Roger Wolfe Kahn
Leader/alto sax/composer
b: Morristown, NJ, USA.
d. July 2, 1962, New York, NY, USA
Roger Wolfe Kahn (October 19, 1907 – July 12, 1962) was an American jazz and popular musician, composer, and bandleader ("Roger Wolfe Kahn and His Orchestra").
Roger Wolff Kahn (Wolff was his middle name's original spelling) was born in Morristown, New Jersey into a wealthy German Jewish banking family. His father was Otto Hermann Kahn, a famous banker and patron of the arts. Otto and Roger Kahn were the first father and son to appear separately on the cover of Time magazine: Otto in November 1925 and Roger in September 1927, aged 19.
Kahn is said to have learned to play 18 musical instruments before starting to lead his own orchestra in 1923, aged only 16. In 1925, Kahn appeared in a short film made in Lee De Forest's Phonofilm sound-on-film process. Kahn hired famous jazz musicians of the day to play in his band, especially during recording sessions, for example Joe Venuti, Eddie Lang, Artie Shaw, Jack Teagarden, Red Nichols, and Gene Krupa. Recordings were made for Victor until 1929, Columbia in 1929 and 1930, and for the Brunswick label in 1932.
Kahn always had fun leading and conducting his orchestra. Reportedly, when the band was playing especially well he used to throw himself onto the floor and wave his legs in the air. However, in the mid-1930s, he lost interest in his orchestra and disbanded it. Instead, he preoccupied himself with aviation and eventually, in 1941, became a test pilot for the Grumman Aircraft Engineering Corporation, a well-known aircraft manufacturer.
In 1931, Kahn made headlines on the New York society pages when he married musical comedy actress Hannah Williams January 16, 1931. The wedding was at Oheka Castle, his family's estate on Long Island, and was kept secret from the public for two weeks, until the Broadway show Williams was appearing in, Sweet and Low, had had its final performances. The couple made headlines again when they divorced two years later and when, after only a few weeks, Williams married boxing champion Jack Dempsey. Two days after the divorce, on April 7, 1933, Roger Wolfe Kahn married Edith May Nelson, a Maine politician's daughter. That marriage lasted from 1933 till Kahn's death of a heart attack in New York City on July 12, 1962. By his second wife, he had two children, Peter W. Kahn and Virginia Kahn.
~ Jason Ankeny 

Hugh Ballard Cross
C&W Singer-Songwriter/Guitar/Banjo/Announcer
b. Oliver Springs, TN, USA.
Member: 'The Cumberland Ridge Runners' This group was highly successful for several years with a stage show and series of radio broadcasts that combined top-flight musicianship with hillbilly dressing up and hamming, although the players themselves certainly all had authentically rural backgrounds.
Guitarist Karl Davis and mandolinist Hartford Taylor were a West Virginia duo act that most often pretended to be brothers, seeing as how most such acts in the old-time field were performing siblings. They made quite a few recordings as a duo under the name of Karl and Harty, and also performed under the name of the Renfro Valley Boys.
An impressario named John Lair, who also blew a bit of jug and harmonica, formed the first and most famous edition of the Cumberland Ridge Runners, by combining Davis and Taylor with banjo and guitar player Hugh Cross and a fiddler named Homer Miller who was known for off-the-wall antics. Cross was already a well-established country crooner and collaborator on the earliest recordings of songs such as "Red River Valley" and "Wabash Cannonball." Lair created a hillbilly image for the outfit, dressing them all in checked shirts, straw or cowboy hats, cowboy boots, overalls, and so forth.
A famous photograph of them shows them in front of what looks like a rustic log cabin, but was actually a replica of Fort Dearborn created for the 1933 Chicago World's Fair. The band was the main hillbilly act at this event, and also was the first such group to perform regularly on the National Barn Dance presented by Chicago's radio station WLS. The group became something of a training ground for up and coming country performers. A red-haired vocalist and bassist named Clyde Foley was hired to take part in comical sketches with Miller as well as play music; he soon changed his name to Red Foley and went on to become a huge country star. Another featured part of the group for a time was singer and banjo player Linda Parker, also known as "The Sunbonnet Girl." She was really forced to ham-up the hillbilly part and was always dressed onstage in a frilly gingham dress. The band was one of a group of old-time and classic jazz acts from the Depression era featured on a 1992 video entitled Things Ain't Like They Used to Be. This selection gives a good indication of the manic nature of this group. They are shown performing the song "Goofus" in a hospital, and the members all switch instruments during the song, while Foley does an uncanny imitation of comedian Stan Laurel.
The original version of this group fizzled out sometime after the mid-'30s. Manager Lair may have rubbed old-time music purists the wrong way with his excessive hillbilly schtick, but more than made up for it down the line with his commitment to old-time music. As a promoter he founded the extremely popular Renfro Valley Barndance, while continuing to perform in the rarified field of country harmonica playing. Fiddler Allerton Alton Hawkes formed a new band entitled the Cumberland Ridge Runners, and they kept busy on broadcasts for WWVA as well as backing up visiting country artists.
~ Eugene Chadbourne

Patrick Cairns "Spike" Hughes
b. London, England
d. Feb. 2, 1987, London, UK

Spike Hughes-It's Unanimous Now
(b London, 1908; d Brighton, 1987). Eng. writer, composer, and broadcaster, son of Herbert Hughes. Wrote incid. mus. for Cambridge Univ. prods. and for plays by Congreve and Yeats. For a time led jazz band, making many recordings 1930–3. Mus. critic Daily Herald 1933–6. Jazz critic of The Times 1957–67. Comps. incl. light music, film scores, etc. His Cinderella (1938) was first opera specially comp. for tv. Brilliant broadcaster. Author of books on operas of Mozart, Puccini, and Verdi, history of Glyndebourne Opera (1965, rev. 1981), and 2 vols. of entertaining autobiography.
the Spike Hughes page

Hans Jan Lengsfelder, lyricist
b. Vienna, Austria.
d. Feb. 6, 1979, Hallandale, FL, USA.
Perhaps best known as co-lyricist of the Duke Elington Orchestra's big hit, "Perdido"
Hans Jan Lengsfelder was born in Vienna, Austria, and moved to the United States in 1932. Sometimes using the pseudonym Harry Lenk, Lengsfelder is best known for co-writing the lyrics for Juan Tizol’s “Perdido” with composer-lyricist Ervin Drake. Lengsfelder, Drake, and Paul James McGrane also wrote “Hayfoot, Strawfoot” (1942) which was introduced by Duke Ellington and His Orchestra with Ivy Anderson (vocal), and “There’s a Big Blue Cloud (Next to Heaven)” (1951), which became a hit for Perry Como. Lengsfelder’s other work as a composer is mostly forgettable, including such novelty tunes as “Susie on the Sewing Machine” and “Pound Your Table Polka.” Lengsfelder wrote dozens of plays and operettas that were produced in Europe. He started his own theater company, Your Theater, Inc., in the United States, which was responsible for the Broadway production Heads or Tails (1947). (Jeremy Wilson, Courtesy of JazzStandards.com).
His most famous contribution to classical music are the German lyrics to Dvorak's Humoresque, op. 101, “Eine kleine Frühlingsweise”, although the Nazis omitted his name from the printed music.

The Mills Brothers: John Mills, Jr. with guitar.
John Mills, Jr., vocals
Piqua, OH, USA.
d. Jan, 24, 1936.
Age 24 -tuberculosis.
Member group: Mills Brothers.
The four brothers were all born in Piqua, Ohio -- John, Jr. in 1910, Herbert Mills in 1912, Harry Mills in 1913, and Donald Mills in 1915.

"Piano Red"
(aka: Dr. Feelgood)
(honky tonk) piano
b. Hampton, GA, USA.
né: Willie Perryman.
Both Willy and his older brother, Rufus Perryman (who performed and recorded as "Speckled Red"), showed an aptitude for the piano at a very early age.
Willie Perryman went by two nicknames during his lengthy career, both of them thoroughly apt. He was known as Piano Red because of his albino skin pigmentation for most of his performing life. But they called him Doctor Feelgood during the '60s, and that's precisely what his raucous, barrelhouse-styled vocals and piano were guaranteed to do: cure anyone's ills and make them feel good.
Like his older brother, Rufus Perryman, who performed and recorded as Speckled Red, Willie Perryman showed an aptitude for the 88s early in life. At age 12, he was banging on the ivories, influenced by Fats Waller but largely his own man. He rambled some with blues greats Barbecue Bob, Curley Weaver, and Blind Willie McTell during the 1930s (and recording with the latter in 1936), but mostly worked as a solo artist.
In 1950, Red's big break arrived when he signed with RCA Victor. His debut Victor offering, the typically rowdy "Rockin' with Red," was a huge R&B hit, peaking at number five on Billboard's charts. It's surfaced under a variety of guises since: Little Richard revived it as "She Knows How to Rock" in 1957 for Specialty, Jerry Lee Lewis aced it for Sun (unissued at the time), and pint-sized hillbilly dynamo Little Jimmy Dickens beat 'em both to the punch for Columbia.
"Red's Boogie," another pounding rocker from the pianist's first RCA date, also proved a huge smash, as did the rag-tinged "The Wrong Yo Yo" (later covered masterfully by Carl Perkins at Sun), "Just Right Bounce," and "Laying the Boogie" in 1951. Red became an Atlanta mainstay in the clubs and over the radio, recording prolifically for RCA through 1958 both there and in New York. There weren't any more hits, but that didn't stop the firm from producing a live LP by the pianist in 1956 at Atlanta's Magnolia Ballroom that throbbed with molten energy. Chet Atkins produced Red's final RCA date in Nashville in 1958, using Red's touring band for backup.
A 1959 single for Checker called "Get Up Mare" and eight tracks for the tiny Jax label preceded the rise of Red's new guise, Dr. Feelgood & the Interns, who debuted on Columbia's "Okeh" subsidiary in 1961 with a self-named rocker, "Doctor Feel-Good," that propelled the aging piano pounder into the pop charts for the first time. Its flipside, "Mister Moonlight" (penned and ostensibly sung by bandmember Roy Lee Johnson), found its way into the repertoire of the Beatles. A subsequent remake of "Right String but the Wrong Yo-Yo" also hit for the good doctor in 1962. The Doc remained with OKeh through 1966, recording with veteran Nashville saxist Boots Randolph in his band on five occasions.
Red remained ensconced at Muhlenbrink's Saloon in Atlanta from 1969 through 1979, sandwiching in extensive European tours along the way. He was diagnosed with cancer in 1984 and died the following year.
~ Bill Dahl

Alphonse Floristan Picou, Clarinet
b. New Orleans, LA, USA.
d. Feb. 4, 1961, - played in Accordiana Band in 1894 and with all the New Orleans "Greats" including Buddy Bolden; Papa Celestin; Bunk Johnson; Freddie Keppard; "Wooden Joe" Nicholas; Manuel Perez and Dave Peyton. Alphonse Picou had such a long career and he reached so far back in jazz history that it is surprising that he was only 82 when he died. Picou started playing guitar when he was 14, took up clarinet the following year and was working professionally as early as 1894; he was part of the birth of jazz. Picou was flexible enough to work with both reading bands and those that featured improvisation; his piccolo solo on "High Society" (first devised while with the Tuxedo Brass Band and possibly based a bit on a George Baquet idea) was the first famous set solo in jazz, one that is still played during that song.

Picou, who formed the Independence Band in 1897, played with virtually every significant New Orleans jazz musician including Freddie Keppard, Bunk Johnson and Manuel Perez. He lived in Chicago during 1914-18 but then returned to New Orleans permanently. During the depression years he worked during the day as a tinsmith and only played part-time. Picou made his recording debut with Kid Rena in 1940 (being the best part of those poorly recorded sides) and later in the decade he worked regularly with Oscar "Papa" Celestin. Alphonse Picou (who never led a record date of his own) was heard at his best with Celestin (during performances, radio broadcasts and recordings) despite being in his early seventies. After Celestin's death, Picou led his own group at the Paddock in New Orleans and played regularly until shortly before his passing, a last living link to the days of Buddy Bolden.
~ Scott Yanow

Charles Coleridge "Red" Richards, piano
b: New York (Brooklyn), NY, USA.
d: March 12, 1998, age 85.
Began to study piano after hearing Fats Waller playing at Parlor Socials. recorded (debut) with Skeets Tolbert. Toured France and Italy (4 months) recording with Buck Clayton, and Mezz Mezzrow. During '53-7 toured with Muggsy Spanier. Then spent some time in Columbus OH, and in San Francisco, CA (with Wild Bill Davison). In '57 appeared at Great South Bay (NY) festival. In 1958 in re-union of Fletcher Henderson band, and rejoined Will Bill Davison in '59.. Just some of the Jazzmen with whom he work incls. Herman Autry; Sidney Bechet; "Wild Bill"Davison; Vic Dickenson; Roy Eldridge; Herbie Hall; Jimmy McPartland; Mezz Mezzrow; Muggsy Spanier; Tab Smith (4 years); Bob Wilbur.
Red Richards - Wikipedia

"Uncle" Art Satherley
b. Bristol, England, UK
Talent scout, producer, and A&R legend Art Satherley was born Arthur Edward Satherley on October 19, 1889, in Bristol, England. He came to America in his early twenties, initially settling in Wisconsin, where he worked in a factory that made cabinets for Edison phonographs. Satherley's first real job in the record industry was promoting 78 rpm records of Ma Rainey and Blind Lemon Jefferson on the Paramount label. By 1930, he began working for Columbia Records and soon became one of the leading A&R men in country music. Between 1938 to 1952, Art Satherley recorded numerous artists, including Gene Autry, Bob Wills, Hank Penny, Lefty Frizzell, Carl Smith, Marty Robbins, and his favorite: Roy Acuff. After Satherley retired from Columbia in 1952, he took life at a slower pace and occasionally got involved in projects he was passionate about. Satherley was elected to the Hall of Fame in 1971. He died on June 10, 1986, in Fountain Valley, CA.
~ Al Campbell
Notable Events Occurring
On This Date Include:

Moses Asch, Label owner (Folkways)
died in New York, NY, USA.
Henderson Chambers, trombone
died in New York, NY, USA.
Age: 59.
Billy Banks, vocals
died in Tokyo, Japan
William Langford, vocals
died in Winston-Salem, NC, USA.
Age: 60.
Member 'Golden Gate Quartet'.

Buddy Moss, guitar
died in Atlanta, GA, USA.
Son House, guitar
died in Detroit, MI, USA.
Age: 86.
Songs Recorded/Released
On This Date Include:


The California Ramblers - “Sweet Thing”


Memphis Jug Band - “Bob Lee Junoir Blues”
“Kansas City Blues”, (Vocal refrain by Shade - Ramey –Weldon)

“Kansas City Blues” - “State Of Tennessee Blues” (Vocal refrain by Jennie Clayton - Will Shade).

The Gulf Coast Seven
Annette Hanshaw
Annette Hanshaw - “My Blackbirds Are Bluebirds Now”

Annette Hanshaw - “If You Want The Rainbow (You Must Have The Rain)” (Levant / Rose / Dixon)

Ted Weems and his Orchestra - “You're The Cream In My Coffee” (From the Musical Comedy, "Hold Everything!") Vocal refrain by Parker Gibbs


Ray Ventura et ses Collegiens - “Can't We Be Friends?”

Frankie Trumbauer and his Orchestra

Frankie Trumbauer and his Orchestra - “My Sweeter Than Sweet”, (From Motion Picture - "Sweetie") ~Vocal refrain Smith Ballew

Frankie Trumbauer and his Orchestra - “What Wouldn't I Do For That Man?“ ~Vocal refrain Smith Ballew

Annette Hanshaw - “The Right Kind Of Man” (From Motion Picture "Frozen Justice")


What Wouldn't I Do for That Man?
(E.Y. Harburg - J. Gorney; from Applause)
I loved from that man from the start,
And way down deep in his heart,
I know he loves me, heaven knows why,
And when he tells me he can't live without me,
What wouldn't I do for that man?He's not an angel or saint,
And what's the odds if he ain't?
With all his faults, I know we'll get by,
I'll be so true to him he'll never doubt me;
What wouldn't I do for that man?If I could only rest my weary head on his shoulder,
I'd close my eyes right there and wish I'd never grow older!I'll never leave him alone,
I'll make his troubles my own,
I'll love that man like nobody can;
I'm just no good when his arms are about me;
What wouldn't I do for that man?
Oh, what wouldn't I do for that man?
*Transcribed from Frankie Trumbauer & His Orchestra; vocals by Smith Ballew; recorded 10/19/1929.
From: Can't Help Lovin' That Man;
Art Deco Columbia Legacy CK 52855.
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