Eddie Lang and Joe Venuti


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Eddie Lang, Guitar
b. Philadelphia, PA, USA
d. March 26, 1933, New York, NY, USA. The first jazz guitar virtuoso, Eddie Lang was everywhere in the late '20s; all of his fellow musicians knew that he was the best. A boyhood friend of Joe Venuti, Lang took violin lessons for 11 years but switched to guitar before he turned professional. In 1924, he debuted with the Mound City Blue Blowers and was soon in great demand for recording dates, both in the jazz world and in commercial settings.
His sophisticated chord patterns made him a superior accompanist who uplifted everyone else's music, and he was also a fine single-note soloist. He often teamed up with violinist Venuti (including some classic duets) and played with Red Nichols' Five Pennies, Frankie Trumbauer, and Bix Beiderbecke (most memorably on "Singing the Blues"), the orchestras of Roger Wolfe Kahn, Jean Goldkette, and Paul Whiteman (appearing on one short number with Venuti in Whiteman's 1930 film The King of Jazz), and anyone else who could hire him.
A measure of Lang's versatility and talents is that he mostly played the chordal parts on a series of duets with Lonnie Johnson (during which he used the pseudonym Blind Willie Dunn), yet on his two duets with Carl Kress (whose chord voicings were an advancement on Lang's), he played the single-note leads. Eddie Lang, who led some dates of his own during 1927-1929, worked regularly with Bing Crosby during the early '30s in addition to recording many sessions with Venuti. Tragically his premature death was caused by a botched operation on a tonsillectomy.
~ Scott Yanow

Arthur "Rip" Bassett, banjo
b. Chicago, IL, USA.
Worked with Ma Rainey
A student of the historic banjoist Joe Ward, Rip Bassett is associated with classic recordings by Louis Armstrong and Ma Rainey, though listeners may not discern a whole lot about his instrumental abilities from the mild plunking, mostly of a timekeeping nature, that is audible on these sides from the '20s. Bassett came up on the raunchy Chicago scene of the Roaring Twenties, beginning his professional career as a member of Al Wynn's Paradise Night Owls at the St. Elizabeth's Hall venue in South Bend, Indiana. Wynn was the banjoist's main boss through 1926, but the following year he became one of Louis Armstrong's Stompers, a combo that was co-led by the brilliant pianist Earl Hines. Although considered more representative of what Satchmo was up to at this time than recordings that were being issued under his name, this band did not actually get to go into the studio more than once, and the results were not released until 1942. The banjoist is also part of several sessions released under the names of either Ma Rainey and her Georgia Jazz Band or Ma Rainey and her Georgia Band and considered gold nuggets in the classic blues genre.
Bassett shows up on Paramount and Okeh recordings by pianist and bandleader Clarence Jones, issued under names such as Clarence Jones and his Orchestra, Clarence Jones and his Wonder Orchestra and Clarence Jones and his Sock Four. Banjo players with arms sore from excess frailing can take comfort in Bassett having recorded a tune entitled "The Arm Breaker" with one of these Jones outfits.
At the close of the decade, Bassett played with Clarence Black at Chicago's Savoy Ballroom as well as with Boyd Atkins, who also took the banjoist on several road tours. In 1931, Bassett hounded Junie Cobb for a job, but by the end of the year was ready to become part of the sideman load for leader Ed Carry, who called his outfit The Rhythm Aces. The banjoist, switching over to guitar like most of his associates, kept playing through the '30s with Carroll Dickerson, Erskine Tate, Floyd Campbell and Tiny Parham. Such association establish him as a vital part of the hardcore historic Chicago jazz scene. Yet Bassett retired from playing and began working in a machine plant in the '40s, thus avoiding the new professional assocations and genre-bending developments that would be an important part of the Windy City scene in subsequent decades.
~ Eugene Chadbourne

Dave Dallwitz
b. Adelaide, Australia
Dave Dallwitz (October 25, 1914 – March 23, 2003) was an Australian jazz pianist, bandleader and composer in both the ragtime and dixieland idioms. He was born in Freeling, South Australia. He is perhaps best known for having worked with some of Australia's more progressive musicians such as John Sangster, Bob Barnard and Len Barnard. He also leads the Dave Dallwitz Ragtime Ensemble.
Dallwitz was an exponent of both Ragtime Music and 1920s Big Band Music. A highlight of Dave's career was the appearance of his Big band with added Sydney and Brisbane musicians at the Esso Jazz Summit on Sydney's Bondi Beach in 1986. The band's set was shown on ABC TV and was released on ABC Records.
Dallwitz died on 24 March, 2003 in Adelaide after just finishing the art work for his album The Dave Dallwitz Big Band live at Wollongong, December 1984. This album was the result of the band's second appearance at the Australian Jazz Convention, Wollongong in 1984 and was mastered and co-produced by trumpeter Greg Englert who was lead trumpet for the concert.

Photo: Courtesy Frank Philips & The Big Band Database
Roy Fox, American dance bandleader
b. October 25th, 1901, Denver, Colorado
d. March 20, 1982, London, England
Roy Fox was born in Denver, CO, on October 25, 1901, and raised in Hollywood, CA. He took up the cornet at the age of 11, gave his first public performances in a Bijou Kinema, became a member of the Los Angeles Examiner Newsboys' Band when he was 13, and then served as a bugler at one of Cecil B. DeMille's first film studios on Sunset Boulevard. At the age of 16 Fox began performing with Abe Lyman & His Orchestra at the Sunset Inn in Santa Monica.
His bandmates included trombonist Miff Mole, clarinetist Gussie Miller, and pianist and future bandleader Gus Arnheim. Fox was asked to serenade the clientele by walking among the tables and blowing his horn softly so as not to interfere with their conversations. So adept did he become at this specialty that Roy Fox soon became known as "the Whispering Cornetist." He formed his first band in 1920 and took it on the road, performing regularly at the Club Royale, next to the MGM Studios in Culver City, until it burned to the ground.
Photo: Courtesy Frank Philips & The Big Band Database
In 1925 Fox began making records and broadcasting live from the Biltmore Hotel with Art Hickman & His Orchestra under the direction of pianist Earl Burtnett. It was with this group that Fox embarked upon a 3,000-mile tour that ultimately brought him to Miami. After fulfilling all of his contractual obligations in Florida Fox headed for New York City, where he put together a modest-sized ensemble and played the Avalon and Beaux Arts clubs.

In 1927, Fox settled into a 15-month schedule of nightly radio broadcasts from Hollywood's Ambassador Hotel with Gus Arnheim's Cocoanut Grove Orchestra, followed by more live broadcasts with his own band from the Montmartre Café on Hollywood Boulevard.
Fox, both as soloist and with orchestra, was also employed by many of the major motion picture studios during the transition from "silents" to "talkies." While leading the band at the Embassy Club and working as assistant musical director at Fox Film Studios (no relation), Roy Fox received a transatlantic cable containing an offer to perform at the Café de Paris in London. He and his band opened there on September 29, 1930, and were gradually accepted by the public as their performances were broadcast on BBC radio.
Roy Fox and his Monseigneur Band
Roy Fox led the The Monseigneur Band, which later became the Lew Stone Band. The Monseignor Hotel band featured Al Bowlly on vocals.
When it came time to return to the U.S., Fox's band went back but he remained in London, forming a new ensemble for the purpose of making records for English Decca in the acoustically challenged Chenil Galleries in King's Road, Chelsea. An extended engagement at the Monseigneur Restaurant in Piccadilly began in May 1931, but was terminated six months later when Fox, stricken with pleurisy, was forced to retreat to a Swiss sanatorium. By the time he returned to England, his bandmembers had decided to form their own group. Fox went talent scouting and found a solid little outfit gigging at a tavern on the outskirts of London called the Spider's Web. Recruiting these players and rehiring his trusty vocalist and trumpeter, Sid Buckman, Fox took his new orchestra into the Café Anglais and the Kit Kat Club, as well as over the Channel to Brussels and onto the stage of the London Palladium to give Royal Command Performances for the Kings and Queens of Belgium and Great Britain, respectively.
In 1933 and 1934 Fox made his first feature films, On the Air and Big Ben Calling, and rode a crest of popularity, switching over to the HMV record label in 1936 and touring the U.K. and Europe until health problems caused him to break up his band in August 1938. Moving to Australia, Fox led the Jay Whidden Orchestra for a little while, then toured the U.S. with a series of small ensembles.
~ arwulf arwulf, Rovi

Greig "Chubby" Jackson, Bass
b. New York, NY, USA
d. Oct. 1, 2003, Rancho Bernardo, CA, USA. (just shy of his 85th birthday)
A fine bassist, Chubby Jackson is best-known for his association with Woody Herman's first two Herds of the mid- to late '40s, where he functioned not only in the rhythm section but as a sort-of cheerleader whose vocal interjections really pushed the band. Although he started on the clarinet when he was 16, Jackson soon switched to bass and was a professional by the time he was 19, playing with many big bands, including those led by Raymond Scott, Jan Savitt, and Henry Busse.
After touring with Charlie Barnet from 1941 to 1943 (sometimes with Oscar Pettiford as the second bassist), Jackson joined Woody Herman's transitional orchestra and was partly responsible for the group adding many young modernists to the personnel, resulting in the First Herd. Jackson was with Herman during 1943-1946 (appearing on many recordings). After Herman broke up the band, Jackson played with Charlie Ventura's septet (1947) and had his own small group that toured Scandinavia. A second tour with Herman (1948) was followed by a period leading his own big band (1948-1949), more work with Ventura (1951), and a period co-leading a combo with Bill Harris.
Chubby Jackson spent the 1950s as a studio musician, freelancer, and a host of his own children's television show. After periods living in Chicago, Las Vegas, and Los Angeles, he eventually settled in San Diego in semi-retirement, although Jackson occasionally emerged, including for a stint with Lionel Hampton (1978-1979) and with Herman reunion groups. Even in retirement, Jackson seemed tireless, helping to organize cultural events for senior citizens and briefly hosting a cable TV jazz program. Jackson passed away in San Diego on October 1, 2003 after a protracted battle with cancer.
Chubby's son, Duffy Jackson (born July 3, 1953), is a fine drummer who played with Count Basie in the 1970s and has led his own sessions. In addition to his work as a sideman, Chubby Jackson recorded as a leader for Keynote, Prestige, Columbia (1949), Argo, Everest, and Crown, in addition to some smaller labels.
~ Scott Yanow
Chubby Jackson - Wikipedia

Tony Jackson, Piano 
b. New Orleans, LA, USA.
d. April 20, 1921, Chicago, IL, USA. 

Anthony (Antonio) Jackson, best known as Tony Jackson (June 5, 1876 - April 20, 1921) was an American pianist, singer, and composer.
Jackson was born to a poor African American family in Uptown New Orleans, Louisiana on June 5, 1876. He showed musical talents at a young age. At about the age of 10 he constructed a type of crude but working and properly tuned harpsichord out of junk in his back yard, since his family lacked the money to buy or rent a piano. On this contraption young Tony was able to reproduce hymns he heard in church; news of this accomplishment soon spread around the neighborhood and he was offered use of neighbors' pianos and reed organs to practice on.
Jackson got his first musical job at age 13, when he began playing piano during off hours at a Tonk run by bandleader Adam Olivier. By age 15 was already considered by many musicians the best pianist in town.
Jackson became the most popular and sought after entertainer in Storyville. He was said to be able to remember and play any tune he had heard once, and was hardly ever stumped by obscure requests. His repertory included ragtime, cakewalks (one of his show stopping tricks was to dance a high kicking cakewalk while playing the piano), popular songs of the day from the United States and various nations of Europe and Latin America, blues, and light classics.
His singing voice was also exceptional, and he was said to be able to sing operatic parts from baritone to soprano range. Fellow musicians and singers were universal in their praise of Jackson, most calling him "the greatest", and even the far-from-modest Jelly Roll Morton ranked Jackson as the only musician better than Morton himself. Jackson also wrote many original tunes, a number of which he sold rights to for a few dollars or were simply stolen from him; some of the old time New Orleans musicians said that some well known Tin Pan Alley pop tunes of the era were actually written by Jackson.
Clarence Williams noted "He was great because he was original in all his improvisations . . . We all copied him." More than Jackson's music was copied. Jackson dressed himself with a pearl gray derby, checkered vest, ascot tie with a diamond stickpin, with sleeve garters on his arms to hold up his cuffs as he played. This became a standard outfit for ragtime and barrelhouse pianists; as one commented "If you can't play like Tony Jackson, at least you can look like him".

Jackson moved to Chicago, Illinois in 1912. One of the few tunes published with Jackson's name on it, "Pretty Baby" came out in 1916, although he was remembered performing the song before he left New Orleans. The original lyrics of "Pretty Baby" were said to refer to his male lover of the time. Jackson was resident performer at the De Luxe and Pekin Cafes in Chicago, although in his later years his voice and dexterity were impaired by disease, probably syphilis. He died in Chicago on April 20, 1921.
Jackson unfortunately never recorded, but portions of his style are no doubt to be found in the recordings of younger musicians he influenced, like Jelly Roll Morton, Clarence Williams, and Steve Lewis.

Sam M. Lewis, lyricist
b. New York, NY
d. Noiv. 22, 1959, New York, NY, USA.
L yricist Sam M. Lewis was born in New York City on October 25, 1885. He attended New York public schools and began his career singing in cafes throughout the city. Lewis began writing around 1912 and from 1916 into the 1930’s his principal lyrical collaborator was Joe Young. Lewis contributed to the Broadway musical The Laugh Parade and, beginning in 1922, had songs included in a handful of Hollywood musicals including Squibs Wins the Calcutta Sweep, The Singing Fool, Wolf Song, Spring is Here, Yours Sincerely, Round-up Time in Texas, The Fighting Seabees, The Merry Monahans, The Emperor Waltz and Nightfall.
The Lewis catalog boasts standards such as “Dinah”, “When You’re a Long, Long Way from Home”, “My Mother’s Rosary”, “Come on and Baby Me”, “Baby Blue”, “For All We Know”, “Arrah, Go on, I’m Gonna Go Back to Oregon”, “If I Knock the ‘L’ Out of Kelly”, ”Where Did Robinson Crusoe Go With Friday on Saturday Night?”, “I’m All Bound ‘Round With the Mason-Dixon Line”, “Why Do They All Take the Night Boat to Albany?”, “Hello, Central, Give Me No Man’s Land”, “Rockabye Your Baby With a Dixie Melody”, “Just a Baby’s Prayer at Twilight”, “How Ya Gonna Keep ‘Em Down on the Farm?”, “Don’t Cry, Frenchy, Don’t Cry”, “You’re a Million Miles from Nowhere”, “Who Played Poker With Pocahontas When John Smith Went Away?”, “I’d Love to Fall Asleep and Wake Up in My Mammy’s Arms”, “My Mammy”, “Tuck Me to Sleep in My Old ‘Tucky Home”, “Five Foot Two, Eyes of Blue”, “I’m Sitting on Top of the World”, “In a Little Spanish Town”, “King for a Day”, “Laugh, Clown, Laugh”, “Then You’ve Never Been Blue”, “Got Her Off My Hands but Can’t Get Her Off My Mind”, “Cryin’ for the Carolines”, “I Kiss Your Hand, Madame”, “Telling It to the Daisies”, “Too Late”, “Just Friends”, “Street of Dreams”, “Lawd, You Made the Night Too Long”, “One Minute to One”, “I Believe in Miracles”, “A Beautiful Lady in Blue”, “Put Your Heart in a Song”, “Gloomy Sunday”, “Gonna Hitch My Wagon to a Star”, “I Heard a Forest Praying”, “What’s the Matter With Me?” and “Have a Little Faith In Me”. Along with Young, Lewis collaborated with Fred Ahlert, Walter Donaldson, Bert Grant, Harry Warren, Jean Schwartz, George Meyer, Ted Fiorito, J. Fred Coots, Ray Henderson, Victor Young, Peter DeRose and Harry Akst. Sam Lewis was a charter member of ASCAP in 1914 and later a charter member of The Friars. He passed away in New York City on November 22, 1959.

"Little Hatchet", harmonica
b. Sledge, MS, USA.
Little Hatch (October 25, 1921 – January 16, 2003) was a blues singer, musician and harmonica player.
Born Provine Hatch Jr. in Sledge, Mississippi, he learned to play harmonica from his father. Hearing blues and gospel music, Hatch knew he wanted to make music for a living. At age 14, his family moved to Helena, Arkansas and the blues scene caught his attention.
Hatch joined the Navy in 1943 and after his tour of duty he relocated to Kansas City, Missouri in 1946. After working for a cartage company for two years, he founded his own cartage business and married.
In the early 1950s, Hatch began jamming in blues clubs of Kansas City. He closed his business in 1954 and took a job with Hallmark. in 1955, he formed and fronted his own band, playing on the weekends and a few nights a week. This act would continue for more than 20 years. By the late 1950s, Hatch's harmonica style became influenced by Chicago blues players such as Little Walter, Snooky Pryor and Junior Wells.
In 1971 German exchange university students recorded a Little Hatch performance. This became an album entitled The Little Hatchet Band, but distribution was limited to Germany and Belgium. He retired from Hallmark in 1986 and his band Little Hatch and the House Rockers were hired as the house band of the Grand Emporium. A cassette of blues performances at Kansas City's popular Grand Emporium was released in 1988.
In 1992, the Modern Blues label released Well, All Right and became his first nationally distributed album. In 1997, Chad Kassem had opened Blue Heaven Studios and founded the APO label. Kassem had befriended Little Hatch in the mid 1980s and asked him to be his first signed recording artist. In 1998, the album Goin' Back was released and was followed by Rock with Me Baby in 2000.
From 1999 to 2001, Hatch occasionally toured other parts of the US, and twice toured Europe. He settled back as a Kansas City performer, frequently playing at BB's Lawnside Bar-B-Q and other venues. In the summer of 2002 Hatch was diagnosed with cancer. He died in January 2003.

Kasper Delmar "Kas" Malone, bass
b. Paducah, KY, USA.

"Minnie Pearl"
C&W vocals/comedienne
née: Sarah Ophelia Colley.
Member: Grand Ole Opry; CMA Hall of Fame.
Minnie Pearl - Wikipedia

Reuben "Red" Reeves, Trumpet
b. Evansville, IL, USA.
d. Sep 8, 1975, New York, NY, USA.
Reuben "Red" Reeves (October 25, 1905, Evansville, Indiana - September 1955, New York City) was an American jazz trumpeter and bandleader.
Reeves started out playing locally in the Midwest; he moved to New York City in 1924 and then to Chicago in 1925. In 1926 he joined Erskine Tate's orchestra, then played with Fess Williams and Dave Peyton (1928-1930). He also recorded as a bandleader with his groups the Tributaries and the River Boys; among his sidemen were his brother, trombonist Gerald Reeves, and clarinetist Omer Simeon. He played under Cab Calloway in 1931-32, and recorded again with the River Boys in 1933. He toured as a leader from 1933-35, then played freelance through the late 1930s. He led an Army band during World War II, and played in Harry Dial's Blusicians in 1946.
Reeves' entire output as a bandleader has been released to a single compact disc by RST Records.

Edmond "Doc" Souchon II
b. MD, USA.
Guitar/banjo/vocal, b. New Orleans, LA, USA.
d. 1968.
Edmond "Doc" Souchon (October 25, 1897, New Orleans - August 24, 1968, New Orleans) was an American jazz guitarist and writer on music. He was a pivotal figure in the historical preservation of New Orleans jazz in the middle of the twentieth century.
Souchon received schooling to become a physician in Chicago, though he was playing regularly in groups such as the Six and Seven Eighths Band in the 1910s. He helped oversee a reconstitution of this band in 1945 as a four-piece, and made many recordings of early string band tunes through the early 1960s. Alongside this, Souchon recorded with many noted New Orleans jazz mainstays, such as Johnny Wiggs, Sherwood Mangiapane, Papa Jack Laine, Raymond Burke, and Paul Barbarin.
Souchon was involved early on in the management of the New Orleans Jazz Club, and served as president of the organization early in its existence. He had his own radio program on WWL, and edited the journal Second Line from 1951 until his death in 1968. Aside from his contributions to jazz journals such as Jazz and Jazz Report, Souchon compiled a photo book with Al Rose entitled New Orleans Jazz: A Family Album, first published in 1967 and subsequently revised in 1978 and 1984. He helped establish the National Jazz Foundation in 1942, as well as the New Orleans Jazz Museum about a decade later. His record collection, which included some 2,000 recordings of New Orleans jazz, was bequeathed to the New Orleans Public Library, and many other music-related materials he collected are now in the possession of the William Ransom Hogan Jazz Archive, located at Tulane University.

Notable Events Occurring
On This Date Include:

Peter Jensen who was the co-inventer
of the loud speaker died at age 75.

Alonzo Elvis "Tony" Alderman
C&W fiddler (Member: "The Hill Billies") died.
Age: 83 (b. Sept. 10, 1900, River Hill, VA, USA)

Johnnie Lee Wills, C&W fiddler/Songwriter
younger brother of Bob Wills, died.
Age: 72.

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Vocalist Morton Downey

"Banjo Ikey" Robinson, banjo/guitar
died in Chicago, IL, USA.
Age: 86.

Tommy "Mad Dog" Jones, tenor sax
died in Chicago, IL, USA.
Age: 71.

Songs Recorded/Released
On This Date Include:


King Oliver's Jazz Band - “I Ain't Gonna Tell Nobody”

King Oliver's Jazz Band“Room Rent Blues”

King Oliver's Jazz Band - “Tears”


    Virginia Liston

    Josephine Baker - “Brown Eyes Why Are You Blue?”
    Bessie Smith - “Hard Time Blues”

    Bessie Smith “Honey Man Blues”


    Frankie Trumbauer and his Orchestra - “A Good Man Is Hard To Find”

    Bix Beiderbecke and his Gang

    Bix Beiderbecke and his Gang - “Sorry

  • Bix Beiderbecke and his Gang -“Since My Best Gal Turned Me Down”


    Cow Cow Davenport


    Earl Hines and his Orchestra - “Blue Nights”

    The Six Jolly Jesters

    Tiny Parham and his Musicians - “Sud Buster's Dream”
    Tiny Parham and his Musicians “Fat Man Blues”


      Waring's Pennsylvanians
      Hard Time Blues
      ~ Bessie Smith

      My man said he didn't want me
      I'm getting tired of his dirty ways
      I'm going to see another brown
      I'm packin' my clothes
      I'm leavin' town, getting outdoors
      lettin' him know and he'll see a hard time
      Now there's no need of cryin', just put me off your mind,
      then you'll see a hard time
      When your good woman is gone you'll see a hard time
      (spoken: Don't say a word, just listen)
      The risin' sun ain't gonna set in the east no more
      The risin' sun ain't gonna set in the east no more
      'Cause I'm a good woman I can get a man any place I go
      You can say what you please, you will miss me
      There's a lots-a things you are bound to see,
      when your friends forsake you and your money's gone
      Then you'll look around all your clothes is gone
      Down on your knees you'll ask for me,
      there's no one else you will want to see
      Then you'll pray a prayer that men pray ev'rywhere, Lord
      When your good woman is gone
      When your good woman is gone

      ~George Brooks
      as rec by Bessie Smith Oct 25th 1926 New York

      I've got the blues and it's all about my honey man,
      I've got the blues and it's all about my honey man,
      What makes me love him I sure don't understand!
      I'd rather be in the ocean floatin' like a log,
      I'd rather be in the ocean floatin' like a log,
      That to stay with him and be mistreated like a dog!
      My heart's on fire but my tub is icy cold,
      My heart's on fire but my tub is icy cold,
      But I'm goin' right to him praisin', get him told!
      I'll fix him if it's twenty years from now,
      I'll fix him if it's twenty years from now,
      I'll have him bell'in' just like a cow!
      I's born in Georgia, my ways are on the ground,
      I's born in Georgia, my ways are on the ground,
      If you mistreat me, I'll hug you like a hound!

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