Jimmie Rodgers
b. Last Gap, MS, USA.
d. May 26, 1933.
né: James Charles Rodgers
Alias(es) The Singing Brakeman; The Blue Yodeler
Years Active 1923 - 1933
"The Original" James Charles "Jimmie" Rodgers (September 8, 1897 -– May 26, 1933) was the first country music superstar. Rodgers, known as The Singing Brakeman and The Blue Yodeler, was born in Pine Springs, Mississippi, USA but considered his hometown to be Meridian, Mississippi, and spent most of his early life from boyhood accompanying his father on railroad jobs. He eventually became a railroad brakeman, an extremely dangerous and highly skilled job. In the days before air brakes, the brakeman had to stop the train by running on top of the moving train from car to car setting mechanical brakes on each one.
Tuberculosis forced him to leave the railroad, and he undertook all sorts of work, ranging from police detective to blackface performer in minstrels and medicine shows. Before answering an advertisement from Ralph Peer of the Victor Talking Machine Company to audition as a performing artist. This audition in Bristol, Tennessee, on August 4, 1927 (two days after the Carter Family answered the same ad and recorded in the same hall) led to Rodgers' phenomenally successful recording career.
His songs, most of which he wrote himself, were typically either sentimental songs about home, family and sweethearts, or tough takes on the lives of hoboes, "rounders", and his beloved railroads and railroaders, on his own hard life and happy marriage.
Each of his recordings captures the unique vocal quality that singles Rodgers out from the array of early country musicians.

His voice is powerful and haunting. His yodels are second to none in their tone, complexity and ingenuity. His sound is like no other and, once heard, is never forgotten. Hearing Rodgers also serves to instantly place in context much of the country singing of every era since.
Backed by a variety of accompanying ensembles and playing guitar on many
tracks, Rodgers' instrumentation always seems well suited to the song's needs. His music is invaluable for its historical importance and also for its virtuosic vocals and beautiful melodies.
A round dozen of his songs bore the generic title "Blue Yodel" with a number. The first "Blue Yodel" is better known from its refrain, "T for Texas, T for Tennessee". Fundamentally, Rodgers was a white blues singer, singing traditional blues lyrics and accompanying himself on guitar and yodel, which was nothing like classic Swiss yodeling. His yodeling was really vocalized falsetto blues licks, providing obbligatos and choruses that in other blues performances would have been provided by a lead instrument.
Photo Sharing and Video Hosting at PhotobucketNotable Rodgers titles include "Waiting for a Train" (1929), "In the Jailhouse Now" (1928, version 2 1930), "Jimmie the Kid" (1931), "Mule Skinner Blues" (1931), "Miss the Mississippi and You" (1932), "Looking for a New Mama" (1931), "Jimmie's Mean Mama Blues" (1931), and "Train Whistle Blues" (1930). The 113 songs he recorded have hardly ever been out of print. His musical career lasted only six years. He died from tuberculosis in 1933 in the Taft Hotel, New York at age 35.
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His last recordings were made in Manhattan less than a week before his death. He had been bedridden for several years before this last session and had to rest on a cot between takes.
When the Country Music Hall of Fame was established in 1961, Rodgers was one of the first three to be inducted. He was also elected to the Songwriters Hall of Fame and his song "Blue Yodel No. 9" is ranked No. 23 on The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
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David W. "Dave" Bowman, piano
b. Buffalo, NY, USA
d. 1964, Miami, FL, USA
A participant on some important dixieland-oriented recordings although never a major name himself, Dave Bowman was a solid and swinging pianist. He was born to Canadian parents who raised him in Hamilton, Ontario. Bowman started on piano when he was four. After studying at the Pittsburgh Music Institute, he played professionally in Canada with Ken Steele (1933-36) and worked in Europe with Jack Hylton's Orchestra.
Returning to New York, Bowman was with Sharkey Bonano, Bobby Hackett (1937-39), Bud Freeman's Summa Cum Laude Orchestra (1939-40), Jack Teagarden's Big Band, Joe Marsala, Muggsy Spanier (1941-42) and Eddie Condon before worked as a studio musician at ABC and NBC.. Later on Bowman was back with Bud Freeman (1954-55) and then settled permanently in Florida where he freelanced including with Phil Napoleon in 1964. He died in a car accident in 1964 while driving home from a gig. Dave Bowman, who first recorded in 1938 with Bobby Hackett and Sidney Bechet, only cut two selections ("Stars Fell On Alabama" and "Blues") as a leader (in 1946 for Signature) but appeared on many records as a reliable sideman.
~ Scott Yanow
Milton Brown, Violin/Guitar/vocals/leader
b. Stephenville, TX, USA
d. April 18, 1936.
Milton originally formed a local band with his sons called 'The Aladdin Laddies'. The name was changed to 'The Light Crust Doughboys' (perhaps THE seminal 'Western Swing' band) when they were hired by Burris Mills for a radio show. When Milton left the show, the band became 'Milton Brown and His Brownies'
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Patsy Cline, C&W vocals.
b. Detroit, MI, USA
d. March 5, 1963.
née: Virginia Patterson Hensley
Howard Dietz, lyricist
d. 1983
"Composers shouldn't think too much - it interferes with their plagiarism." ~Howard Dietz
American pop and Broadway lyricist Howard Dietz, active from the 1920s through the 1960s, is best known for his work with composer Arthur Schwartz. Schwartz and Dietz wrote successful Broadway scores including The Little Show (1929), Three's a Crowd (1930), At Home Abroad (1935), and Inside U.S.A. (1948). Born in N.Y.C. in 1896, Dietz briefly attended Columbia University before working as a newspaper columnist and ad writer. After serving in WWI, he went on to become the advertising and publicity director of MGM (and other companies), and wrote for radio and television.
Hits by Schwartz and Dietz include "I Guess I'll Have to Change My Plan" and "Moanin' Low" (1929), "Something to Remember You By" (1930), "Dancin' in the Dark" (1931), "Louisiana Hayride" and "A Shine on Your Shoes" (1932), "You and the Night and the Music" (1934), "By Myself" and "I See Your Face Before Me" (1938), and "That's Entertainment" (1953). Dietz also wrote English lyrics for the operas La Boheme and Der Fledermaus, and collaborated on pop songs with such composers as Jerome Kern, Vernon Duke, Jimmy McHugh, and Ralph Rainger.
Dietz reunited with Schwartz in the 1960s for the musicals The Gay Life (1961) and Jennie (1963). Dietz was the librettist for about half of the Broadway musicals he worked on, authored the autobiography Dancing in the Dark, and is a member of the Songwriter's Hall of Fame.
~ Joslyn Layne
"Washboard Doc", washboard
b. Joseph Doctor, 8 September 1911, Charleston, South Carolina, USA
d. 16 September 1988, Brooklyn, New York City, New York, USA. 
A street musician from his arrival in New York in 1935, Washboard Doc was on the fringes of black musical life thereafter, claiming to have recorded alongside Ralph Willis and Sonny Terry. He certainly provided backing for Alec Seward, and also played, with varying degrees of appropriateness, on many Victoria Spivey albums. Full albums by his trio, featuring Lucky (b. Cab Lucky) and Flash (b. John Whitner), led to a European visit in 1980.

Elmer Schoebel
Elmer Schoebel (September 8, 1896, East St. Louis, Illinois - December 14, 1970) was an American jazz pianist, composer, and arranger.
Schoebel played along to silent films in Champaign, Illinois early in his career. After moving on to vaudeville late in the 1910s, he played with the 20th Century Jazz Band in Chicago in 1920. In 1922-23 he was a member of the New Orleans Rhythm Kings, then led his own band, known variously as the Midway Gardens Orchestra, the Original Memphis Melody Boys and the Chicago Blues Dance Orchestra, before joining Isham Jones in 1925. After returning to Chicago he played with Louis Panico and Art Kassel, and arranged for the Melrose Publishing House.

In the 1930s Schoebel wrote and arranged, working as the chief arranger for the Warner Brothers publishing division. From the 1940s onward he did some performing with Conrad Janis, Blue Steele's Rhythm Rebels (1958), and with his own ensembles in St. Petersburg, Florida. He continued to play up until his death.


Schoebel was never famous as a performer, but he wrote a number of standards, including "Bugle Call Rag", "Nobody's Sweetheart Now", "Farewell Blues", and "Prince of Wails". "Prince of Wails" was the only composition Schoebel ever recorded as a leader, in 1929 as Brunswick 4652. He also wrote "I Never Knew What A Girl Could Do", "Oriental", and "Discontented Blues" while a member of the New Orleans Rhythm Kings.
Elmer Schoebel

Born: September 8, 1888, Rio de Janeiro, Brazil
Died: August 4, 1930, Rio de Janeiro, Brazil
Artist Biography 
~by Alvaro Neder
Sinhô was a key figure in Brazilian popular music, particularly in the Carioca samba. One of the historic musicians -- also including Pixinguinha, his brother China, Donga, and others -- united around Tia Ciata's house, a focal point of cultural resistance and affirmation, Sinhô initiated the process of rupture with the folkloric creation of samba, proposing an urban, professional approach which would yield a conflict with the other historic composers. He was also the creator of more than 100 recorded compositions, including the first recorded samba, "Pelo Telefone," which was recorded by Donga in 1917 as its only composer but which was, in fact, a collective creation by the musicians of Tia Ciata's house. Sinhô's compositions ranged from afro-baiano character to sertaneja songs, consisting mainly of satiric urban chronicles.

Starting very early in the study of flute, he also learned the piano and the violão (acoustic guitar), quickly becoming a noted musician and even being invited for the historic reception for Brazilian aviator Santos Dumont on his returning from the Paris triumph, in September 7, 1903. A co-founder of the Carnaval ranch Ameno Resedá, in 1910 he was already a professional musician, playing in several ballrooms. As a pianist for Kananga do Japão, a most renowned Carnaval club, he began to be recognized as a talented musician. His first compositions to become known by this time were 1917's "Madrugada," "Marcha no. 1," marcha-rancho "Resposta à Inveja," and polca "Kananga do Japão," which would be included in the soundtrack of the recent TV series by the same name, being also recorded by virtuose flutist Altamiro Carrilho. He was also a sheet music demonstrator for several publishing houses such as Casa Beethoven. In 1918 he formed a group called Quem são eles? (Who are them?) (flute, violão, cavaquinho, trombone, violin, ganzá, pandeiro and reco-reco) and composed the samba "Quem são eles?," with both ironizing rival sambistas. The other composers of the Tia Ciata's house and the group of the baianos, led by Hilário Jovino Ferreira, took it as a provocation and this episode marked the separation of folklore and urbanization of samba in Rio de Janeiro. Those composers created a flood of counter-attacks, such as "Fica Calmo Que Aparece" (Donga), "Não és Tão Falado Assim" (Hilário Jovino Ferreira) and "Já te Digo" (Pixinguinha/China). So Sinhô responded with 1919's "Três Macacos No Beco" (Three monkeys at the alley), an allusion to Pixinguinha, Donga, and China.

In 1920, Francisco Alves, one of the most successful Brazilian singers, made his debut in the recordings with "Fala, Meu Louro" (a satire to Brazilian writer and politician Rui Barbosa) and "O Pé De Anjo" (ironizing China's big feet), both being big hits in the Carnaval of 1920. Authors Cardoso de Meneses and Carlos Bittencourt wrote the play O pé de anjo, exploring the immense popularity of the song. The play opened in 1920 at the Teatro São José, brought prominence to Sinhô in the scene of musical theater, which opened to him the doors of a new market, the medium-classed frequenters of this medium. He soon wrote the play Segundo clichê (with Procópio Ferreira), which opened in August 1921 at the Teatro Recreio. In that year during Artur Bernardes' (ironically nicknamed "Rolinha" by the people) presidency, he launched the satiric march "Fala Baixo," criticizing the censorship and mentioning "Rolinha" in the lyrics. The police went after him, and he had to hide at his mother's.

At this time he was already very popular, and in the frequent parties at the streets prior to Carnaval (called "batalha de confetes"), he'd perform his compositions on a piano mounted over a bandstand especially built for him. In 1922 his "Macumba Gegê" was recorded by the group Escola 13 for Odeon and became a big hit in next year's Carnaval, only to be censored by the Estado Novo government (Gegê was also the nickname under which dictator Getúlio Vargas became popularly known). "Mal de Amor" was recorded little after by Araci Cortes through Brunswick but was only released in 1931 after his death. 1927 would be a fertile year for him, when he composed "Ora Vejam Só" and "A Favela Vai Abaixo," also being crowned O Rei do Samba (The King of Samba) in the Noite Luso-Brasileira at the Teatro República. His samba, "Não Quero Saber Mais Dela," was presented in the show Paulista de Macaé and recorded by Francisco Alves and Rosa Negra for Odeon. Sinhô had a controverted character and didn't mind taking pieces of other writers' works to create his own material. Heitor dos Prazeres accused him of plagiarism several times, claiming that Sinhô's "Ora Vejam Só," "Gosto Que Me Enrosco," "Olha Ele, Cuidado," and "Rei Dos Meus Sambas" were taken from his own compositions. Sinhô was widely accepted by the influential bourgeoisie, but never abandoned the terreiro de macumba of the Príncipe dos Alufás (Prince of the Alufás) Assumano (Henrique Assumano Mina do Brasil). Every composition of his had to be previously presented to Assumano prior to its publication.

In 1928 he became Mário Reis' teacher of violão. Delighted by Reis' voice, he introduced him to the recording business, successfully convincing Odeon to record him. With his first 78rpm album, Reis recorded Sinhô's "Que Vale a Nota Sem o Carinho da Mulher?" and "Carinhos de Vovô." Reis would be Sinhô's most frequent interpreter, including his two biggest hits, "Jura" (which would also be recorded by Araci Cortes still in 1928) and "Gosto Que Me Enrosco" (with Heitor dos Prazeres). Also in 1928, the beautiful samba "Amar a Uma Só Mulher (recorded by Francisco Alves for Odeon) was included in the play Língua de Sogra. "Burucuntum," a samba recorded in 1930 by Carmem Miranda (Victor 33.259-B), has in the composer credits J. Curanji, Sinhô's pseudonym. Miranda was nobody then.

In 1929 he performed at the Teatro Municipal de São Paulo." In this time he was already suffering from tuberculosis, but continued to write intensively. Going for a recording session at August 4, 1930, he took the ferry boat which connected Ilha do Governador, where he was living, to the city of Rio. He'd didn't arrive alive. Seized by a fulminating hemorrhage, he died right there. His burial service attracted the varied people of his relations, from the low-life prostitutes and malandros to the higher authorities, artists, and intellectuals of Rio, along with his fans. The prostitute Nair, his last mistress, for some reason burned all he had written and sold for peanuts a custom-made violão, presented to him by Viúva Guerreiro, owner of the publishing house Viúva Guerreiro, which published several compositions of his. Singer Clara Sandroni paid tribute to him in a show and a CD recorded with Marcos Sacramento and Lira Carioca for Kuarup in 1997.

Notable Events Occurring
On This Date Include:

A group calling themselves "The Hoboken Four", appeared on the 'Major Bowes Amateur Hour' show, on the stage of the Capitol Theatre in New York City (and heard on WOR radio). A youngster named Frank Sinatra was lead singer, and the group won First Prize in the competition.

Les Paul & Mary Ford
Mary Ford, singer, and wife
of guitarist Les Paul, died.
Age: 49.
née: Iris Colleen Summers

Songs Recorded/Released
On This Date Include:


Martha Copeland -Hobo Bill

Margaret Johnson Best Friend Blues

Charleston Chasers Feeling No Pain


Annette Hanshaw - It Was Only A Sunshower
Annette Hanshaw -  Who's That Knocking On My Door?


Bix Beiderbecke and his Orchestra - Deep Down South

Frankie Trumbauer and his Orchestra - Choo Choo

Isham Jones and his Orchestra Don't Tell Her What Happened To Me


McKinney's Cotton Pickers Do You Believe In Love At First Sight?

McKinney's Cotton PickerWrap Your Troubles In Dreams (And Dream Your Troubles Away)


Ray Noble and his Orch. - *Love Is The Sweetest Thing ~Ray Noble (Al Bowlly, vocals)

Love Is The Sweetest Thing  ~Ray Noble
Ray Noble and his Orch. (Al Bowlly, vocals).

Love is the sweetest thing
What else on earth could ever bring
Such happiness to ev'rything
As Love's old story.
Love is the strangest thing
No song of birds upon the wing
Shall in our hearts more sweetly sing
Than Love's old story.
Whatever heart may desire
Whatever fate may send
This is the tale that never will tire.
This is the song without end.
Love is the greatest thing
The oldest yet, the latest thing
I only hope that fate may bring
Love's story to you.

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