Russell Patterson, Ballyhoo, originally uploaded by Gatochy.


DeWitt "Snuffy" Jenkins
(Bluegrass) banjo
b. Harris, NC, USA.
Bluegrass banjo pioneer DeWitt "Snuffy" Jenkins was born in Harris, NC, on October 27, 1908; the youngest of ten children, all of whom excelled in music, he began playing the fiddle as a child but was too small to use the bow and as a result picked the instrument like a mandolin. He later turned to guitar and by 1927 was playing in a trio with banjo players Smith Hammett and Rex Brooks; Jenkins copied their three-finger style, and in the years to follow the banjo became his primary instrument, honing his skills playing square dances throughout the western North Carolina region. At this time he began mentoring the young Earl Scruggs; while Jenkins' technique bridged the gap between jagged, old-timey picking and the more fluid contemporary style, Scruggs soon surpassed his teacher, forging a thoroughly modernized sound distinguished by its subtlety and grace.

Jenkins relocated to Columbia, SC, in the spring of 1937, soon joining a string band which performed on local radio station WIS; despite the inevitable lineup changes, the group -- later dubbed the Hired Hands -- remained active for over half a century. Joining in 1939 was Jenkins' longtime foil, fiddler Homer "Pappy" Sherrill, a onetime member of the Blue Sky Boys; eight years later the Hired Hands welcomed lead guitarist Julian "Greasy" Medlin and bassist Ira Dimmery, followed in 1955 by the arrival of second guitarist Bill Rey. This five-piece lineup cut the first Hired Hands recordings in 1962, released by Folklyric in 1970 and subsequently reissued on Arhoolie as Pioneer of the Bluegrass Banjo. In 1971, Jenkins and Sherrill also recorded an LP for Rounder and in 1989 also cut material for Old Homestead; Jenkins died on April 30, 1990. ~ Jason Ankeny, Rovi
Snuffy Jenkins - Wikipedia
FolkStreams » DeWitt Jenkins

Nisse "Bagarn" Lind
b. Stockholm, Sweden, d. Oct. 25, 1941.

Sam McCrary
lead vocals
b. Christiana, TN, USA.
Member: 'Fairfield Four'

Above: Photo of Loumell Morgan Trio.
The inscription at right side of photo reads "Musically Jimmy Jam Bass player of Loumell Morgan Trio". Members shown in photo are probably (top) James "Ham" Jackson, (bottom left) Loumell Morgan, and (bottom right) Jimmy "Jam" Smith.
Loumell Morgan
piano, b. Raleigh, NC, USA.
A legendary figure from the early days of the North Carolina music scene, pianist Loumell Morgan was born in the state's capital and may have been as young as 15 when he made his professional debut in an ensemble led by C.S. Belton. He played in the Capital City Aces even earlier than that; learned how to swing and entertain in the late '30s with bandleaders such as Baron Lee and Tiny Bradshaw; was able to hold his own in the frantic, demented company of Slim Gaillard and Slam Stewart; and by the '40s had his own piano trio going strong. While hardly as well known as similar combo leaders such as Ahmad Jamal or Erroll Garner, Morgan nonetheless had a run of steady bookings and recording dates under his own name that lasted decades. By the '70s his performing duties were largely confined to the greater New York City metropolis, yet Morgan's spark was far from extinguished.

Jazz listeners who don't mind a little entertainment along with having their minds boggled no doubt encounter Morgan's pianistics -- marked by the determination to never play a single note more than what is necessary -- on the aforementioned recordings by Gaillard and Stewart under their collective moniker of Slim & Slam. The pianist was an original member of this duo's Flat Foot Floogie Boys backup unit; the combo name represented a compromise with censors outraged with the implications of a "flat-foot floozie," the title of the hit song "Flat Floot Floogie (With the Floy-Floy)" representing a similar retreat from scandal. The material Morgan presented under his own name, released by labels such as Sunbeam in Chicago and Atlantic in the early '50s, was in part strongly influenced by Slim & Slam's nonsense as well as the similarly raucous artistry of Cab Calloway and Louis Jordan.
Morgan even recorded some of the same songs as the latter hitmakers. The pianist's repertoire covered a wide range of standards, R&B novelties, and even Americana, yet again this kind of eclectic set list was similar to what he had encountered in his salad days. What set Morgan apart was his own careful balance of the sentimental and silly, a demeanor that remained hard to predict throughout his career. Live performances at New York City's Apollo Theater -- an extremely receptive venue for Morgan's groups -- embrace the traditional light of "Dark Town Strutters' Ball," allow "Old Man River" to wash over any perceived embankment of sentimentality, and embody a timeless experiment in funky rhythm-section chemistry during "Blues in the Night." Morgan even hits a home run with his recording of "Take Me Out to the Ball Game," considered an early example of "deconstruction" in music. His first name is sometimes misprinted as "Laumel."
~ Eugene Chadbourne.

Boyd Albert Raeburn
Tenor Sax/Leader
b. (on ranch near) Faith, SD, USA
d. August 2, 1966, Lafayette, LA, USA.
Boyd Raeburn was never much of a soloist, but his short-lived big bands in the mid-'40s featured some of the most advanced arrangements of the time, particularly those of George Handy. Raeburn actually started out leading commercial orchestras in the 1930s, and it was not until 1944 that his music became relevant to jazz. That year, he had a forward-looking swing band that included at various times such players as Benny Harris, the Johnny Hodges-influenced Johnny Bothwell, Serge Chaloff, Roy Eldridge, Trummy Young, and Handy on piano, playing arrangements from George Williams, Eddie Finckel, and Handy. The group overall was influenced by Count Basie, but they were also the first to record Dizzy Gillespie's "Night in Tunisia"; Dizzy even guested with the band. By 1945, Raeburn's music became much more radical with George Handy's charts (which were sometimes influenced by modern classical music) dominating the repertoire. Vocalists David Allyn and Ginnie Powell (Raeburn's wife) cheerfully sang while all types of dissonant events occurred behind them.
Even though it was a constant struggle to keep the orchestra together, Raeburn's band actually grew in size during 1946, with reed players doubling on woodwinds and the addition of French horns and a harp. Such players as Lucky Thompson, Dodo Marmarosa, Ray Linn, and Buddy DeFranco were among the many who passed through the band. Johnny Richards was the key arranger in 1947, but by the end of the year the band was no longer recording and Raeburn soon went back to performing dance music. His pleasant Columbia records of 1956-1957 are of little interest, but Boyd Raeburn's earlier bands are represented on sessions for Musicraft and Savoy, radio transcriptions put out by Circle, and broadcasts released by IAJRC and Hep.
~ Scott Yanow, Rovi
Curley Rhodes
C&W guitar/vocals
b. Tomahawk, WI, USA. né: Oral V. Rhodes.


In 1929, he cut his first record for the Columbia label. That same year saw the start of the great World economic depression, Louis Armstrong recorded "Fats" Waller's song "Ain't Misbehavin'", Berthold Brecht and Kurt Weill's "Three Penny Opera" (Drei Pfennig Oper) debuted, and the first "talkie" motion picture was released. Townsend may be the oldest living "Delta Blues" recording artist (2003) and is certainly one of the oldest living recording artists in music history.
Notable Events Occurring
On This Date Include:

First published reference to Jazz appeared in the entertainment newspaper 'Variety'.
* I am still looking to confirm this claim.

On August 20, 1920, the Westinghouse corporation was granted a government commercial broadcast license to operate radio station KDKA in Pittsburgh, PA, thus making KDKA the very first Commercial Radio Station in the USA. The term "Commercial radio station" is widely misunderstood. KDKA actually received the very first American official government license, but their early 'commercials' were offered gratis by the station. Westinghouse basically used the station to sell their own brand of radio receivers.
KDKA - 1920
In 1923, AT&T's radio station WEAF, in New York, accepted the first legally allowed paid for "radio ad" . Because this station was owned by AT&T, it was the only station then officially allowed to engage in "toll broadcasting" under the RCA agreements. (However, other stations were already selling advertising time "sub rosa" -- because no one could stop them.) Ergo, in the history or "radiodom", WEAF goes down as the first "commercial" station, -that is, the first station to (legally) accept a 'paid-for Ad'.


"Peg Leg Sam" 
(né: Arthur Jackson), harmonica
died in Jonesville, SC, USA.
Age: 65


Louis Metcalf, trumpet
died in New York (Jamaica), L.I., NY, USA.
Age: 76
(Worked with early Blues singer Bessie Smith

Bandlander Xavier Cugat
died in Barcelona, Spain. Age: 90.

Songs Recorded/Released
On This Date Include:


The Syncopating Five
  • “Lips”


The image “” cannot be displayed, because it contains errors.
Dolly Kay
  • “Hot Lips”


Original Indiana Five - “Everybody's Doin' The Charleston Now”


Bessie Smith - “Dyin' By The Hour”

Bessie Smith “Foolish Man Blues”

Alex Jackson's Plantation Orchestra “When Erastus Plays His Old Kazoo”


The Jungle Band - “Home Again Blues”
  • “Wang Wang Blues”

Lloyd Smith's Gut-Bucketeers (Come On Honey) Rub Me Some More


Earl Hines and his Orchestra - “Harlem Lament”


Lil Armstrong and her Swing Orchestra - “Brown Gal” - Vocal Chorus by Lil Armstrong


“Home Again Blues”
~Irving Berlin

[1st verse:]
I've been known to be a rolling stone for many years
Now alone, I sit around and moan when night appears
Thoughts of my home fill me with regrettable tears
Ev'ry year Oh! how I long to hear a bit of news
Friends appear to offer words of cheer but I refuse
Pack up my trunk 'cause I've got those home again blues
I'm going
Home, knock at the door
Home, just like before
Roam, never no more
No place like
Oh! what a song
Home, where I belong
Oh! I've got those home again blues
[2nd verse:]
I can't wait until I reach that gate and home I see
Sure as fate I know they're gonna wait to welcome me
I want to state that that's the end of my mis'ry
If I knew I'd ever feel so blue I'd never roam
But it's true we learn a thing or two away from home
I'm telling you I've ceased to be a rolling stone
I'm going
When I left home I didn't have a cent
I wasn't broke but I was badly bent
I didn't have a single dime to count
And now I'm going home with the same amount

My letters read that daddy's doing fine
And that my brother's working overtime
With all that money rolling in the shack
Ain't nobody living can hold me back

Feet, just you hear my pray'r
Don't you weaken till you do your share
I've gotta heartache
I wanna partake
Of all the joys that's waiting there

(Henry Busse / B. Johnson / Gus Mueller / Leo Wood)
I got the bluest blues (He's got the bluest blues)
I'm just as blue as can be (He's got the blues)
Just got the awful news (He's got some awful news)
My sweetie sweet has left me (She left him flat)
I love her so (He loves her so)
And now I know (And now he knows)
This awful blow (That awful blow)
Will lay me low (Will lay him low)
Oh Lordy, Lord, what she did to me (Lord, what she did to he)
I'm just as sad as can be (Oh, sad is he)

I got those Wang Wang blues (He's got the blues)
Those awful Wang Wang blues (Those dirty blues)
Oh brother I never knew I'd be so blue
Until she went away (Oh, mercy me)
I got those Wang Wang Blues (As blue as blue)
Those lonesome Wang Wang Blues (So sad and blue)
I wish my sweet sweetie would come back
And chase away those Wang Wang Blues

brought to you by...


Special Thanks To:
and all those who have provided content,
images and sound files for this site.

No comments: