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"Texas" Alexander, vocals
b. Jewett, TX, USA.
His recordimg career began
in 1927 with the Okeh label.
The recordings were quite notable.
Unable to play any instrument, Alexander used a variety of accompanists, ranging from guitarists "Little Hat" Jones, Lonnie Johnson and Eddie Lang, to the string band Blues of 'The Mississipi Sheiks', and even 'King Oliver's New Orleans band'. His performing and recording career continued into the 1930s with sessions for Vocalion. In 1940, after killing his wife, he was sent to the state prison at Paris, TX. 

In 1945, after his release (5 years in jail for killing his wife!), he joined his cousin Lightnin' Hopkins in Houston, TX, for live shows and recording for the Freedom label with pianist 'Buster' Pickens. By 1954, he was back in the Brazos River bottomlands where he died a debilitated victim of the ravages of syphillis.
William "Cat" Anderson, trumpet
 b. Greenville, SC, USA. Worked with Duke Ellington.
d. April 29, 1981, Norwalk, CA, USA.
by Scott Yanow
Cat Anderson was arguably the greatest high-note trumpeter of all time. His solo on "Satin Doll" from Duke Ellington's 70th Birthday Concert is a perfectly coherent chorus consisting of notes that are so high that it is doubtful if another trumpeter from all of jazz history could hit more than one or two. He first learned trumpet while at the Jenkins Orphanage in Charleston and toured with the Carolina Cotton Pickers, a group in which he made his recording debut. 

During 1935-1944, Anderson played with many groups including those ofClaude Hopkins, Lucky Millinder, Erskine Hawkins, and Lionel Hampton. Hampton loved his high-note mastery, although Hawkinsreportedly fired Anderson out of jealousy. In 1944, Cat Anderson was first hired by Duke Ellington and it ended up being the perfect setting for him. Ellington enjoyed writing impossible parts for Cat to play, and Anderson received publicity and a steady income. He was more than just a high-note player, being a master with mutes and having a fine tone in lower registers, but no one could really challenge him in the stratosphere (although Maynard Ferguson, Jon Faddis, and Arturo Sandoval have come close). Anderson was withEllington during 1944-1947, 1950-1959, and off and on during 1961-1971. Occasionally he would go out to lead his own bands but he always came back. After Ellington's death, Cat Anderson settled on the West Coast where he often played with local big bands, including an exciting one led by Bill Berry.

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Gus Cannon, banjo/jug/singer
b. Red Banks, MS, USA
d. 1979, age 96 (in poverty).
Gus Cannon (September 12, 1883 – October 15, 1979) was an American blues musician who helped to popularize jug bands (such as his own Cannon's Jug Stompers) in the 1920s and 1930s. There is doubt about his birth year; his tombstone gives the date as 1874.

Born on a plantation at Red Banks, Cannon moved to Clarksdale, Mississippi, then the home of W. C. Handy, at the age of 12. Cannon's musical skills came without training; he taught himself to play using a banjo that he made from a frying pan and raccoon skin. He ran away from home at the age of fifteen and began his career entertaining at sawmills and levee and railroad camps in the Mississippi Delta around the turn of the century.

While in Clarksdale, Cannon was influenced by local musicians Jim Turner and Alec Lee. Turner's fiddle playing in W. C. Handy’s band so impressed Cannon that he decided to learn the fiddle himself. Lee, a guitarist, taught Cannon his first folk blues, "Po' Boy, Long Ways from Home", and showed him how to use a knife blade as a slide, a technique that Cannon adapted to his banjo playing.

Cannon left Clarksdale around 1907. He soon settled near Memphis, Tennessee and played in a jug band led by Jim Guffin. He began playing in Memphis with Jim Jackson. He met harmonica player Noah Lewis, who introduced him to a young guitar player named Ashley Thompson. Both Lewis and Thompson would eventually become members of Cannon's Jug Stompers. The three of them formed a band to play parties and dances. In 1914 Cannon began touring in medicine shows. He supported his family through a variety of jobs, including sharecropping, ditch digging, and yard work, but supplemented his income with music.

Cannon began recording as "Banjo Joe" for Paramount Records in 1927. At that session he was backed up by Blind Blake. After the success of the Memphis Jug Band's first records, he quickly assembled a jug band featuring Noah Lewis and Ashley Thompson (later replaced by Elijah Avery). Cannon's Jug Stompers first recorded at the Memphis Auditorium for the Victor record label in January 1928. Hosea Woods joined the Jug Stompers in the late 1920s, playing guitar, banjo and kazoo, and also providing some vocals. Modern listeners can hear Cannon's Jug Stompers recording of "Big Railroad Blues" on the compilation album The Music Never Stopped: Roots of the Grateful Dead.

Although their last recordings were made in 1930, Cannon's Jug Stompers were one of Beale Street's most popular jug bands through the 1930s. A few songs Cannon recorded with Cannon's Jug Stompers are "Minglewood Blues", "Pig Ankle Strut", "Wolf River Blues", "Viola Lee Blues", "White House Station" and "Walk Right In" (later made into a pop hit by The Rooftop Singers in the 1960s, and later a hit rock/pop version by Dr. Hook in the 1970s). By the end of the 1930s, Cannon had effectively retired, although he occasionally performed as a solo musician.

He returned in 1956 to make a few recordings for Folkways Records. In the "blues revival" of the 1960s, he made some college and coffee house appearances with Furry Lewis and Bukka White, but he had to pawn his banjo to pay his heating bill the winter before the Rooftop Singers had a hit with "Walk Right In".

In the wake of becoming a hit composer, he recorded an album for Stax Records in 1963, with fellow Memphis musicians Will Shade, the former leader of the Memphis Jug Band, on jug and Milton Roby on washboard. Cannon performs a series of traditional songs, including "Kill It," "Salty Dog," "Going Around," "The Mountain," "Ol' Hen", "Gonna Raise A Ruckus Tonight," "Ain't Gonna Rain No More," "Boll-Weevil," "Come On Down To My House," "Make Me a Pallet on Your Floor," "Get Up In The Morning Soon," and "Crawdad Hole" along with his own "Walk Right In," plus various stories and introductions between the songs. The album is almost an audio documentary tour through different corners of Cannon's life and career that, ideally, might've run to several volumes.

Cannon can be seen in the King Vidor produced film, Hallelujah! (1929), during the late night wedding scene.

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Maurice Chevalier, vocals/actor
b. Paris, France, d. Jan. 1, 1972.
né: Maurice Auguste Chevalier.
This charismatic French actor is best remembered for his work in American Films. He introduced many songs including, "Mimi", "Louise", "You Brought A New Kind Of Love To Me", and so many more.
A very young Maurice Chevalier. He began his
show business career in 1901 at age 13.
In the eyes of many film-buffs, actor Maurice Chevalier, with his sophisticated charm, zest for life, and wit, is the consummate movie Frenchman. Chevalier, born in Paris, was the youngest of nine children. His father was a house painter and did not work steadily. To help out, the 11-year-old Chevalier quit school to work as an apprentice engraver and a factory worker. After performing briefly as an acrobat, he was injured and unable to continue his acrobatics so began singing in Paris cafes and halls. It is odd that he should turn to music as Chevalier had a notoriously weak, and average singing voice; to compensate, he added a touch of comedy to his act and soon became the toast of the town.

Though only 21, he got his biggest break when he became the revue partner of the infamous musical star Mistinguett in the Folies-Bergere. Soon she became his lover as well. While serving in World War I, Chevalier was captured and spent two years in a POW camp; later he was awarded a Croix de Guerre. After the war he rose to world fame as a star of music halls.
His trademarks were his boulevardier outfit of a straw hat and bow tie, his suggestive swagger, and his aura of Epicurean enjoyment. Having appeared in a number of silent films, he moved to Hollywood in 1929 and was popular with American audiences as the light-hearted, sophisticated star of romantic films. He left Hollywood in 1935, but continued making movies elsewhere.
In 1938 he was decorated a Chevalier of the Legion of Honor. In 1951 he was refused re-entry to the United States because he had signed an anti-nuclear-weapons document, the "Stockholm Appeal." In 1958 he was allowed to return to Hollywood and receive a special Oscar "for his contributions to the world of entertainment for more than half a century."
~ Rovi
Maurice Chevalier with Jeannette MacDonald in Love Me Tonight
Maurice Chevalier - Wikipedia, the free encyclopedia
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Billy Daniels, vocals
d. 1988.
Song and dance man

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Shep Fields
(and his Rippling Rhythm)
Tenor Sax/clarinet/Leader
b. New York (Brooklyn), NY, USA, d. Feb. 23, 1981, Los Angeles, CA, USA.
A leader of dance bands in the '30s and '40s. His groups jazz content varied, but it was very popular and featured on several radio broadcasts and recordings. Some material has been reissued on Hindsight, Circle and Jazz Archives.
~ Ron Wynn
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Eddy Howard, singer/composer/leader
b. Woodland, CA, d. May 23, 1963, Palm Desert, CA, USA. Age: 49. 
Among his compositions are: "A Million Dreams Ago", "Careless", "If I Knew Then", "My Last Goodbye".
Mild romantic balladeer Eddy Howard was a huge name in the 1940s and early '50s. Reeling off a few dozen hit singles in the post-war years, he rarely went uptempo or derivated from good-natured paeans to heart-to-heart bliss. Howard left Stanford Medical School in the early '30s to join Dick Jurgens' band as a vocalist, and recorded eight hits with Jurgens in 1939 and 1940.
During this era, he also made some small-band jazz sides under John Hammond's auspices at Columbia; Teddy Wilson and Charlie Christian were among the musicians who supported him at these sessions. By 1941, Eddy had started his own band, and hit the jackpot with a number one single in 1946, "To Each His Own." "(I Love You) For Sentimental Reasons," "My Adobe Hacienda," "I Wonder, I Wonder, I Wonder," "Room Full of Roses," "Sin (It's No Sin)," and "Auf Weidersehn Sweetheart" were some of the biggest smashes he enjoyed prior to the mid-'50s, when the emergence of rock & roll displaced him from the airwaves. He was a fixture on the casino circuit when he died of a cerebral hemorrhage in 1963.
~ Richie Unterberger, Rovi

Bill Jennings, guitar
b. Indianapolis, IN, USA. 
A peer of Billy Butler, in the late 1940s and early '50s, Jennings recorded R&B sides with Leo Parker and Bill Doggett, and also played with Louis Jordan. * Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett. ~ Michael G. Nastos

Abbie at the Silver Slipper, Bourbon Street. L-R: Joe “Hook” Loyacano, unknown, unknown,Sidney Arodin, Dave Winstein, Monk Hazel, Abbie Brunies. (Frank Driggs Collection)
Joe Loyacano
alto sax/trombone/tuba/bass
b. New Orleans, LA, USA.
d. Nov. 30, 1967, New Orleans, LA. USA.
Age 74.
né: Hook Loyacano.

There were other Loyacanos all working in Jazz bands in both New Orleans and later in Chicago, - all in the same time frame - and often in the same bands. Among them Arnold Deacon Loyacano and Bud Loyacano -both on string bass (Arnold Deacon Loyacano also played piano); Bud Loyacano - string and brass bass; and both Freddie Loyacano, Steve Loyacono -banjo/guitar.

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Ella Mae Morse, vocalist
b. Mansfield, TX, USA d. June 2. 1998, Bullhead City, AZ, USA (Respiratory Failure). Best recalled for her work with Freddie Slack Orch. ("Cow Cow Boogie" - she was 17 at the time it was Capitol Records' first Million-seller - and other tunes.) Among her 10 "Gold" records was "House of Blue Lights", "Shoo Shoo Baby", "The Blacksmith Blues", and "No Love, No Nothin'". Morse was White, but listeners often thought she was Black because of her unique vocal style that blended a Jazz, R&B, 'Country', and Pop sound. She was born into a musical family. Her father was a drummer, and her mother was a pianist.
After singing in her father's combo, she joined the Tommy Dorsey orchestra when she was only age 14. Dorsey's orchestra was then playing at the Adolphus Hotel in Dallas, TX, and was looking for a girl singer. Her mother had told Dorsey that she was 19. When the school board sent Dorsey a a letter advising him that he was now responsible for her, Dorsey fired Morse. In 1942, she, and former Dorsey pianist Freddie Slack, recorded the hit "Cow Cow Boogie". Still, she worked mostly as a 'solo' artist thereafter. In 1957, she made her final recording (also for Capitol) with "Morse Code". Thereafter, she performed on and off until 1987 with the Ray McKinley Orchestra. Elvis Presley often praised her for teaching him how to sing.

Myrtle A. Forcey-Southall, Singer/Dancer
b. Washington, USA
d. Aug. 9, 2002, Washington, USA (Stroke)
(aka: Myrtle Wilson; aka: Joyce Jackson)
During her long career, she worked with Duke Ellington, Earl Bostic, Paul Williams and Leo Parker Ella Fitzgerald, and The Ink Spots. She recorded R&B for Mercury 

Notable Events Occurring
On This Date Include: 

Harry Thacker Burleigh, (gospel) vocals/arranger
died in Stamford, CT, USA. 
Age: 83.

Frank Stokes, guitar
died in Memphis, TN, USA.
Age: 67.

Rod Brasfield, C&W comedy
Died. Age 48. (b. Smithville, Mississippi, August 22, 1910).
Tag: 'The Hohenwald Flash' (from the name of a town southwest of Nashville, TN.
Brasfield also did comedy routines with singer-comedienne June Carter.)
Abbey "Chinee" Foster, drums
died in New Orleans, LA, USA.
Age: 60.

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Johnny Cash, singer/guitarist, died in a
Baptist Hospital, Nashville, TN, USA.
Age 71.

Songs Recorded/Released
On This Date Include:


Louisiana Five - Clarinet Squawk


Mamie Smith's Jazz Hounds - Fare Thee Honey Blues

Bailey's Lucky Seven
  • Oh ! You Little Sun-uv-er-gun
  • Stealing To Virginia
  • Tell All The Folks In Kentucky (I'm Coming Home)

Paul Whiteman and his Orchestra - Chansonette


Henry Halstead and His Orchestra
Paul Whiteman and his Orchestra


Ethel Waters and her Ebony 4 - Pickanniny Blues


Annette Hanshaw - Blackbottom

Annette Hanshaw Six Feet Of Papa


Harry Reser and his Orchestra
  • Look In The Mirror (And See Just Who You Love)


Victoria Spivey - My Handy Man

Victoria Spivey Organ Grinder Blues

King Oliver's Dixie Syncopators - I'm Watching The Clock

Waring's Pennsylvanians
  • My Window Of Dreams - Vocal refrain by Tom Waring
  • Paradise


Emmett Miller accompanied by his Georgia Crackers
Ruben "River" Reeves and his River Boys
  • Do I Know What I'm Doing?
  • Shoo Shoo Boogie Boo

Clara Smith

Isham Jones and his Orchestra
Isham Jones and his Orchestra - My Baby Just Cares For Me


Bennie Krueger and his Orchestra
  • As You Desire Me - Vocal refrain by Paul Small
  • How Can You Say No? - Vocal refrain by Paul Small
  • Moon - Vocal refrain by Paul Small
  • Sweetheart Hour - Vocal refrain by Paul Small

Annette HanshawSay It Isn't So

Annette Hanshaw - You'll Always Be The Same Sweetheart To Me


Williams Washboard Band
  • Kelseys Hot Nuts

Paul Whiteman and his Orchestra - It's Only a Paper Moon - Vocal refrain by Peggy Healy


New Orleans Rhythm Kings - Jazz Me Blues

Fletcher Henderson Orchestra - Down South Camp Meetin'

Andy Kirk and his Twelve Clouds Of Joy

Say It Isn't So
~Irving Berlin

Say it isn't so,
Say it isn't so,
Everyone is saying
you don't love me,
Say it isn't so.
Everywhere I go,
Everyone I know,
Whispers that you're growing tired of me,
Say it isn't so.
People say that you,
Found somebody new,
And it won't be long
before you leave me,
Say it isn't true,
Say that everything is still okay,
That's all I want to know,
and what they're saying,

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