Art Tatum, Piano
b. Toledo, OH, USA.
d. Nov 5, 1956, Los Angeles, CA, USA.
Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.
Born nearly blind, Tatum gained some formal piano training at the Toledo School of Music but was largely self-taught. Although influenced a bit by Fats Waller and the semi-classical pianists of the 1920s, there is really no explanation for where Tatum gained his inspiration and ideas from. He first played professionally in Toledo in the mid-'20s and had a radio show during 1929-1930. In 1932 Tatum traveled with singer Adelaide Hall to New York and made his recording debut accompanying Hall (as one of two pianists).
But for those who had never heard him in person, it was his solos of 1933 (including "Tiger Rag") that announced the arrival of a truly major talent. In the 1930s, Tatum spent periods working in Cleveland, Chicago, New York, Los Angeles, and (in 1938) England. Although he led a popular trio with guitarist Tiny Grimes (later Everett Barksdale) and bassist Slam Stewart in the mid-'40s, Tatum spent most of his life as a solo pianist who could always scare the competition. Some observers criticized him for having too much technique (is such a thing possible?), working out and then keeping the same arrangements for particular songs, and for using too many notes, but those minor reservations pale when compared to Tatum's reworkings of such tunes as "Yesterdays," "Begin the Beguine," and even "Humoresque." Although he was not a composer, Tatum's rearrangements of standards made even warhorses sound like new compositions.
Art Tatum, who recorded for Decca throughout the 1930s and Capitol in the late '40s, starred at the Esquire Metropolitan Opera House concert of 1944 and appeared briefly in his only film in 1947, The Fabulous Dorseys (leading a jam session on a heated blues). He recorded extensively for Norman Granz near the end of his life in the 1950s, both solo and with all-star groups; all of the music has been reissued by Pablo on a six-CD box set. His premature death from uremia has not resulted in any loss of fame, for Art Tatum's recordings still have the ability to scare modern pianists. ~ Scott Yanow
Scoville "Toby" Browne, Saxophone/Clarinet
b. Atlanta, GA, USA.
d. Oct. 4, 1994
~by Eugene Chadbourne
Scoville Browne, often identified with the endearing nickname of "Toby," was a Georgia boy whose professional musical career began in Chicago in the late '20s with groups such as Junie Cobb's Band and the raucous Midnight Ramblers. From 1931 through the following year Browne blew both alto sax and clarinet for the drummer and bandleader Fred Avendorph. Following that, Louis Armstrong would come into Browne's life for the first and not last time. Each of these encounters would result in extensive growth to the Browne discography, as if someone was scattering sunflower seeds on freshly turned earth. In between stints with Armstrong in 1933 and 1935, the reedman also worked with Jesse Stone and Jack Butler. In the second half of the '30s he gigged with pianist Claude Hopkins, backed up singer Blanche Calloway and in the final years of the decade began studying formally at the Chicago College of Music.
Browne was holding forth with the finest in the '40s, climbing onstage with the likes of Slim Gaillard, Fats Waller, Buddy Johnson and Hot Lips Page. He was playing in a trio led by Eddie Heywood when Uncle Sam nabbed him for the war effort. The swinging commenced anew when peace broke out, Browne going back to work for the steadily grooving Hopkins as well as forming a new alliance with the solid trumpeter Buck Clayton. Browne also continued his classical music studies and in the '50s and '60s began to step forward as a bandleader himself.
He was a main clarinet soloist with the Lionel Hampton band in 1956 and 1957, and toured overseas with Muggsy Spanier as the '50s came to a close. His relationship with Hopkins continued through the '60s and early '70s, as did his bandleading activities. He doesn't seem to have been given an opportunithy to reacord as a leader, however--all his recording activities were as a sideman.

Ticker Freeman, piano
b. Paterson NJ, USA.
Best recalled as the pianist on
singer Dinah Shore's Show

Terry Gibbs, Vibes/leader
b. New York (Brooklyn), NY, USA
né: Julius Gubenko.
As a youth, Terry played drums, while, Sol, his older brother, played xylophone. Terry would sneak into Sol's room and play the off-limits xylophone whenever the opportunity arose. He won an amateur contest at one of the local resorts. As a result, he returned home and began xylophone lessons with Fred Albright, then a well respected percussionist and teacher. By age 12, he was already an accomplished vibraphonist. He entered the popular Major Bowes Amateur Hour, radio program and won. It was the start of Gibbs' professional career.
He Served in the U. S. Army during WWII (Tank Driver - later musician), and then free-lanced in New York City, often appearing in the 52nd Street clubs. (While on a furlough from the Army, he spent some free time on 52nd St., and discovered ReBop.) From 1946-'47 with Tommy Dorsey. Also in 1947, he toured the Scandinavian countries with "Chubby" Jackson. In 1948, he was with drummer Buddy Rich. From late '48-'49, with Woody Herman (2nd Herd). In 1950-'52, with Benny Goodman's band. In 1957, he re-located to Los Angeles, CA, first freelancing, and then leading his own band (Terry Gibbs' Dream Band).
The band had some great charts by Cohn, Flory, Sy Johnson, Marty Paich, Wes Hensel, Manny Albam and Bob Brookmeyer. Among the sidemen were vibes and leader: Terry Gibbs; trumpets: Conti Candoli, Williamson, Katzman; trombonists: Burgess and Bob Enevoldsen; tenors: Bill Perkins, Bill Holman and Med Flory; altos: Maini and Charlie Kennedy; pianists: Levy, Pete Jolly and Ben Aronov, and drummer: Mel Lewis. During the 1980s, he found work as Musical Director for the Steve Allen, and Regis Philbin TV Shows. In the '90s, he worked in a quintet with Buddy DeFranco.
Among the men that Gibbs has played with are Benny Goodman, Woody Herman, Charlie Parker, Dizzy Gillespie, Miles Davis, Bud Powell, Ella Fitzgerald, Buddy Rich, Tito Puente,and others. He has composed 100s of songs that have been recorded by Count Basie, Les Brown, and Nat King Cole, among others.Gibbs happily is still active today (2002).

Langtry as Lady de Bathe c. 1915
Lillie Langtry
Vaudevillian Actress/Singer
b. England, UK.
aka: "The Jersey Lily"
Lillie Langtry (13 October 1853 – 12 February 1929), usually spelled Lily Langtry when she was in the U.S., born Emilie Charlotte Le Breton, was a British actress born on the island of Jersey. A renowned beauty, she was nicknamed the "Jersey Lily" and had a number of prominent lovers, including the future king of the United Kingdom, Edward VII.

Lillie Langtry Museum on the Internet
Lillie Langtry

Gerald Marks, Composer
b. Saginaw, MI, USA.
d. Jan. 27, 1997, at 96.
Wrote his first hit song mid-20s; Led own band late '20s (which was recorded). Tin Pan Alley composer Gerald Marks is best known for co-writing the standard "All of Me," the biggest of his more than 400 published songs. Marks was born in Saginaw, MI, on October 13, 1900, taught himself to play the piano, and first saw one of his compositions performed publicly at the age of 11, by the local orchestra. He later dropped out of school and made his way to New York to become a professional songwriter.
In 1931, he teamed up with lyricist Seymour Simons to write "All of Me"; both Louis Armstrong and Paul Whiteman had hits with the song the following year, and countless other jazz and pop artists recorded their own versions, including Frank Sinatra, Count Basie, Billie Holiday, Duke Ellington, Sarah Vaughan, Dinah Washington, and (much later) Willie Nelson.
One of Marks' biggest later successes was 1936's "Is It True What They Say About Dixie?," written with lyricists Irving Caesar and Sammy Lerner for Al Jolson; it became a hit for both Jimmy Dorsey and Rudy Vallée. That same year, Marks also contributed "That's What I Want for Christmas" to the Shirley Temple film Stowaway. Other Marks collaborations with Lerner and Caesar included "Old Susannah, Dust Off That Piana" and "I Don't Know You, but You're Beautiful." In addition to writing songs for movies and musicals, Marks wrote music for campaigns related to children's safety and government war bonds, led his own orchestra for a time, and served on the board of the Songwriters' Hall of Fame. Later in life, he frequently lectured on his experiences in Tin Pan Alley, retiring in 1991. He passed away on January 27, 1997.
~ Steve Huey
Johnny Messner
b: New York, NY, USA.
d. Jan. 1986, Ridgefield Park, NJ, USA.

Composed: "Catching the 802 Local"; "Toy Piano Minuet"; "Toy Piano Jump"; "Piano Roll Rock"; "Sing For Joy".
Johnny MESSNER & His Orchestra " The Biggest Apidastra " !!!

Yves Montand, vocals/actor
b. France
Yves Montand was a popular french nightclub singer and movie actor, most famous for his dramatic role in the 1953 thriller The Wages of Fear . His long marriage to actress Simone Signoret weathered his exploits as a ladies' man, including his famous dalliance with Marilyn Monroe , his co-star in Let's Make Love (1960). In the 1980s Montand had a second wind, with character roles in several films including Jean de Florette (1986).

Notable Events Occurring
On This Date Include:

Joe Sullivan, piano
died in San Francisco, CA, USA.
Age: 64 One of the great Earl Hines' disciples (along with Jess Stacy), Joe Sullivan's style was perfect for the freewheeling jazz of Eddie Condon's bands. Sullivan graduated from the Chicago Conservatory and was an important contributor to the Chicago jazz scene of the 1920s. He was in New York during the next decade and his solo recordings include an original ("Little Rock Getaway") that would become a standard.
In 1936, Sullivan joined Bob Crosby's band, but tuberculosis put him in the hospital for ten months and Bob Zurke replaced him (having a hit with "Little Rock Getaway!"). However, Sullivan recovered, led his own record dates, and was involved in a lot of jam sessions with the Condon gang in the 1940s. By the 1950s he was largely forgotten, playing solo in San Francisco and drinking much more than he should. Despite an occasional recording and a successful appearance at the Teagarden family reunion at the 1963 Monterey Jazz Festival, Sullivan's prime years were long gone by the time he passed away.
~ Scott Yanow

Ed Smalls, owner: Small's Paradise
died in New York, NY, USA.
Age: 92.
Tommy Vaden
C&W fiddler for County vocalist Hank Snow died.

Songs Recorded/Released
On This Date Include:


Victoria Spivey - “New Black Snake Blues - Part 1”


Sol Hoopii's Novelty Trio - “Radio Blues”


Bertha "Chippie" Hill - “Some Cold Rainy Day”


Isham Jones and his Orchestra - A Little Street Where Old Friends Meet”


Chocolate Dandies - “Birmingham Break-Down”

Cliff Edwards "Ukulele Ike"
  • “Come Up And See Me Sometime”

Joe Venuti and his Orchestra - “Moonglow”

Joe Venuti and his Orchestra - “Phantom Rhapsody”


Cliff Edwards "Ukulele Ike"
“Come Up And See Me Sometime”
~(L. Alter - A. Swantstrom)

I believe that everyone in life should have a mission,
Making people happy is the heighth of my ambition;
When I get them happy, well, they stay in that condition;
I have a system all my own.
I've got a lot, a lot of what I've got,
And what I've got's all mine,
And I assure you, I can cure you, if you're feeling blue;
Come up and see me sometime.
I've got a flat where you can hang your hat,
And I've got a brand-new line,
And maybe you would like me to explain it all to you;
Come up and see me sometime.
Come up tonight;
I think the paper said the moon will be bright;
They should have had it in the columns and all,
Letters that tall,
That you'd be falling for me.
'Cause I am free, and you appeal to me,
But how could it be a crime?
If you don't get my number, well, my number's in the book;
Come up and see me sometime.
Spoken: Aw, come up and see me sometime, will you, huh? Aw, aw, you can come up and see me sometime, too, aw, and bring your music with you.
Come up tonight;
I think the paper said the moon would be bright;
They should have had it in the columns and all,
With letters that tall,
Uh, huh, that you'd be falling for me.
'Cause I am free, and you appeal to me,
Tell me, how could it be a crime?
If you don't get my number, well, my number's in the book,
Come up and see me sometime, hmmm, if you can take it,
Come up and see me sometime, will you, toots? Hmmm?

Transcribed from Cliff Edwards ("Ukelele Ike"); recorded 10/13/1933.
From: Can't Help Lovin' That Man; Art Deco Columbia Legacy CK 52855.
(***Performer Ukelele Ike provided the voice for Jiminy Cricket in the Disney cartoon, Pinocchio, and also sang Nobody's Sweetheart in the Fleischer cartoon, Betty Boop, MD.***).
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