Tuesday

JANUARY 11TH




BIRTHDAYS


1900
Wilbur De Paris, Trombone
b. Crawfordsville, IN, USA. 
d. 1973
Wilbur DeParis, an adequate soloist, was an excellent ensemble player and an important bandleader who helped keep New Orleans jazz alive in the 1950s. He started out on alto horn and in 1922 played C-melody sax while working with A.J. Piron before switching permanently to trombone. In 1925, DeParis led a band in Philadelphia and then had stints in the orchestras of Leroy Smith (1928), Dave Nelson, Noble Sissle, Edgar Hayes, Teddy Hill (1936-1937), the Mills Blue Rhythm Band, and Louis Armstrong (1937-1940).
Not as well-known as his brother, the talented trumpet soloist Sidney DeParis, Wilbur was with Roy Eldridge's big band and Duke Ellington (1945-1947) and recorded with Sidney Bechet during 1949-1950. However, it was in 1951 when he put together a band to play at Ryan's that included his brother and clarinetist Omer Simeon that he found his niche. 
Wilbur DeParis' New New Orleans Jazz Band did not just play Dixieland standards but marches, pop tunes, and hymns, all turned into swinging and spirited jazz. Throughout the 1950s, the group recorded consistently exciting sets for Atlantic (all of which are unfortunately long out of print) and they were the resident band at Ryan's during 1951-1962, touring Africa in 1957. DeParis continued leading bands up until his death, but his last recordings were in 1961.
1911
Tommy Duncan
C&W vocals/Guitar
Hillsboro, TX, USA
d. July 25, 1967
(Cardiac Arrest).
né: Thomas Elmer Duncan.
Member of 'The Texas Playboys', one of the pioneer Western Swing bands. From 1933 to 1948, his voice was featured on literally hundreds of records by the Wills band. Perhaps his biggest hit was the 1940 release of "New San Antonio Rose". 
Biography
~by Stephen Thomas Erlewine

As the lead singer for the classic lineup of Bob Wills 'Texas Playboys , Tommy Duncan was the definitive Western swing vocalist. Crossing the smooth croon of Bing Crosby with the twang of Jimmie Rodgers and the bluesy inclinations of Emmett Miller , Duncan had a warm, distinctive, and welcoming voice that helped the Playboys cross over to a wider audience. Not only was he a wonderful, trendsetting vocalist, Duncan also wrote many of the Texas Playboys ' biggest hits, including "Time Changes Everything," "Stay a Little Longer," "Take Me Back to Tulsa," "New Spanish Two Step," and "Bubbles in My Beer." 


Throughout the '30s and '40s, he was remained with Wills , leaving in 1948 when tensions between the two musicians became too great. Following his departure, Duncan launched a solo career that resulted in one major hit single, "Gamblin' Polka Dot Blues." Throughout the '50s, he sang both as a solo artist and a member of the Miller Brothers Band . In 1960, he and Wills patched up their differences and recorded several albums. Following his reunion with Wills , he began touring as a solo artist, and he remained on the road until his death in 1967. 
Tommy Duncan: Information from Answers.com
Tommy Duncan - Wikipedia



1910
Art Hallman
singer/arranger/sax/piano/voc. coach/leader,
b: Kitchener, Ontario, Canada
d: 1995.
né: Arthur Garfield. 
www.thecanadianencyclopedia.com/in...cfm



1895
Laurens Hammond
b. Evanston, IL
d. July 1, 1973, Cornwall, CT, USA.
Inventor of the 'Hammond Organ', probably the first, and most popular, electronic keyboards.
The Hammond Organ - Vintage Blues Instruments - Laurens Hammond ...
Clock maker Laurens Hammond came up with the basic A-model design in the 1930's. Over the years Hammond produced dozens of models of organs. ...
 

Laurens Hammond

 
1911
Betty Hall Jones
piano/songwriter
b. Topeka, KS, USA.
Betty Hall Jones, born Betty Hall Bigby (January 11, 1911, Topeka, Kansas - ?) was an American pianist and singer.
Jones's father was George Arthur Bigby, a cornetist and leader of a brass band. She learned piano from her uncle in California, where she was raised after her family moved there when she was a child. 

She married a banjoist whose last name was Hall in 1926, but had divorced by 1936, when she got a job as a backup pianist for Buster Moten in Kansas City. She then returned to Los Angeles to play with Roy Milton through 1942, then joined Luke Jones's trio, with whom she recorded. S

he married Jasper Jones in the middle of the decade, and recorded as Betty Hall Jones in 1947 and 1949 for Atomic Records and Capitol Records. She recorded frequently in the 1950s and worked at the Hotel Sorrento in Seattle, Washington for seven years. In the 1960s and 1970s she did USO tours in East Asia and toured Australia and Mexico in addition to regular dates in nightclubs on the Sunset Boulevard. She toured Sweden and England in the 1980s, and continued performing into the 1990s.
Betty Hall Jones - Wikipedia


1890
Bud Scott, Banjo/Guitar/Vocal
b. New Orleans, LA, USA.
d. July 2, 1949 Biography
~by Scott Yanow

A top rhythm banjoist who was prized for his advanced harmonies and occasionally took basic solos, Bud Scott performed with the who's who of New Orleans jazz throughout his career. Early on he learned guitar and violin and was a professional musician before he was a teenager. Scott was a New Orleans pioneer, claiming years later to have worked with Buddy Bolden. He definitely played with John Robichaux's Orchestra as early as 1904, Freddie Keppard's Olympia Orchestra and others. In 1913 he went on the road as a violinist with the Billy King Travelling Show, working in Mobile and Washington before moving to New York in 1915.
Scott performed with theatre orchestras, played banjo with Bob Young in Baltimore (1917) and also worked as a singer. He was with Will Marion Cook's Orchestra in 1921, moved to Chicago, worked for three months with King Oliver's Creole Jazz Band in 1923, spent time playing with Kid Ory in California, had second stints with both Oliver and Ory and also played with Curtis Mosby's Blue Blowers in Los Angeles. After a third period with Oliver in 1926, Scott performed with the bands of Erskine Tate, Dave Peyton and then in 1928 with Jimmie Noone's Apex Club Orchestra. He recorded extensively with Jelly Roll Morton and worked with Fess Williams and Peyton again before the banjoist settled in Los Angeles in Sept. 1929. In L.A. Scott played with Leon Herriford, Mutt Carey's Jeffersonians and with his own trio. Scott gained some prominence when he worked with Kid Ory during 1944-48 before ill health forced his retirement. He appeared with Louis Armstrong in the 1946 film New Orleans and had a chance to record with Satch. In addition to Morton, Armstrong and Ory, Bud Scott recorded with King Oliver, Johnny Dodds and Jimmie Noone among others. 
Bud Scott
Bud Scott - Wikipedia



1892
Lewis Sloden, dancer
b. Warsaw, Poland
d. Oct. 20, 1961, Highgate, Surrey, England, UK

 

1909
Tab Smith, Alto Saxophone
b. Kinston, NC, USA
d. 1971. USA.
Played with the Count Basie, Teddy Wilson, Lucky Millinder orchestras and backed vocalist Billie Holiday. Biography
~by Scott Yanow

Tab Smith's career can easily be divided into two. One of the finest altoists to emerge during the swing era, Smith became a popular attraction in the R&B world of the 1950s due to his record "Because of You." After early experience playing in territory bands during the 1930s, Tab Smith played and recorded with Lucky Millinder's Orchestra (1936-1938) and then freelanced with various swing all-stars in New York. He had opportunities to solo with Count Basie 's band (1940-1942) before returning to Millinder (1942-1944), and took honors on a recording of "On the Sunny Side of the Street" with a stunning cadenza that followed statements by Coleman Hawkins, Don Byas, and Harry Carney.
After leaving Millinder, Smith led his own sessions which became increasingly R&B-oriented (he never became involved with bop). His string of recordings for United in the 1950s (which have been reissued by Delmark on CD) made him a fairly major name for a time even though he had a relatively mellow sound and avoided honking. In the early '60s Tab Smith retired to St. Louis and later became involved in selling real estate.
Joseph W. Stern and Edward B. Marks in 1919
1870
Joseph W. Stern, Composer
b. Jan. 11,1870, New York, NY
d. Mar. 31, 1934, Long Island, NY, USA
The Little Lost Child - Wikipedia





Notable Events Occurring
On This Date Include: 



1952.
Henry Red Allen Sr., cornet
died in Algiers, LA, USA.



1994.
Ram Ramirez, piano/songwriter
died in New York (Queens), NY, USA.
Age: 80.




Songs Recorded/Released
On This Date Include:



1921


Sissle and Blake - Crazy Blues



1923




Leona Williams and her Dixie Band - I'm Goin' Away


Original Memphis Five



Clara Smith and her Jazz Band - It Won't Be Long Now
The Georgians
  • Maybe She'll Write Me

1928



Paul Whiteman and his Orchestra - Ol' Man River - (From the Universal film "The Show Boat") Vocal refrain by Bing Crosby
  • Parade of the Wooden Soldiers - (electrical)

    1929



    Annette Hanshaw

    Annette Hanshaw - Carolina Moon

    Annette Hanshaw - Maui Chimes

      Harry Reser and his Orchestra
      • I Faw Down An' Go "Boom!" - (Tom Stacks vocal, no vocal on German issue)
      • The Monte Carlo Song - (Tom Stacks vocal, no vocal on German issue)

      1930




      Fred Hall and his Sugar Babies - Harmonica Harry


      1934

      Adrian Rollini and his Orchestra

      LYRICS:


      I Faw Down An' Go Boom!
      ~By James Brockman, Leonard Stevens & B.B.B.


      VERSE:
      Some kids say
      That the world today
      Is all upside down
      Sometimes they're smiling,
      Sometimes they frown.

      My heart felt sore
      For the kid next door,
      When I saw him cry
      Here's what he told me,
      When I asked him why:

      CHORUS:

      "I played horsie down the street,
      With my broom,
      Down the street,
      When somebody moved the street,
      I faw down an' go boom!

      I got right up on my horse,
      Broom of course,
      Was my horse,
      When somebody moved my horse,
      I faw down an' go boom!

      I cried
      An' cried
      An' ran home to Ma!
      It's all-
      Right now,
      But how that certain
      Place was hurtin'
      Mother put me straight to bed
      Straight to bed
      Oh, my head!
      In my dreams they moved the bed
      I faw down an' go boom!"

      VERSE:

      You go boom
      An' I go boom
      An' we all faw down
      No use for crying,
      No need to frown.

      The boy worthwhile
      Is the boy who'll smile
      With tears in his eyes
      What's a mere boom to
      A fellow who's wise?

      CHORUS:

      "I took sweetie out to dine,
      Out to dine,
      She said "fine,"
      When she ordered up some wine,
      I faw down an' go boom!

      Then I asked my pretty miss,
      Pretty miss,
      For a kiss,
      With a bang she said "take this!"
      I faw down an' go boom!

      I cried
      An' cried
      An' said "I love you"
      She laughed
      An' laughed
      An said "no jokin', you're provokin'"
      We got home to my surprise
      My surprise
      She told lies
      Hubby hit me 'tween the eyes
      I faw down an' go boom!"


      Tain't No Sin (To Dance Around in Your Bones)
      Music: ~Walter Donaldson

      Lyrics: ~Edgar Leslie
      Publisher: Walter Donaldson
      Copyright: ©1929/1955
      Cover: Pud Lane

      Dancing may do this and that, and help you take off lots of fat.
      But I’m no friend of dancing when it’s hot.
      So if you are a dancing fool, who loves to dance but can’t keep cool,
      Bear in mind the idea that I’ve got.

      Chorus
      When it gets too hot for comfort, and you can’t get ice cream cones,
      Tain’t no sin to take off your skin and dance around in your bones.
      When the lazy syncopation of the music softly moans,
      Tain’t no sin to take off your skin and dance around in your bones.

      The polar bears aren’t green up in Greenland, they’ve got the right idea.
      They think it’s great to refrigerate while we all cremate down here.
      Just be like those Bamboo Babies, in the South Sea tropic zones,
      Tain’t no sin to take off your skin and dance around in your bones.

      Chorus
      When you’re calling up your sweetie in those hot house telephones,
      Tain’t no sin to take off your skin and dance around in your bones.
      When you’re on a crowded dance floor, near those red hot saxophones,
      Tain’t no sin to take off your skin and dance around in your bones.

      Just take a look at the girls while they’re dancing. Notice the way that they’re dressed.
      They wear silken clothes without any hose and nobody knows the rest.
      If a gal wears X-ray dresses, and shows everything she owns,
      Tain’t no sin to take off your skin and dance around in your bones.

      TubaGirlFin
      brought to you by...

      ~confetta

      Special Thanks To:
      The Red Hot Jazz Archives,
      The Big Band Database, Scott Yanow,

      and all those who have provided content,
      images and sound files for this site.

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