Saturday

FEBRUARY 12TH

Lyrics and Music by Ida Emerson and Joseph E. Howard (1899).



BIRTHDAYS


1900
Pink Anderson
vocals/guitar
b. Lawrence, SC, USA. d. 1974.
A good-natured finger-picking guitarist, Anderson played for about 30 years as part of a medicine show. He did make a couple of sides for Columbia in the late '20s with Simmie Dooley, but otherwise didn't record until a 1950 session, the results of which were issued on a Riverside LP that also included tracks by Gary Davis. Anderson went on to make some albums on his own after the blues revival commenced in the early '60s, establishing him as a minor but worthy exponent of the Pidemont school, versed in blues, ragtime, and folk songs. 
1912
Paul Bascomb, Tenor Sax
b. Birmingham, AL, USA.
d. 1986.
It is easy to divide Paul Bascomb's career into two, for he was a top soloist with Erskine Hawkins' swing orchestra and later on recorded a popular series of early rhythm & blues records. The brother of trumpeter Dud Bascomb (another star of the Hawkins band), the tenorman was one of the founding members of the 'Bama State Collegians (which eventually became the Erskine Hawkins big band) in the early '30s and, except for a period in 1938-1939 when he replaced the late Herschel Evans with Count Basie's orchestra, he was with Hawkins until 1944. Bascomb co-led groups with Dud (1944-1947) and in the early '50s recorded extensively for the United label; the accessible performances have been partially reissued by Delmark. Paul Bascomb was active (if maintaining a low profile) into the mid-'80s.
~ Scott Yanow
1914
"Tex" Beneke, Tenor Sax/vocals
b. Fort Worth, TX, USA.
d. May 30, 2000, Costa Mesa, CA, USA -
Respiratory Failure.
né: Gordon Beneke.
Best recalled for his outstanding work with the Glenn Miller Orch.
The name Tex Beneke is inevitably linked to that of Glenn Miller, despite the fact that Beneke outlived Miller by over a half century. As the most popular member of Miller's pre-World War II orchestra, featured on songs such as "Chattanooga Choo Choo" and "Don't Sit Under The Apple Tree," Beneke became a major fixture in the popular culture of the period, and following Miller's death in December of 1944, and the reforming of the Glenn Miller Orchestra after World War II, he accepted the offer to lead the new band.
Beneke, however, had a lot to offer the music world beyond his vocals on some fondly remembered hit songs. He began playing the saxophone at age nine, first with the alto and then with the tenor, and played in local and regional bands in Oklahoma and Texas during the early and middle 1930's. A gig playing with a band led by Ben Young brought him to Detroit, where he was spotted by Sam Donahue, then a saxman in Gene Krupa's band--Krupa was unable to hire Beneke but informed a friend of his in New York of this promising new player. The friend was Glenn Miller, who'd recently begun forming a band of his own, and Beneke was hired, joining the orchestra in the spring of 1938--it was with Miller's band that Beneke picked up the nickname "Tex."
The Miller orchestra struggled until the summer of 1939, when an engagement at the Glen Island Casino and a series of radio broadcasts made it a national sensation. Beneke played and sang with the orchestra, and became a star in his own right. He stayed until 1942, when Miller broke up the band to join the U.S. Army Air Force as a band leader. Beneke was drafted into the navy and led a military dance outfit at a base in Oklahoma.
After the end of the war, when a new Glenn Miller Orchestra was formed, Beneke took on the leadership, debuting in January of 1946 at the Capitol Theater in New York City. The orchestra, formed under the auspices of Miller's widow and his estate, was intended to emulate the sounds of the pre-war Miller band and his Army Air Force band--this included the presence of 13 string players in the 31 piece outfit, making it, along with Harry James's orchestra, one of the few big bands to include strings.
They were an immediate success, compiling an enviable array of hits for five years. One gig, in particular, stood out--in December of 1947, a year after the near-collapse of the big-band business, at the Hollywood Palladium, Tex Beneke and the Glenn Miller Orchestra played to a record-breaking crowd of 6, 750 dancers. 
Despite this extraordinary popularity, however, Beneke wasn't entirely happy with the restrictions placed by the estate on the band's music--they were required to stick entirely to the familiar reed-centered sound that Glenn Miller had practically trademarked. 
Although a reed player himself, Beneke saw other possibilities, but was never allowed to experiment, despite his protests that Miller himself had always been open to the idea of experimentation, and had expressed his intention to move away from his familiar reed sound after the war, having gone as far with it as he felt he could.
Finally, at the end of 1950, Beneke left the band and parted company also with Miller's estate. He later organized his own band which, like similar reconstituted big-bands led by '40s music icons such as Harry James, managed to thrive amid the rock 'n roll, folk-rock, psychedelia, disco, and punk eras, right to the present day. More than 60 years after he became a professional musician, he continued to lead big bands, doing the music that he helped popularized two generations ago. Beneke died May 30, 2000 from respiratory failure at the age of 86.
~ Bruce Eder
1894
Red Clark, Trombone
b. New Orleans, LA, USA.


1914
Harold "Hal" Edstrom
bandleader/music publisher
b. Worthington, Minnesota, USA
d. Feb. 23, 1996, Winona, Minnesota, USA


1916
Leroy W. Harris Jr.
Sax/Clarinet
b. St.Louis, MO, USA
d. Feb. 16 2005.


1867
Joseph E. Howard, composer
b. New York, NY, USA.
d. May 19, 1961, Chicago, IL, USA.
Joseph E. Howard hit the road as an eight-year-old runaway and landed in St. Louis, where he survived by singing in saloons and peddling newspapers. Vaudeville was where he obviously belonged, and at the age of 11, the boy soprano was back on the road as a performing member of a touring variety show. When he was 17, Joe met up with a young lady by the name of Ida Emerson who, in Howard's lifelong matrimonial progression, was destined to be wife number two. Touring the Midwestern vaudeville circuit, they livened up Chicago and then descended upon New York, where they enjoyed a warm reception at Tony Pastor's Music Hall on 14th Street.
The song that brought them lasting fame and success was a syncopated novelty telephone number called "Hello, Ma Baby," published in 1899. It sold over a million copies of sheet music within a couple of months. A sequel, "Goodbye, My Lady Love," appeared in 1904. Howard performed and composed his ditties in Chicago from 1905 to 1915. He was responsible for a slue of melodies with titles like "On the Boulevard," "On a Saturday Night," "What's the Use of Dreaming?," "I Don't Like Your Family," "When You First Kiss the Last Girl You Love," "Blow the Smoke Away," and "A Boy's Best Friend Is His Mother."
The tune that is invariably linked with his name is "I Wonder Who's Kissing Her Now?," a cry-in-your-beer waltz first performed in the 1909 Broadway musical The Prince of To-Night. Howard appears to have been steadily less active after 1915, although during the next quarter of a century, he never fully ceased performing. His second wind occurred in 1939 and lasted well into the middle of the next decade, as Howard collaborated with raspy-voiced bawdy showgirl Beatrice Kay on a Gay Nineties radio program, dredging up his earlier successes and delighting the listening public with apparently irresistible examples of already long-gone American entertainment. Howard made a few phonograph recordings, for the Decca and Vocalion labels.
In 1947, a motion picture called I Wonder Who's Kissing Her Now was based upon Howard's life. It starred Mark Stevens and had the singing voice of Buddy Clark dubbed in. Suddenly, a lawsuit surfaced in response to the release of this film. Plaintiff Harold Orlob claimed that he had once worked for the defendant back in Chicago, generating extra songs for Howard's musical productions. Howard had automatically assumed the rights to all of those songs, including the big hit in question. Orlob's suit was successful, but he refused any kind of financial compensation. All he wanted was to have his name on the song without anyone else horning in for unearned credit. Yet the song continues to be associated with Howard, who appeared in clubs, over the radio, and on television. Even after retiring, he emerged from time to time in order to sing at benefit shows for worthy causes. Joe Howard dropped dead during a curtain call at the Chicago Opera House on May 19, 1961.
~ arwulf arwulf
Joseph E. Howard

1919
Bernie Privin, Trumpet
b. New York, NY, USA
d. October 8 1999.
A technically skilled trumpeter and an underrated trumpeter, Bernie Privin spent most of his career working in the studios, emphasizing his skills as a lead and section trumpeter. Self-taught, Privin was still a teenager when he played in the bands of Harry Reser (1937), Bunny Berigan and Tommy Dorsey (1938). He gained some recognition for his work with the orchestras of Artie Shaw (1938-39), Benny Goodman (1941-42) and Charlie Barnet (1940-41 and 1943).
While in the military, Privin was an important part of the Glenn Miller Army Air Force band. After a second stint with Benny Goodman (for whom he would rejoin several times in later years for tours), Privin became a staff musician at CBS in 1950 and he worked steadily in the studios for the next three decades. The trumpeter recorded prominently with Al Caiola (1955), toured with the Tommy Dorsey ghost band and worked with the New York Jazz Repertory Company in the mid-1970's. He only led two albums in his career, a set for Regent in 1956 and a very obscure date for HMT in Sweden in 1969.
~ Scott Yanow

1909
Barry Wood, Vocal
b. New Haven, CT, USA.
d. 1970.
Barry Wood




Notable Events 
Occurring 

On This Date Include: 



1924.
Paul Whiteman's Symphonic Jazz program, presented at New York's Aeolian Hall. featured the first public performance of George Gershwins "Rhapsody In Blue" (with Gershwin himself at the piano). Distinguished guests included John Philip Sousa and Jascha Heifetz.
Paul Whiteman's ''Experiment in Modern Music''



*1937.
Mildred Bailey recorded
"More Than You Know" (Decca).


1949.
Seymour Simons, songwriter
died in Detroit, MI, USA.


1965.
John Hays Hammond, Jr.
(Hammond Organs)
died in New York, NY, USA.
Age: 76.




1967.
Muggsy Spanier, trumpet
died in Sausalito, CA, USA.

1970.
Ishman Bracey, guitar
died in Jackson, MS, USA.
Age: 69.



1978.
Robert McCoy, piano
died in Birmingham, AL, USA.
Age: 68.
Robert McCoy



1983.
Eubie Blake
piano/composer
died in New York (Brooklyn), NY, USA.
Age: 96.
né: James Hubert Blake


1992.
Andy "Blake" Blakeney, trumpet
died in Baldwin Park, CA, USA.
Age: 93.




Songs Recorded/Released
On This Date Include:



1923



Art Landry and his Call Of The North Orchestra
  • Secrets

1927


Fess Williams and his Royal Flush Orchestra - My Pretty Girl

1928




Earl Hines - I Ain't Got Nobody



1929


King Mutt and his Tennessee Thumpers






LYRICS:


Hello! Ma Baby (1899)
~Lyrics and Music by
~Ida Emerson and Joseph E. Howard

I've got a little baby, but she's out of sight,
I talk to her across the telephone;
I've never seen ma honey, but she's mine, all right;
So take my tip, and leave this gal alone !
Ev'ry single morning, you will hear me yell,
"Hey Central ! fix me up along the line."
He connects me with ma honey
Then I ring the bell,
And this is what I say to Baby Mine:

Hello ! ma Baby,
Hello ! ma honey,
Hello ! ma ragtime gal,
Send me a kiss by wire,
Baby, my heart's on fire !
If you refuse me,
Honey, you'll lose me,
Then you'll be left alone;
Oh baby, telephone
And tell me I'm your own,
Hello ! hello ! hello ! there ! "
(repeat chorus)

This morning, through the phone,
She said her name was Bess.
And now I kind of know where I am at;
I'm satisfied because I've got my babe's address,
Here, pasted in the lining of my hat.
I am mighty scared,
'Cause if the wires get crossed,
'Twill separate me from ma baby mine,
Then some other guy will win her,
And my game is lost,
And so each day I shout along the line:

"Hello ! ma Baby,
Hello ! ma honey,
Hello ! ma ragtime gal,
Send me a kiss by wire,
Baby, my heart's on fire !
If you refuse me,
Honey, you'll lose me,
Then you'll be left alone;
Oh baby, telephone
And tell me I'm your own,
Hello ! hello ! hello ! there !




Whether you are here or yonder
Whether you are false or true
Whether you remain or wander
I’m growing fonder of you
Even though your friends forsake you
Even though you don't succeed
Wouldn't I be glad to take you
Give you the break you need

More than you know
More than you know
Man of my heart, I love you so
Lately I find
You're on my mind
More than you know
Whether you're right, whether you're wrong
Man of my heart, I'll string along
You need you so
More than you'll ever know
Loving you the way that I do
There's nothing I can do about it
Loving may be all you can give
But honey, I can't live without it
Oh how I'd cry, oh how I'd cry
If you got tired, and said goodbye
More than I'd show
More than you'd ever know.

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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