Victoria "Queen" Spivey
b. Houston, TX, USA.
d. 1976
~by Richard Skelly
Victoria Spivey was one of the more influential blues women simply because she was around long enough to influence legions of younger women and men who rediscovered blues music during the mid-'60s U.S. blues revival brought about by British blues bands as well as their American counterparts, like Paul Butterfield and Elvin Bishop. Spivey could do it all: she wrote songs, sang them well, and accompanied herself on piano and organ, and occasionally ukulele.
Spivey began her recording career at age 19 and came from the same rough-and-tumble clubs in Houston and Dallas that produced Sippie Wallace. In 1918, she left home to work as a pianist at the Lincoln Theater in Dallas. In the early 1920s, she played in gambling parlors, gay hangouts and whorehouses in Galveston and Houston with Blind Lemon Jefferson. Among Spivey's many influences was Ida Cox, herself a sassy blues woman, and taking her cue from Cox, Spivey wrote and recorded tunes like "TB Blues," "Dope Head Blues" and "Organ Grinder Blues" in the 1920s. Spivey's other influences included Robert Calvin, Sara Martin and Bessie Smith. Like so many other women blues singers who had their heyday in the 1920s and '30s, Spivey wasn't afraid to sing sexually suggestive lyrics, and this turned out to be a blessing nearly 40 years later in the sexual revolution of the 1960s and early '70s.
She recorded her first song, "Black Snake Blues," for the Okeh label in 1926, and then worked as a songwriter at a music publishing company in St. Louis in the late 1920s. In the 1930s, Spivey recorded for the Victor, Vocalion, Decca and Okeh labels, and moved to New York City, working as a featured performer in a number of African-American musical revues, including the "Hellzapoppin' Revue.'' In the 1930s, she recorded and spent time on the road with Louis Armstrong's various bands.
By the 1950s, Spivey had left show business and sang only in church. But in forming her own Spivey Records label in 1962, she found new life in her old career. Her first release on her own label featured Bob Dylan as an accompanist. As the folk revival began to take hold in the early 1960s, Spivey found herself an in-demand performer on the folk-blues festival circuit. She also performed frequently in nightclubs around New York City. Unlike others from her generation, Spivey continued her recording career until well into the 1970s, performing at the Ann Arbor Blues and Jazz Festival in 1973 with Roosevelt Sykes. Throughout the 1960s and 1970s, she had an influence on musicians as varied as Dylan, Sparky Rucker, Ralph Rush, Carrie Smith, Edith Johnson and Bonnie Raitt.
Spivey's many albums for Spivey and other labels include the excellent Songs We Taught Your Mother (1962), which also includes contributions from Alberta Hunter and Lucille Hegamin, Idle Hours (1961), The Queen and Her Knights (1965) and The Victoria Spivey Recorded Legacy of the Blues (1970).
In 1970, Spivey was awarded a "BMI Commendation of Excellence" from the music publishing organization for her long and outstanding contributions to many worlds of music. After entering Beekman Downtown Hospital with an internal hemorrhage, she died a short while later in 1976. Spivey is buried in Hempstead, N.Y.
McHouston "Mickey Guitar" Baker, guitar/bass
b: Louisville, KY, USA.
Member team: 'Mickey and Sylvia'.

Herman "Ivory" Chittison, Piano
b. Flemingsburg, KY, USA.
d. March 8, 1967, Cleveland, OH, USA.
~by Scott Yanow
A very talented stride pianist whose great technique in his early days sometimes dominated his style (it was more in balance by the late '30s), Herman Chittison started out with Zack Whyte's Chocolate Beau Brummels (1928-1931), a superior territory band. He recorded with Clarence Williams, and in 1934 traveled to Europe with Willie Lewis' band. Chittison was featured on Louis Armstrong's European tour that year (he can be seen on film playing three numbers with Satch in Scandinavia) and recorded a series of piano solos. When he left Lewis in 1938, Chittison took some of the other sidemen to Egypt, where they played for two years before returning to the U.S. in 1941.
After working with Mildred Bailey in 1941, Chittison led his trio in New York for most of the remainder of his life, appearing regularly on a radio series for nine years; recording on an irregular basis for Musicraft, Columbia, and a variety of tiny labels; and ending up playing in Akron, Columbus, and Cleveland, OH.

Thore Jederby, Bass
b. Stockholm, Sweden
d. Jan. 10, 1984

Albert "Al" Killian, trumpet
b. Birmingham, AL, USA.
d. Sept. 5, 1950, Los Angeles, CA, USA.
(Murdered by a psychopathic landlord at his Los Angeles home).
In 1939, he recorded with Slim Gaillard, in 1940 worked with Don Redman, Claude Hopkins. 1940-4 with Count Basie band; In 1943 and again in '45-6 with Charlie Barnet band; '45 with Lionel Hampton band. In 1947 toured with JATP and then joined Duke Ellington band (including European tour).
Al Killian (October 15, 1916 – September 5, 1950) was an American jazz trumpet player and occasional bandleader during the big band era, also known for playing jump blues and East Coast blues. He was born in Birmingham, Alabama.
Killian got his start playing with Charlie Turner's Arcadians (mid-1930s) and went on to play with big bands led by Baron Lee, Teddy Hill, Don Redman, Claude Hopkins, Count Basie (1940–1942), Charlie Barnet (off and on from 1943 through 1946) and Lionel Hampton (1945). In 1946 Killian started his own big band, but soon quit bandleading to tour with Norman Granz's Jazz at the Philharmonic concert series, where he played alongside such musicians as Charlie Parker, Dizzy Gillespie, and Lester Young.

Following this he briefly toured with bands led by Billy Eckstine, Earl Spencer, and Boyd Raeburn, before landing a spot in Duke Ellington's band, where he toured and recorded for the last three years of his life. During this time he also led his own record session in Stockholm, and took part in one led by Lester Young, as well as participating in several jam sessions which were also recorded.

After leaving Ellington's band he settled in Los Angeles, where he was murdered by his landlord at the age of 33.
Al Killian - Wikipedia
"Texas" Jim Lewis
b: Meigs, GA, USA
d: January 23, 1990
né: James Lewis Jr.
Texas Jim Lewis appeared in numerous films and scored one national hit ("Too Late to Worry, Too Blue to Cry" in 1944), but isn't often counted among the top rank of Western swing bandleaders. His band featured high-profile players such as Spade Cooley and Merle Travis at various times, but Lewis was partial to novelty music and he switched gears too often to establish an identifiable sound. 

Nellie Lutcher, Vocalist
b. Lake Charles, LA, USA.
(Her Father was on bass, and Bunk Johnson trumpet, in Clarence Hart Band.)
Nellie Lutcher (October 15, 1912 – June 8, 2007) was an African-American R&B and jazz singer and pianist, who gained prominence in the late 1940s and early 1950s. She was most recognizable for her her diction and exaggerated pronunciation, and was credited as an influence by Nina Simone among others.

She was born in Lake Charles, Louisiana, the eldest daughter of the 15 children of Isaac and Suzie Lutcher. Her father was a bass player, and her mother a church organist. She received piano lessons, and her father formed a family band with Nellie playing piano. At age 12 she played with Ma Rainey, when Rainey's regular pianist fell ill and had to be left behind in the previous town. Searching for a temporary replacement in Lake Charles, one of the neighbors told her there was a little girl who played in church who might be able to do it.

Aged 14, Lutcher joined her father in Clarence Hart's Imperial Jazz Band, and in her mid-teens also briefly married the band's trumpet player. In 1933, she joined the Southern Rhythm Boys, writing their arrangements and touring widely. In 1935 she moved to Los Angeles, where she married Leonel Lewis and had a son.
She began to play swing piano, and also to sing, in small combos throughout the area, and began developing her own style, influenced by Earl Hines, Duke Ellington and her friend Nat "King" Cole.
She was not widely known until 1947 when she learned of the March of Dimes talent show at Hollywood High School, and performed. The show was broadcast on the radio and her performance caught the ear of Dave Dexter, a scout for Capitol Records. She was signed by Capitol and made several records, including "The One I Love Belongs To Someone Else" and her first hit single, the risqué "Hurry On Down", which went to # 2 on the rhythm and blues chart. This was followed by her equally successful composition "He's A Real Gone Guy", which also made # 2 on the R&B chart and crossed over to the pop charts where it reached # 15.
In 1948 she had a string of further R&B chart hits, the most successful being "Fine Brown Frame", her third # 2 R&B hit. Her songs charted on the pop, jazz, and R&B charts, she toured widely and became widely known. She wrote many of her own songs and, unlike many other African-American artists of the period, retained the valuable publishing rights to them.

In 1950, Lutcher duetted with Nat "King" Cole on "For You My Love" and "Can I Come in for a Second". The same year, her records began to be released in the UK and were actively promoted by radio DJ Jack Jackson. She headlined a UK variety tour, compered by Jackson, with great success, later returning there to tour on her own.

With an orchestra for the first time, Lutcher recorded "The Birth of the Blues" and "I Want to Be Near You" in 1951, but she was losing her appeal with the record-buying public and Capitol dropped her the following year. She went on to record, much less successfully, for other labels including Okeh, Decca and Liberty, and gradually wound down her performance schedule.
By 1957 she had joined the board of the Los Angeles Musicians Union, but continued to perform occasionally until the 1990s under the management of Alan Eichler, with many successful engagements including the Cookery and Michael's Pub in New York, the Hollywood Roosevelt Hotel's Cinegrill in Los Angeles and the New Orleans Jazz and Heritage Festival. She also starred in her own TV special "Nellie" on PBS and recorded a one-hour concert with Marian McPartland for the NPR series Piano Jazz. She invested successfully in property and managed her own apartment building in the Crenshaw area of Los Angeles.
She was the sister of saxophonist Joe "Woodman" Lutcher and aunt of Latin jazz percussionist Daryl "Munyungo" Jackson and singer Jacqueline Levy.
Charles Remue
Alto Sax/clarinet
b. Brussels, Belgium
d. Feb. 5, 1971
Charles Remue (15 October 1903 - 5 February 1971) was a Belgian clarinetist, alto saxophone player and bandleader of early jazz, who, while leading a band called Chas. Remue & His New Stompers, recorded what are widely considered to be the first jazz discs (in 1927) by a Belgian band.

~Early lifeBorn in Brussels, Remue began studying music early in life and was admitted to the Royal Conservatory of Brussels in 1915. He finished in 1922, winning three Grand Prizes before doing so. His first foray into playing syncopated music was in the same year, with a small band in a Brussels dance hall. It was this experience that changed his direction from that as a classical-trained musician.

Charles Remue and his New Stompers Orchestra
Remue joined the Red Mill's Jazz in 1924, the Bing Boys later that year and within the next year joined The White Diamonds, which was directed by the English drummer Billy Smith. From this group came an important friendship with Rene Compère (28 December 1906 – 24 April 1969). This partnership, documented by jazz historian/writer Robert Goffin in his 1932 book "Aux Fontieres du Jazz", led to the formation of His New Stompers. When music publisher/promoter Felix Faecq brought the group to London to record their first sides, five of the fourteen recordings made were written by David Bee and Peter Packay - two of the first Belgian jazz composers. London had been chosen over Brussels because of its superior recording facilities.

~Later career
After His New Stompers, Remue joined the Savoy Orpheans and toured Europe. Upon his return to Brussels, he organized and recorded with his first big band. With the advent of the 1930s, he played with the Bernard Ette Band in Germany, then briefly had another big band, and afterwards played with various other groups until 1936, when he joined the Brussels Radio Orchestra, which was led by his old pianist Stan Brenders. Remue continued playing and recording into his later years.

Charles Remue - Wikipedia
Charles Remue and his New Stompers Orchestra

Joe Sanders, Leader/Piano/Vocal
b. Thayer, KS, USA.
d. May 15, 1965
Joseph L. "Joe" Sanders (October 15, 1896, Thayer, Kansas - May 14, 1965, Kansas City, Missouri) was an American jazz pianist, singer, and bandleader associated with Kansas City jazz for most of his career.
Sanders was best known for co-leading the Coon-Sanders' Nighthawks along with Carleton Coon (1894–1932). The pair formed the group in 1920 in Kansas City under the name Coon-Sanders Novelty Orchestra, broadcast for the first time on radio the following year, and became known as the Nighthawks because of their frequent appearances on late-night radio. They recorded in Chicago in 1924 and held a residency at the Blackhawk club in that city from 1926. The ensemble toured as a Midwestern territory band, and after Coon's death Sanders continued to lead the band under his own name.
Sanders worked mostly in Hollywood studios in the 1940s, and occasionally led performances at the Blackhawk once again. He was a vocalist for the Kansas City Opera in the 1950s.

Paul Tanner, Trombone
b. Skunk Hollow, KY, USA.
Tanner gained fame by playing trombone with Glenn Miller's band from 1938 until 1942, later working as a studio musician in Hollywood. He was a professor at UCLA and also authored or co-authored several academic and popular histories related to jazz.
Tanner developed and played the electrotheremin. The electrotheremin is featured in several songs by The Beach Boys, with Tanner himself playing the instrument; most notably "Good Vibrations", "Wild Honey", and "I Just Wasn't Made For These Times".
Paul Tanner - Wikipedia
Paul Tanner
The Paul Tanner Electro-Theremin Page

P.G. Wodehouse
Sir Pelham Grenville Wodehouse KBE (October 15, 1881 – February 14, 1975) (pronounced WOOD-house) was an English comic writer who enjoyed enormous popular success for more than seventy years. Wodehouse was an acknowledged master of English prose admired both by contemporaries like Hilaire Belloc, Evelyn Waugh and Rudyard Kipling and by modern writers like Douglas Adams, Salman Rushdie and Terry Pratchett. Sean O'Casey famously called him "English literature's performing flea", a derogatory description that Wodehouse cherished and adopted as the title of his autobiography. The Times has hailed him as a 'comic genius recognized in his lifetime as a classic and an old master of farce'.
Best-known today for the Jeeves and Blandings Castle novels and short stories, Wodehouse was also a talented playwright and lyricist who was part author and writer of fifteen plays and of 250 lyrics for some thirty musical comedies. He worked with Cole Porter on the musical Anything Goes and frequently collaborated with Jerome Kern and Guy Bolton. He wrote the lyrics for the hit song "Bill" in Show Boat.
Notable Events Occurring
On This Date Include:

ASCAP (American Society of Composers, Authors & Publishers) founded.
'Grand Ole Opry' show started on radio in Nashville, Tennessee, USA.
Frank B. Walker
A&R/producer (Columbia Records)
died in Little Neck, LI, USA.
Age: 73.
Frank B Walker (1894 - 1931) - Find A Grave Memorial


Cole Porter Died.
Porter died of kidney failure on October 15, 1964, in Santa Monica, California, at the age of 73. He is interred in Mount Hope Cemetery in his native Peru, Indiana, between his wife and father.

Orchestra leader Carl Hoff dies at age 60.
Hannah Sylvester, vocals
died in New York, NY, USA.
Age: 73.
Gus Cannon, banjo,
died in Memphis, TN, USA
Age: 94 (Jug Stompers)
Al Stricklin, piano,
died in Cleburne, TX, USA.
Age: 78. Worked with: Bob Wills.
Al Stricklin: Information from

Songs Recorded/Released
On This Date Include:


Ma Rainey and her Georgia Jazz Band - Booze And Blues

Ma Rainey and her Georgia Jazz Band - Jealous Hearted Blues

Clara Smith accompanied by her Jazz Trio - Death Letter Blues

Clara Smith accompanied by her Jazz Trio Prescription For The Blues


Art Landry and His Orchestra - Hugs And Kisses

Art Landry and His Orchestra Who'll Be The One ?

  • Beside A Garden Wall

    Jean Goldkette and his Orchestra - I'd Rather Be the Girl in Your Arms (Than The Girl In Your Dreams) - Vocal refrain by Frank BessingerJust One More Kiss
    • Cover Me Up With Sunshine (And Feather My Nest With Love) - Vocal refrain by Frank Bessinger
    • Sunday - Vocal refrain by Keller Sisters and Lynch


    Reb Spikes' Majors And Minors - Fight That Thing
    • My Mammy's Blues


    Ben Pollack and His Park Central Orchestra - Buy, Buy For Baby (Or Baby Will Bye-Bye You)

    Ben Pollack and His Park Central Orchestra - She's One Sweet Show Girl


    Monarch Jazz Quartet - Four Or Five Times

    Monarch Jazz Quartet Pleading Blues
    • Just Too Late

      Jimmie Noone's Apex Club Orchestra
      • He's A Good Man To Have Around


      Don Redman and his Orchestra - I Heard

      Don Redman and his Orchestra - Shakin' The Africann

      Fletcher Henderson Orchestra
      • Singin' The Blues


      Quintette of the Hot Club of France - In The Still Of The Night

      Victoria Spivey - Detroit Moan


      Paul Whiteman and his Orchestra

        (Words by Raymond B. Egan / Music by Richard A. Whitin, 1920)

        Won't you stretch imagination for the moment and come with me
        Let us hasten to a nation lying over the western sea
        Hide behind the cherry blossoms here's a sight that will please your eyes 
        There's a baby with a lady of Japan singing lullabies
        Night winds breath her sighs here's the Japanese

        Just as silent as we came we'll leave the land of the painted fan
        Wander lightly or you'll wake the little people of old Japan
        May repose and pleasant dreaming be their share while the hours are small 
        Like an echo of the song I hear the Japanese Sandman
        call new days near for all here's the Japanese

        Sandman sneaking on with the dew just an old second hand man
        He'll buy your old day from you 
        he will take every sorrow of the day that is through 
        and he'll give you tomorrow just to start a life anew 
        then you'll be a bit older in the dawn when you wake 
        and you'll be a bit bolder with the new day you make 
        here's the Japanese Sandman trade him silver for gold 
        just an old second hand man trading new days for old.

        The Japanese Sandman - Wikipedia
        Special Thanks To:
        Scott Yanow,
        And all who have provided content for this site.