Tyree Glenn & Chu Berry, Fort Bragg, N.C., circa 1940.


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Leon "Chu" Berry, tenor sax
b. Wheeling, WV, USA, d. Oct. 30, 1941, Conneaut, OH, USA.
Chu Berry was considered one of the top tenor saxophonists of the 1930s, just below Coleman Hawkins (his main influence), Lester Young, and Ben Webster. Particularly strong on up-tempo numbers (although his ballad statements could be overly sentimental), Berry might have become an influential force if he had not died prematurely.
After playing alto in college, he switched to tenor in 1929 when he joined Sammy Stewart's band. In 1930, he moved to New York, playing with Benny Carter's band and Charlie Johnson's orchestra. He was prominently featured in Spike Hughes' 1933 recording sessions, was a star with the bands of Teddy Hill (1933-1935) and Fletcher Henderson (1936; to whom he contributed his song "Christopher Columbus"), and then found a permanent home with Cab Calloway in 1937.
Berry was used on many sessions including with his friend Roy Eldridge, Lionel Hampton (a classic version of "Sweethearts on Parade"), Teddy Wilson, and Calloway (his version of "Ghost of a Chance" became well-known); in addition he led a couple of his own fine dates. Chu Berry died from the effects of a car crash when he was just 31.
Scott Yanow

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Charles Brown, piano/vocals
b. Texas City, TX, USA.
d. Jan. 24, 2000, Oakland, CA.

Claude Casey C&W singer/bandleader
b. Enoree, SC, USA.
Claude Casey: Information from

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Bernard Ette Violin/Leader
b. Kassel, Germany
d. Sept. 26,1973.

**[(Site is in German but you can hear his music ; )]

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Leonard Feather
b. Sept. 13, 1914, London, England, UK
d. Sept. 22, 1994, Sherman Oaks, CA, USA.
né: Leonard Geoffrey Feather.
The acknowledged dean of American jazz critics, Leonard Feather was also a renowned composer and producer, writing perennials including "Evil Gal Blues," "Blowtop Blues," and "How Blue Can You Get?" as well as helming debut sessions by future legends Dinah Washington and Sarah Vaughan.
Born September 13, 1914, in London, as a child Feather studied piano and clarinet, later teaching himself arranging. While expected to enter his father's clothing retail business, he devoted his life to music upon discovering Louis Armstrong's "West End Blues" at a Kensington record shop. Feather launched his writing career with a series of letters to the British music publication Melody Maker, musing on subjects from waltz-time jazz compositions to the absence of female jazz enthusiasts; editor Dan Ingman soon offered him a staff position. When Armstrong made his first appearance at the London Palladium in 1932, Feather was in attendance, subsequently meeting his idol at a nearby pub. By evening's end Armstrong agreed to sit for a Melody Maker interview, and the two men remained lifelong friends.
In 1935 Feather and pianist friend Felix King relocated to New York City. Fellow jazz critic John Hammond met their ship as it came ashore, and on his first night in the U.S. Feather witnessed Bessie Smith performing at the Apollo followed by a Teddy Hill Orchestra appearance at the Savoy. In due time, he signed on as Duke Ellington's press agent as well, and his tireless promotion of the artists and ideals in which he believed was an incalculable boost for the emerging swing era.

Feather was above all an exceptional judge of new talent, producing Washington and Vaughan's first studio sessions and boosting the careers of Mary Osborne, Vivian Gary, and Vi Redd. He also collaborated with Mary Lou Williams and Beryl Booker to produce several all-women jazz ensembles. For Washington he wrote "Evil Gal Blues" and "Blowtop Blues," and his biggest hit, "How Blue Can You Get?," was immortalized by everyone from Louis Jordan to B.B. King -- bandleaders spanning from Ellington to Count Basie to Benny Carter also added Feather compositions and arrangements to their repertoires.
While he remained active in the music industry for decades to follow, producing a series of LPs including the 1951 Prestige date Leonard Feather's Swingin' Swedes, the 1954 MGM effort Dixieland vs. Birdland, and the 1957 VSOP release 52nd Street, Feather remains most influential as a writer: a frequently acerbic yet consistently elegant critical voice, he first earned widespread attention via contributions to Metronome and Esquire, creating for the former the so-called "blindfold test," in which musicians and other industry notables were played records without knowing the title or players involved. The process was instrumental in invalidating preconceptions and out and out biases against musicians of a given race, gender, or commercial stature, proving time and again how rarely talent and innovation are judged solely on their own merits. The blindfold test was also a regular segment of Feather's live-audience radio showcase Platterbrains, and he refined the formula during his stint with JazzTimes.
With the 1949 publication of his first book, Inside Be-Bop, Feather effectively canonized the visionary talents of Charlie Parker and Dizzy Gillespie. The book's central themes and arguments were quickly absorbed wholesale by the jazz cognoscenti, even if its author's criticisms of Thelonious Monk proved wide of the mark. Feather's most enduring contribution to jazz criticism and history nevertheless remains his 1960 volume The New Encyclopedia of Jazz: "Despite errors (mostly birthdates) and rivals, from Chilton to Grove, it remains indispensable for its critical breadth and autonomy, and for ancillary sections that approach the subject in myriad ways -- musicological, sociological, even anthropological," wrote next-generation jazz critic Gary Giddins.
Shortly after the book's publication, Feather relocated to southern California, where he signed as on jazz critic of The Los Angeles Times. In the years to follow, he also taught at UCLA, the University of California at Riverside, and California State University at Northridge, and published books including 1977's Inside Jazz and 1987's From Satchmo to Miles. By many accounts, Feather's energy dimmed after a 1993 earthquake that forced him to vacate the Sherman Oaks home he shared with longtime wife, Jane. After a battle with pneumonia, he died September 22, 1994, a little over a week past his 80th birthday. The Biographical Encyclopedia of Jazz, co-written with Ira Gitler, followed posthumously in 1999.
~ Jason Ankeny, Rovi
**The Oxford Press has just published (Jan.2000) a Jazz encyclopedia that Feather began work on back in 1960.

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Frank "Big Boy" Goudie
Tenor Sax/Clarinet b. Youngsville, LA, USA. d. 1964
Because Frank "Big Boy" Goudie's most famous recordings were made in Europe during the 1930's, he is sometimes thought of as a European even though he was actually from Louisiana! Goudie grew up in New Orleans, at first playing a fiddle and then cornet. While a teenager, the musically-inclined youth played piano for silent movies.
Although he taught himself tenor and clarinet, he mostly played cornet while in New Orleans. Goudie performed with Oscar Celestin's Original Tuxedo Band, the Magnolia Band, Arnold DuPas, Jack Carey and others. He toured with a minstrel show in 1921 and spent several years traveling the South and California with a variety of bands. Goudie moved to France in 1925 where he mostly played tenor and clarinet (and just trumpet occasionally). He worked all over Europe with such bandleaders as Benny Peyton, Louis Mitchell, Sam Wooding, Noble Sissle and Freddy Johnson. Goudie performed and recorded with Willie Lewis during 1935-38 and then worked with Oscar Aleman. He left Paris in 1940 and spent the next few years in Brazil and Argentina, performing with many local jazz bands.
Goudie returned to France in 1946 where he worked with Charlie Lewis, Arthur Briggs and Harry Cooper among others. Other associations included Glyn Paque in Switzerland (1948-49) and Bill Coleman (1949-51). Goudie led his own group in Berlin (1951-56) and then moved to San Francisco in 1957. Although he spent part of his time working outside of music, Goudie still played clarinet locally including with Earl Hines, Burt Bales, Dick Oxtot and Marty Marsala. In addition to his sideman recordings (most notably with Lewis and Coleman), Big Boy Goudie recorded as a leader for Ultraphone (1935 with such sidemen as Django Reinhardt and Stephane Grappelli on piano), Swing (1939 and 1946), Columbia (1952-53), the Yugoslavian Jugoton label (1954) and a final effort in San Francisco for American Music (1960-61).
~ Scott Yanow

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Kelly Harrell
C&W singer/songwriter
b. Wythe County, VA, USA.
Kelly Harrell was a near-legendary country balladeer during the 1920s, when he cut more than a dozen songs for Victor and OKeh. He was also a gifted songwriter whose music was covered by other artists, including Jimmie Rodgers and Ernest Stoneman, in his own lifetime.
Harrell was born in the Virginia highlands in the western part of the state, and from his early teens worked in various textile mills. He enjoyed singing, though he didn't play an instrument, and was inspired to try recording in his belief that he was at least as good a singer as a man he met locally named Henry Whitter, who had made records.
In early 1925, when Harrell was already 35 years old, he went to New York and recorded four sides for Victor Records, among them "New River Train" and "The Roving Gambler." He recorded for OKeh later that year, including a version of "The Wreck of the Old 97," backed by "Blue Eyed Ella." Those sides elicited enough interest that Victor was interested in recording Harrell further in 1926. Those sides were his first using the electrical recording system, which was a considerable advance on the acoustic recordings he'd previously made. In 1927, Victor cut Harrell in another half-dozen songs backed by his own band (as Kelly Harrell & the Virginia String Band), with which he was performing locally.
Harrell recorded another handful of recordings for Victor in 1929, after which his recording career came to a halt, owing to his inability to play an instrument -- Harrell always required backing by other musicians, and the Great Depression had so damaged the recording business that Victor was unwilling to pay the cost of hiring backup musicians in 1930 and beyond.
Harrell performed locally and worked the textile mills until 1942, when a heart attack took his life. His complete recorded music was reissued by Bear Family on a triple-LP set in the 1970s, and he is also represented by an LP on the County label.
~ Bruce Eder
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Dick Haymes, Vocals
b. Buenos Aires, Argentina
d. March 28, 1980, Los Angeles, CA, USA.
né: Richard Benjamin Haymes.
Worked with the Benny Goodman, Harry James, and Les Brown Orchestras. (Les is currently -1999- working in London, Eng.). Also worked with Helen Forrest and Loonis McGlohon. Dick was married six times, including actress Rita Hayworth.
Dick Haymes was one of the most splendid ballad singers of his era, the near-equal of Crosby and Sinatra on classics of the form like "It Can't Be Wrong," "Till the End of Time" and "It Might as Well Be Spring." Though he was unable to cash in during the '50s golden era of adult-pop (due to alcoholism, troubles with the government, and a few tempestuous relationships), Haymes continued performing and recording until his death in 1980.
DICK HAYMES: The Voice of Perfection!

Lucille Masters
C&W vocals
né Lucille Ferdon.
member: 'Masters Family'.

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William Smith "Bill" Monroe, "Bluegrass" guitar/mandolin/vocals
b. Rosine, KY, USA, d. Sept. 9, 1996.
aka: "The Father of Bluegrass Music".
Member: 'The Monroe Brothers'; 'The Blue Grass Boys'.

Larry Shields
b. New Orleans, LA, USA
d. Nov. 21, 1953, Los Angeles, CA, USA.
Lawrence James "Larry" Shields (September 13, 1893 - November 21, 1953) was an early American dixieland jazz clarinetist.
Photo Sharing and Video Hosting at PhotobucketShields was born into an Irish-American family in Uptown New Orleans, on the same block where jazz pioneer Buddy Bolden lived. Shields' family were musical; his brothers Harry, Pat (guitar), and Eddie (piano) all played music professionally. Shields started playing clarinet when he was 14 and played with Papa Jack Laine's bands. He was one of the early New Orleans musicians to go to Chicago, first heading north in the summer of 1915 to join Bert Kelly's band, then with Tom Brown's band, before joining the Original Dixieland Jass Band in November 1916.
The following year that band made the first jazz phonograph records, propelling Shield's playing to national prominence.
After leaving the Original Dixieland Jazz Band in 1921, he played with various bands in New York City (including briefly with Paul Whiteman) before moving to Los Angeles, California where he remained throughout the 1920s, leading his own band and appearing briefly in some Hollywood films.
In the 1930s Shields returned to Chicago and joined the reformed Original Dixieland Jazz Band. He then worked for a while at "Nick's" in New York before returning to play in New Orleans and later in California. He died in Los Angeles.
His playing, especially on phonograph records, was an important influence on later jazz clarinetists, including Benny Goodman. Larry Shields inspired Dink Johnson to begin playing the clarinet, in a 1950 interview with Floyd Levin he stated: "I was actually a drummer, you know. I had always wanted to play the clarinet since hearing Larry Shields with the Original Dixieland Jazz Band."
Leith Stevens Piano/composer/leader
b. Mt. Moriah, MO, USA.
d. July 23, 1970, Los Angeles (Hollywood), CA, USA.
Space Age Pop Bio

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Yma Sumac vocals.
b. Peru.
Famed for her tremendous range (full four octaves.)
née: Zoila Emperatriz Chavarri del Castillo.
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Yma Sumac (pronounced /ˈiːmə ˈsuːmæk/; September 13, 1922 – November 1, 2008) was a noted Peruvian soprano. In the 1950s, she was one of the most famous proponents of exotica music and became an international success, based on the merits of her extreme vocal range, which was said to be "well over four octaves" and was sometimes claimed to span even five octaves at her peak.
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Melvin Howard "Mel" Torme
b. Chicago, IL, USA.
d. June 5, 1999, Los Angeles, CA. USA. 

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Ken "Rudy" Trietsch
leader (Hoosier Hot Shots)
b. Arcadia (near Muncie), IN, USA.
In the 1930s, at the height of the Depression, rural Americans desperate for a laugh tuned in their radios to enjoy the cornball musical antics of the Hoosier Hot Shots. Their odd-sounding blend of a slide whistle and clarinet as the two lead instruments, the solid rhythm of the washboard, and their bizarre song lyrics made them the top novelty act of their day and the true precursor to the latter-day success of Spike Jones & His City Slickers. In the passage of some 50 to 60 years since their heyday and in the current climate of digital samplers, it becomes hard to imagine just how weird this four-piece combo sounded to the average listener.
As clarinetist bandleader Gabe Ward put it, "People started to laugh as soon as we started playing. We had a funny sound with the whistle and the clarinet. The way Hezzie played it, it was funny." The Hezzie that Ward refers to was one Paul "Hezzie" Trietsch, the washboard-playing, slide whistle-blowing heart of the group. Ward had met him and his older brother Ken in their teenage years. All three had music in their blood and by the late '20s, they were playing together in an outfit called Ezra Buzzington's Rube Band. Buzzington's outfit worked the vaudeville circuit, its main claim to fame being its huge assortment of freak musical instruments. It was here that the trio stared honing their chops, with Ken becoming equally adept on guitar and banjo, Ward's clarinet style veering from swing to sweet to silly, and Hezzie coming into his own playing washboard, slide whistle, and a wild assortment of whistles, bells, and horns.
They stayed with Buzzington until he disbanded the group in 1929, the three vowing to stay in touch, and playing together in various on and off situations. In 1932, the Trietsch Brothers and Ward -- their stage moniker at the time -- were broadcasting over WOWO in Fort Wayne, IN. Doing a charity broadcast to help Ohio River Valley flood victims, they quickly found and developed their style doing novelty renditions of good-time songs, playing one after another during the course of the radio-thon. They picked up a 15-minute sustaining program on the station for no pay but with the chance to promote their own live appearances over the airwaves. They soon came to even wider prominence via their radio appearances on the National Barn Dance, broadcast over powerful station WLS in Chicago. The show was the first of its type to be broadcast and reach a wide audience, predating the subsequent success of Nashville's Grand Ole Opry and counting a young Gene Autry, Lulubelle & Scotty, and Red Foley among its many stars.
The show became a radio staple, broadcasting every Saturday night across the country for over 35 years. The trio -- under their new name, the Hoosier Hot Shots -- were an immediate hit, considering it an honor to be hooked up with the most prestigious show in country music. But the group just as quickly moved over to a regular guest spot on the Uncle Ezra Pinex Cough Syrup program, and when Uncle Ezra secured a national spot with NBC, he took the Hot Shots with him, and the group's national success was quickly assured.
They started making records around this time, and the Hot Shots couldn't have asked for a more sympathetic producer on their sessions than Art Satherly. Satherly, a distinguished Englishman, was in charge of Columbia Records' (at that time ARC) country and blues A&R division. As Gabe Ward put it, "What Art Satherly wanted on record was out visualness; he was trying to get that through. And he succeeded with us, because we were about the only people who could make people laugh after only four bars of music!" Satherly, for his part, would strip down to his shirt, put a bath towel around his neck, and go into the studio and dance to illustrate the tempo he wanted the Hot Shots to record at. The formula -- with Gabe calling out, "Are you ready, Hezzie?" at the start of each tune -- was a wildly successful one, with the band's records fitting comfortably on jukeboxes around the country in the "novelty dance" category.
Among their hits were "I Like Bananas Because They Have No Bones," "The Coat and Pants Do All the Work," and "From the Indies to the Andies in His Undies," exactly the type of tunes that fitted the group like a glove. "We were tops in the novelty field," Ward would later reminisce, "all because of Art Satherly. He had the nerve to put them on the jukeboxes, even though they weren't always the top tunes. We'd do it for Art Satherly, with a beat for the jukeboxes." What Ward also fails to mention, however, is the group's tireless promotion of those records, making in-store appearances at all the Sears and Roebuck outlets nationwide when their 78s started appearing on the company's budget label, Perfect.
By the late '30s the Hot Shots started making movie appearances, debuting with a turn in In Old Monterey in 1939. The success of this and a couple others led the group to give up their sustaining radio spot with Uncle Ezra, relocating to the West Coast after World War II. Signing a movie deal with Columbia Pictures, the Hot Shots would go on to appear in 22 films into the early '50s. With the advent of changing tastes and the rise of television, the boys' star fell into eclipse somewhat, although they found steady work on the Nevada gambling casino circuit. The group soldiered on into the '70s, when Paul "Hezzie" Trietsch's death broke up the original group. Although nowhere near as wild as Spike Jones, nor possessing the "thinking man's hillbillies" personas of Homer & Jethro, it is impossible to think of either of those two acts existing -- much less prospering and finding an audience -- without the groundbreaking efforts of the Hoosier Hot Shots.
~ Cub Koda
Daniel Williams C&W fiddler
Member: 'The East Texas Serenaders'.

Notable Events Occurring
On This Date Include:

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Vaudeville star Eddie Cantor appeared for the first time on radio. He was the star of 'The Chase and Sanborn Hour' which would become one of the most popular radio shows of the 1930s.

Sidney DeParis, trumpet
died in New York, NY, USA.
Age: 62.
Sidney De Paris - Wikipedia

Songs Recorded/Released
On This Date Include:


Edith Wilson and Johnny Dunn's Jazz Hounds - Nervous Blues

The Happy Six
  • Who'll Be The Next One (To Cry Over You) (Introducing "Daddy! Your Mama's Lonesome For You")


The California Ramblers
  • I Wish I Could Shimmy Like My Sister Kate
  • Lonesome Mama Blues


Clara Smith - Awful Moaning Blues - Fletcher Henderson at the Piano

Ted Lewis and his Band
  • Ted Lewis Popular Favorites


Ted Weems and his Orchestra - Chick, Chick, Chick, Chick, Chicken (Lay A Little Egg For Me)

Ray Miller's Orchestra
  • In My Garden Of Memory - Vocal refrain by Bob Nolan

Annette Hanshaw - Falling In Love With You

Joe Venuti's Blue Four/Five/Six

Paul Ash and his Orchestra
  • Just Another Night
  • My Sorority Sweetheart

Mart Britt and his Orchestra - Sadness Will Be Gladness

Lee Morse and her Bluegrass Boys - Main Street

Lee MorseI Must Have That Man!

Annette Hanshaw - High Upon A Hill-Top

The Jungle Band
Lou And His Gingersnaps - Broadway Rhythm

Ted Weems and his Orchestra - Miss Wonderful
Paul Whiteman and his Orchestra
The California Ramblers
Bubber Miley and his Mileage Makers - Loving You The Way I Do - Vocal refrain by Edith Wilson


Hoagy Carmichael


Earl Hines and his Orchestra


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~Music & Lyrics: Hoagy Carmichael

Lazy bones, sleepin' in the sun
How you 'spect to get your day's work done?
Never get your day's work done
Sleepin' in the noonday sun
Lazy bones, sleepin' in the shade
How you 'spect to get your corn meal made?
Never get your corn meal made
Sleepin' in the evening shade
When taters need sprayin'
I bet you keep prayin'
Worms fall off of the vine
And when you go fishin'
I bet you'll be wishin'
Fish would jump on the line
Lazy bones, dozin' through the day
How you 'spect to make a dime that way?
Never make a dime that way
Never heard a word I say

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