York (The Bronx), NY, USA.
Joe Harnell (August 2, 1924, The Bronx, New York City - July 14, 2005, Sherman Oaks, California) was an American easy listening composer and arranger.
Joe Harnell (August 2, 1924, The Bronx, New York City - July 14, 2005, Sherman Oaks, California) was an American easy listening composer and arranger.
1915
Johnny Long, Leader/Left Handed-Fiddle
b. Parkersburg, W. VA
d. Oct. 31, 1972, Parkersburg, W. VA.
Johnny Long, known as "the Man Who's Long on Music," was one of those ubiquitous talents of the big-band era, leading a group that -- to his detriment in terms of long-term exposure -- fit comfortably neither into the "swing" (i.e., jazz) nor "sweet" (i.e., pop) category beginning at the end of the 1930s. Johnny Long was born in 1915 (some sources say 1916) in Newell, NC. He was raised on a farm and manifested a serious interest in music while still a young boy, taking up the violin at age six. Long was born right-handed, but at age seven he seriously injured two fingers on his right hand in an accident on the farm -- he might well have left the violin, but he refused to give up on the instrument and his teacher was inspired by his dedication to reverse the stringing on his violin, and he proceeded to learn to play left-handed. He was good enough to aspire to play professionally, a goal he pursued even as an undergraduate at Duke University. He formed a band, the Duke Collegians, in the mid-'30s, and replaced Les Brown's group as the official college band after Brown's graduation.
The members stayed together after their own graduation, renaming themselves the Johnny Long Orchestra, Long serving as their leader with assistance from his fellow Duke graduate Hal Kemp. The Johnny Long Orchestra came along with a sound that crossed swing and sweet sounds just as the swing boom was sweeping the country, and were good enough to play most of the better hotels in the East and the Midwest, with singers Bob Houston and Helen Young (who sang a killer version of "Takin' a Chance on Love") as well as the entire band -- often referred to as "the Glee Club" -- taking the vocals. In 1939, while appearing in their first national radio broadcast on The Fitch Summer Bandwagon Show, the band was picked as one of the up-and-coming orchestras deserving of attention. And they scored a million-selling hit for the Decca label in 1940 with the song "In a Shanty in Old Shanty Town," which later replaced their old Duke University tribute, "White Star of Sigma Nu," as the group's signature tune, and from that time on they had no problem getting broadcast spots and engagements at the biggest hotels, which were then a rich source of income and exposure. Their subsequent hits included the wartime romantic number "No Love, No Nuthin'," sung by Patti Dugan, "Time Waits for No One," and "My Dreams Are Getting Better All the Time."
They were soon known as one of the top dance bands in the country and engagements in the best nightspots in the biggest cities followed in short order. In 1941, Long and company made the jump to motion pictures with their appearance in the short Swingin' at the Seance, and a year later they were the stars of the short RKO Jamboree: Johnny Long & His Orchestra. Their movie breakthrough came in 1943, however, when they were featured in the Abbott & Costello comedy Hit the Ice, in which the band played a very prominent role and Long also played one of the movie's two male romantic leads (albeit secondary to the two comedians) in the plot, opposite pop songstress Ginny Simms. With his pleasant personality and good looks, he was a natural for secondary male leads, at least, but Long appeared in just one more movie, Follies Girl, that same year. The regular television showings (and subsequent video releases) of the Abbott & Costello movie have kept Long and his band's on-screen legacy alive across more than 60 years. At its peak in 1943, Long's band included saxman Ernie Caceres, multi-instrumentalist Pinie Caceres, alto man Jack Goldie, drummer Cliff Leeman, trumpeter Carl Berg, trombonist George Arus, guitarist Allan Reuss, pianist Ike Carpenter, and saxman Ted Nash. A lot of these players came from top bands, including those of Jack Teagarden and Benny Goodman, and a few, such as Nash and singers Bob Houston and Patti Dugan, later worked with Glenn Miller and Claude Thornhill, respectively. Dave Lambert, of Lambert, Hendricks & Ross, also passed through the group's lineup during the mid-'40s, and the group also got arrangements out of Glenn Miller mainstay Jerry Gray.
The orchestra's popularity lasted past the middle of the 1940s, and Long was able to keep the group together in a reduced version into the 1950s, playing to what audiences remained for big-band dance music -- he included singers Francie Laine, Janet Brace, and the vocal ensemble the Beachcombers, and managed to make a few recordings for Signature, Forum, and King. He finally called it quits in the early '60s, the end of the big bands' last gasp, in the hotel and cruise business, accomplishing what his old hand injury failed to do and driving him out of music. He embarked on a second career as an English teacher. His health declined steadily over the ensuing decade, however, and Long passed away in 1972, ironically just as a wave of nostalgia was reviving interest in the swing bands and the pop music of the 1930s through the 1950s, as a companion phenomenon to the late-'60s oldies craze in rock & roll. His image endures mostly through showings of Hit the Ice and a handful of historical recordings such as Collectors' Choice's Johnny Long & His Orchestra, part of their Forgotten Big Bands series.
The members stayed together after their own graduation, renaming themselves the Johnny Long Orchestra, Long serving as their leader with assistance from his fellow Duke graduate Hal Kemp. The Johnny Long Orchestra came along with a sound that crossed swing and sweet sounds just as the swing boom was sweeping the country, and were good enough to play most of the better hotels in the East and the Midwest, with singers Bob Houston and Helen Young (who sang a killer version of "Takin' a Chance on Love") as well as the entire band -- often referred to as "the Glee Club" -- taking the vocals. In 1939, while appearing in their first national radio broadcast on The Fitch Summer Bandwagon Show, the band was picked as one of the up-and-coming orchestras deserving of attention. And they scored a million-selling hit for the Decca label in 1940 with the song "In a Shanty in Old Shanty Town," which later replaced their old Duke University tribute, "White Star of Sigma Nu," as the group's signature tune, and from that time on they had no problem getting broadcast spots and engagements at the biggest hotels, which were then a rich source of income and exposure. Their subsequent hits included the wartime romantic number "No Love, No Nuthin'," sung by Patti Dugan, "Time Waits for No One," and "My Dreams Are Getting Better All the Time."
They were soon known as one of the top dance bands in the country and engagements in the best nightspots in the biggest cities followed in short order. In 1941, Long and company made the jump to motion pictures with their appearance in the short Swingin' at the Seance, and a year later they were the stars of the short RKO Jamboree: Johnny Long & His Orchestra. Their movie breakthrough came in 1943, however, when they were featured in the Abbott & Costello comedy Hit the Ice, in which the band played a very prominent role and Long also played one of the movie's two male romantic leads (albeit secondary to the two comedians) in the plot, opposite pop songstress Ginny Simms. With his pleasant personality and good looks, he was a natural for secondary male leads, at least, but Long appeared in just one more movie, Follies Girl, that same year. The regular television showings (and subsequent video releases) of the Abbott & Costello movie have kept Long and his band's on-screen legacy alive across more than 60 years. At its peak in 1943, Long's band included saxman Ernie Caceres, multi-instrumentalist Pinie Caceres, alto man Jack Goldie, drummer Cliff Leeman, trumpeter Carl Berg, trombonist George Arus, guitarist Allan Reuss, pianist Ike Carpenter, and saxman Ted Nash. A lot of these players came from top bands, including those of Jack Teagarden and Benny Goodman, and a few, such as Nash and singers Bob Houston and Patti Dugan, later worked with Glenn Miller and Claude Thornhill, respectively. Dave Lambert, of Lambert, Hendricks & Ross, also passed through the group's lineup during the mid-'40s, and the group also got arrangements out of Glenn Miller mainstay Jerry Gray.
The orchestra's popularity lasted past the middle of the 1940s, and Long was able to keep the group together in a reduced version into the 1950s, playing to what audiences remained for big-band dance music -- he included singers Francie Laine, Janet Brace, and the vocal ensemble the Beachcombers, and managed to make a few recordings for Signature, Forum, and King. He finally called it quits in the early '60s, the end of the big bands' last gasp, in the hotel and cruise business, accomplishing what his old hand injury failed to do and driving him out of music. He embarked on a second career as an English teacher. His health declined steadily over the ensuing decade, however, and Long passed away in 1972, ironically just as a wave of nostalgia was reviving interest in the swing bands and the pop music of the 1930s through the 1950s, as a companion phenomenon to the late-'60s oldies craze in rock & roll. His image endures mostly through showings of Hit the Ice and a handful of historical recordings such as Collectors' Choice's Johnny Long & His Orchestra, part of their Forgotten Big Bands series.
~ Bruce Eder
SOLID! BIO
1905
Myrna Loy
Myrna Loy (August 2, 1905 – December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. Originally typecast in exotic roles, often as a vamp or a woman of Asian descent, her career prospects improved following her portrayal of Nora Charles in The Thin Man (1934). Her successful pairing with William Powell resulted in 14 films together, including five subsequent Thin Man films.
Myrna Loy - Wikipedia
SOLID! BIO
1905
Myrna Loy
Myrna Loy (August 2, 1905 – December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. Originally typecast in exotic roles, often as a vamp or a woman of Asian descent, her career prospects improved following her portrayal of Nora Charles in The Thin Man (1934). Her successful pairing with William Powell resulted in 14 films together, including five subsequent Thin Man films.
Myrna Loy - Wikipedia
1844
Polk "Pork" Miller, banjo
Polk "Pork" Miller, banjo
b. Burkeville, VA, USA.
Member: 'Old South Quartette'Polk Miller was a Virginian slave-owner's son and Confederate army veteran who led the African-American vocal group the Old South Quartette, backing their spiritual and secular tunes with his banjo and guitar. This collection features the 1909 cylinder recordings Miller made with the group as well as the later 78s the quartet recorded on their own after Miller's death. Compelling liner notes examine the unusual story of Miller and his group in detail.
1920
Werner Muller
Werner Muller
Trombone-Leader
b. Berlin, Germany
Space Age Pop Bio
Who was/is Werner Müller? Well, he contributed numerous albums to London's Phase Four label, the longest-running of the Space Age Bachelor Pad series. But thanks to London's standard approach to liner notes, although we know exactly what channelization was used and what other Phase Four records were available, we are left knowing nothing of Werner Müller. Fortunately, we don't have to depend on London for details. European light music fans came to know Müller from his many years as director of two of the leading popular radio orchestras in Germany. From 1948 to 1967, he led the Tanzorchester for the powerful station RIAS in Berlin. Bear Family collected a number of RIAS Tanzorchester recordings from the 1950s on Blende Auf. While with RIAS, he became associated with the singer Caterina Valente, whose cover of "Malaguena" was an international success.
In an odd flip-flop, several collections of French, Italian, and other national tunes Müller recorded for Decca were released in Europe under the name of "Ricardo Santos," but in the U.S. under Müller's own name, as part of a series of "Musical Holiday" albums tied-in with the travel magazine, Holiday. In 1967, Müller moved to Cologne to take over the Tanzorchester of radio station WDR, which had an even larger audience. Müller ensured his tenure with a versatile and perfectionist approach to his material, and as a result, his recorded material can be bold or boring, based on what the contract called for. On Hawaiian Swing, for example, he plays with right-left separation and tosses in an enjoyable assortment of percussion effects to liven up the usual selection of Hawaiian standards. On Percussion in the Sky, he uses wordless vocals, sound effects, whistling, and other touches to lend an other-worldly feeling to numbers like "The Theme from The High and the Might." In contrast, on albums like Werner Müller Plays Leroy Anderson or Great Strauss Waltzes, there's not much to write home about. "Bodybuilder," from one of Müller's later albums, The Strip Goes On, was sampled as the basis for the song "Bentley's Gonna Sort You Out" by Bentley Rhythm Ace, a big club hit in the U.K. in 1997.
Who was/is Werner Müller? Well, he contributed numerous albums to London's Phase Four label, the longest-running of the Space Age Bachelor Pad series. But thanks to London's standard approach to liner notes, although we know exactly what channelization was used and what other Phase Four records were available, we are left knowing nothing of Werner Müller. Fortunately, we don't have to depend on London for details. European light music fans came to know Müller from his many years as director of two of the leading popular radio orchestras in Germany. From 1948 to 1967, he led the Tanzorchester for the powerful station RIAS in Berlin. Bear Family collected a number of RIAS Tanzorchester recordings from the 1950s on Blende Auf. While with RIAS, he became associated with the singer Caterina Valente, whose cover of "Malaguena" was an international success.
In an odd flip-flop, several collections of French, Italian, and other national tunes Müller recorded for Decca were released in Europe under the name of "Ricardo Santos," but in the U.S. under Müller's own name, as part of a series of "Musical Holiday" albums tied-in with the travel magazine, Holiday. In 1967, Müller moved to Cologne to take over the Tanzorchester of radio station WDR, which had an even larger audience. Müller ensured his tenure with a versatile and perfectionist approach to his material, and as a result, his recorded material can be bold or boring, based on what the contract called for. On Hawaiian Swing, for example, he plays with right-left separation and tosses in an enjoyable assortment of percussion effects to liven up the usual selection of Hawaiian standards. On Percussion in the Sky, he uses wordless vocals, sound effects, whistling, and other touches to lend an other-worldly feeling to numbers like "The Theme from The High and the Might." In contrast, on albums like Werner Müller Plays Leroy Anderson or Great Strauss Waltzes, there's not much to write home about. "Bodybuilder," from one of Müller's later albums, The Strip Goes On, was sampled as the basis for the song "Bentley's Gonna Sort You Out" by Bentley Rhythm Ace, a big club hit in the U.K. in 1997.
1922
George Walker "Big Nick" Nicholas, Tenor sax
b. Lansing, MI, USA d. Oct. 29, 1997.
Worked with "Lucky: Millinder, and "Tiny" Bradshaw orchestras.
Tenor saxophonist Big Nick Nicholas was active for more than 50 years without ever receiving consistent recognition or material rewards commensurate with his contribution to early modern jazz. He is usually remembered as the caloric soloist who improvised for 16 bars on Dizzy Gillespie's 1947 recording of "Manteca"; as the honoree of a warmly whimsical portrait recorded by John Coltrane with Duke Ellington in 1962, and as a weathered veteran who enjoyed a brief comeback during the 1980s. George Walker Nicholas was born in Lansing, MI on August 2, 1922 and studied clarinet, saxophone, and piano during the years 1933-1939.
Sturdy and large-boned, he was already being called "Big Nick" at the age of ten. Young George practiced blowing his horn out of doors, playing the same song in multiple key signatures, a tendency inherited from earlier jazz masters and solidly in step with where modern jazz was heading. His father, a saxophonist, mentored him while encouraging his son to sit in with various bands in the Detroit area throughout 1939 and 1940. During adolescence he performed in a group with Thad and Hank Jones, who hailed from nearby Pontiac. In 1942 he gigged with Kelly Martin at Club Congo in Detroit.
Sturdy and large-boned, he was already being called "Big Nick" at the age of ten. Young George practiced blowing his horn out of doors, playing the same song in multiple key signatures, a tendency inherited from earlier jazz masters and solidly in step with where modern jazz was heading. His father, a saxophonist, mentored him while encouraging his son to sit in with various bands in the Detroit area throughout 1939 and 1940. During adolescence he performed in a group with Thad and Hank Jones, who hailed from nearby Pontiac. In 1942 he gigged with Kelly Martin at Club Congo in Detroit.
Nick's primary influence was Coleman Hawkins, and by the time he moved to New York he had settled permanently upon the tenor sax. A regular participant in after-hours blowing sessions at Minton's Playhouse on West 118th Street, he worked with Earl "Fatha" Hines for three months in 1942 and gigged with Tiny Bradshaw for half a year in 1943.
After serving in the Second World War, Nick entered his busiest period, studying music theory and harmony at the Boston Conservatory from 1944-1946, appearing at the Savoy in Boston with pianist Sabby Lewis (who was soon to become that city's first African-American radio DJ), sitting in with the Claude Hopkins orchestra, and recording with vocalist Sarah Vaughan. He was featured on Lucky Millinder's Decca recording "The Spider and the Fly." On January 4, 1947 Nick's tenor anchored a group led by drummer J.C. Heard that backed comedian Dusty Fletcher on his famous recording of "Open the Door Richard"; three days later he recorded with Fats Navarro and Miles Davis in a 15-piece big band led by Illinois Jacquet. During that year, Nick began collaborating with singing trumpeter Hot Lips Page, who featured the saxophonist on "Take Your Shoes Off, Baby" and "La Danse"; they would continue to work together until Page's death in 1954.
After serving in the Second World War, Nick entered his busiest period, studying music theory and harmony at the Boston Conservatory from 1944-1946, appearing at the Savoy in Boston with pianist Sabby Lewis (who was soon to become that city's first African-American radio DJ), sitting in with the Claude Hopkins orchestra, and recording with vocalist Sarah Vaughan. He was featured on Lucky Millinder's Decca recording "The Spider and the Fly." On January 4, 1947 Nick's tenor anchored a group led by drummer J.C. Heard that backed comedian Dusty Fletcher on his famous recording of "Open the Door Richard"; three days later he recorded with Fats Navarro and Miles Davis in a 15-piece big band led by Illinois Jacquet. During that year, Nick began collaborating with singing trumpeter Hot Lips Page, who featured the saxophonist on "Take Your Shoes Off, Baby" and "La Danse"; they would continue to work together until Page's death in 1954.
Also during 1947, Nicholas joined the Dizzy Gillespie orchestra and was featured on "Manteca" and "Ool-ya-koo." John Coltrane caught Nicholas with Gillespie during this period and was greatly inspired by what he heard. In February 1948, Nick performed live in Paris with Gillespie's big band during a three-month European tour. In 1950 he recorded with pianist Una Mae Carlisle, and began leading jam sessions at Harlem's Paradise Club, where he developed a tendency to sing in what has accurately been termed a "joyous, booming" voice.
On September 29, 1951 Big Nick locked horns with Eddie "Lockjaw" Davis on-stage at Birdland with the Miles Davis Sextet, a trailblazing unit that included Billy Taylor, Charles Mingus, and Art Blakey. A few days later Blakey, Nick, and Lockjaw were in the studio with a sextet led by trombonist Bennie Green, recording the "Tenor Sax Shuffle" and five other titles for Prestige. In 1953, Nick worked with Jonah Jones backing vocalist Timmie Rogers, and in 1955 he collaborated with trumpeter Buck Clayton and vocalist Frankie Laine on the album Jazz Spectacular, taking memorable solos on "Baby Baby All the Time" and "Sposin'." During the mid- and late '50s Big Nick lived on 139th Street in Queens; he played the Club Harlem in Atlantic City, N.J. and was featured soloist with the Shorty Allen band at Elegante in Brooklyn.
When Coltrane recorded "Big Nick" with Duke Ellington in 1962, he used the soprano saxophone to invoke the man's personality rather than employing the tenor to emulate his tonality.
While Trane's friendly tribute alerted large numbers of record-buying jazz fans to Nick's existence, his career was more or less on hold during much of the decade. In 1964 he participated in a benefit for the ailing Pee Wee Russell; unfortunately, the same alcoholism that did in the clarinetist in 1969 gradually took its toll on Big Nick. During the '70s he lived and taught in Charlottesville, VA, where in 1979 he held down a regular booking at a country club lounge. This was followed by a successful engagement in New York, a 1980 European tour with John Hicks, Walter Booker, and Jimmy Cobb, and a brief comeback following the release of his first album as a leader in 1984, forever preserving his wonderfully eccentric scat singing on a disarming version of "Corrine Corrina." Big and Warm was followed in 1985 by Big Nick. Neither of these India Navigation albums has received the attention they deserve. George Walker Nicholas passed away in Queens, NY on October 19, 1997.
While Trane's friendly tribute alerted large numbers of record-buying jazz fans to Nick's existence, his career was more or less on hold during much of the decade. In 1964 he participated in a benefit for the ailing Pee Wee Russell; unfortunately, the same alcoholism that did in the clarinetist in 1969 gradually took its toll on Big Nick. During the '70s he lived and taught in Charlottesville, VA, where in 1979 he held down a regular booking at a country club lounge. This was followed by a successful engagement in New York, a 1980 European tour with John Hicks, Walter Booker, and Jimmy Cobb, and a brief comeback following the release of his first album as a leader in 1984, forever preserving his wonderfully eccentric scat singing on a disarming version of "Corrine Corrina." Big and Warm was followed in 1985 by Big Nick. Neither of these India Navigation albums has received the attention they deserve. George Walker Nicholas passed away in Queens, NY on October 19, 1997.
~ arwulf arwulf, Rovi
1917
"Big Walter" Price, piano
1907Andy Secrest
Trumpet-Cornet
b. Muncie, IN, USA
d. 1977
Biography ~ Eugene Chadbourne
d. 1977
Biography ~ Eugene Chadbourne
Andy Secrest played in both jazz combos and studio orchestras from the '20s through the early '50s. He then left music to become a real estate agent, a move that places him firmly within the mini-grouping of players who have made the same career choice, some of whom may have been inspired by the lyrics to Col. Bruce Hampton's song entitled "Real Estate." This isn't the only category of players that Secrest fits into, either. The brass specialist often comes under observation as one of bandleader Paul Whiteman's long-term sidemen. As a result of the Whiteman connection, Secrest also makes the list of instrumentalists who get confused with other instrumentalists. In this case his non-doppelgänger is Frank Siegrist, who also played with Whiteman.
Secrest seems to have started his professional career in Cincinnati, working in an orchestra under the direction of Freda Sanker. For several years beginning in 1927, Secrest played both trumpet and cornet in the Jean Goldkette band at a ballroom in Kansas City. The association with Whiteman began shortly thereafter and lasted until 1932. The next move for Secrest was heading to California and the studios of Hollywood. He began working for studio bandleaders such as Victor Young, John Scott Trotter, and Billy Mills, and can be heard on many vintage recordings by Bing Crosby, Mildred Bailey, Anita O'Day, and others. Secrest was in the brass section of Ben Pollack's excellent band in the late '30s and also performed at jazz festivals on the West Coast during the '50s.
Secrest seems to have started his professional career in Cincinnati, working in an orchestra under the direction of Freda Sanker. For several years beginning in 1927, Secrest played both trumpet and cornet in the Jean Goldkette band at a ballroom in Kansas City. The association with Whiteman began shortly thereafter and lasted until 1932. The next move for Secrest was heading to California and the studios of Hollywood. He began working for studio bandleaders such as Victor Young, John Scott Trotter, and Billy Mills, and can be heard on many vintage recordings by Bing Crosby, Mildred Bailey, Anita O'Day, and others. Secrest was in the brass section of Ben Pollack's excellent band in the late '30s and also performed at jazz festivals on the West Coast during the '50s.
1911.
Robert Allen Cole, songwriter
Robert Allen Cole, songwriter
died in Catskill, NY, USA.
Age: 48
1937.
RCA Victor recorded Benny Goodman and his quartet playing "Smiles".
Benny Goodman on clarinet, Lionel Hampton on vibes, Teddy Wilson on piano, and Gene Krupa on drums.
(DAMN! SUCH BIG STARS IN ONE ROOM!)
1977.
Clyde "Porkchop" Lasley, vocalist
Clyde "Porkchop" Lasley, vocalist
died in Chicago, IL, USA.
Age: 61
Recorded for: "Bea & Baby Records"
Songs Recorded/Released
On This Date Include:
On This Date Include:
1917
Frisco Jass Band
- All I Need Is Just A Girl Like You
- Cute Little Wigglin' Dance
- Umbrellas To Mend
1926
University Six
- I Ain't Got Nobody
- It's O.K., Katy, With Me
- Oh! If I Only Had You
- St. Louis Hop
Seattle Harmony Kings
- Breezin' Along(With The Breeze)
- How Many Times?
1929
Fats Waller
- Ain't Misbehavin'
- Gladyse
- I've Got A Feeling I'm Falling
- Love Me Or Leave Me
- Sweet Savannah Sue
- Valentine Stomp
1930
Red Nichols' Five Pennies
- My Future Just Passed
1934
Lucille Bogan
- Changed Ways Blues
Marion Harris
- Singin' The Blues
1935
Fats Waller and his Rhythm
- Georgia Rockin' Chair
- Oooh, Look-A-There, Ain't She Pretty?
- Sugar Blues
Singin' The Blues
Oh, Daddy, I've been weepin'
Just like a willow tree
Without a wink of sleepin'
Where is your sympathy?
All is glad round the (???)
Since you said goodbye to me
Oh, I'm just singin' the blues
Til my Daddy comes home
The meanest feeling pursues
Since he left me all alone
For every blue strain cuts new pain
Right into my heart
And I just sigh at that cryin' part
It sure gets your nerves
When you hear yourself moan
If I got all I deserve
I wouldn't be here all alone
I wouldn't walk all night
And sit by the window in the candlelight
Singin' the blues
Till my Daddy comes home
I'm singin' the blues
Till my Daddy comes home
Don't know what else I can do
Since he left me here all alone
I watch & wait all night
Just sittin' by the window in the candlelight
Just singin' the blues
Till my Daddy comes home
Oh, Daddy
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