Thursday

FEBRUARY 17TH




BIRTHDAYS




J.T. Adams and Shirley Griffith
1911
J. T. Adams, guitar
b. Morganfield, KY, USA.
J. T. Adams (July 17, 1926 – September 1993) was an American singer, musician, record label founder and dramatist, the creator of Worthy Is the Lamb.



1906
Wallace Bishop, Drums
b. Chicago, IL, USA.
d. 1986 
Biography ~by Scott Yanow 
A subtle and supportive drummer who was one of the finest of the swing era, Wallace Bishop (often known as "Bish") was greatly underrated by every one but his fellow musicians. He began playing drums when he was a teenager and had an opportunity to study with Jimmy Bertrand. He started playing professionally in 1926 with Art Simms' Orchestra in Milwaukee. Bishop toured with Jelly Roll Morton and gigged with Bernie Young, Hughie Swift, Richard M. Jones and Thomas Dorsey. He was with Erskine Tate in Chicago during 1928-30 and then was an important part of the Earl Hines Orchestra (1931-37) where he gained his reputation.
Other associations included Jimmie Noone (1941), Coleman Hawkins (1943), Don Redman, Foots Thomas, Phil Moore, John Kirby (1946), Sammy Price, Sy Oliver and Billy Kyle. During a visit to Europe with Buck Clayton in 1949, Bishop decided to permanently become an expatriate and he only visited the U.S. briefly three times during his later years. Overseas, Bishop was quite busy as a mainstream drummer, performing with Bill Coleman, Don Byas, Ben Webster, Kid Ory (during a 1956 tour), Earl Hines, Milt Buckner, Buddy Tate, T-Bone Walker and a variety of top European players. Wallace Bishop, who only recorded two trio numbers as a leader (for the French Chant du Monde label in 1950), appeared on record quite frequently as a sideman, particularly for the Black & Blue label in the late 1960's and 70's. 
Wallace Bishop - Wikipedia



1899
Harvey Oliver Brooks
Piano/composer
b. Philadelphia, PA, USA.
d. June 17, 1968
Biography ~by Eugene Chadbourne 
Following a stream is a good course of action when lost in the woods, but listeners trying to find their way through the classic jazz of the '20s and '30s may find it hard to tell one brook from another. This is especially true in the case of pianist and composer Harvey Brooks, no relation to but often confused with pianist and composer Harry Brooks. The latter man is the one who co-wrote "Ain't Misbehavin'," among many other titles in a catalog as thick as a rich-man's wallet. Harvey Brooks, on the other hand, was a journeyman keyboard artist whose career began in the early '20s on tour with classic blues singer Mamie Smith; the final word on who he is not is that he is also not related to the prolific studio bassist of the same name.
The pianist Brooks headed for California after leaving Smith's employ. He became one of the co-leaders of the Quality Four combo, also involving Paul Howard, for whom he also followed marching orders in Paul Howard's Quality Serenaders through 1930. The first half of the subsequent decade was a splash of dates with Les Hite's Orchestra across the calendar pages, but following this experience Brooks decided to lead his own outfit. While attempting to establish this group, he also began working as a music director on film projects.
New Orleans jazz listeners of the early '50s began noticing the steady yet lively pianist as part of the Kid Ory band, from which his next step was a band led by trumpeter Teddy Buckner. In the late '50s, Brooks performed with Louisiana reedman Joe Darensbourg. The Young Men of New Orleans ensemble developed into Brooks' passion in the '60s, and at the time of his death he was operating as this fine ensemble's leader.
Harvey Oliver Brooks



1907
Harry Dial, Drums
b. Birmingham, AL, USA
d. Jan. 25, 1987 
Biography
~by Eugene Chadbourne 

Harry Dial was one of the classic drummers of the early jazz world, his specialty keeping time behind artists known for their fun and pep. In fact, a glance at Dial's discography is something like a partial scan of the most entertaining albums of all time, because such a list would surely include sides by two guys named Louis -- Armstrong and Jordan -- as well as Fats Waller and Ella Fitzgerald. Dial was a solid, energetic drummer who pushed the beat forward without cluttering the airspace, leaving plenty of room for Waller's muttered asides or Satchmo's famous behind the beat phrasing. His use of the sock cymbal and his fat, marching band snare drum sound are often imitated.

Dial also was one of the rare breed of singing drummers, the vocal side of his talents usually only exposed when he was in charge of the band. He was allowed to make comments on records with Fats Waller, the best example of which is the introduction to the upbeat "Don't Let It Bother You." Waller tells his drummer that he looks glum and asks him if there's anything wrong, to which Dial replies: "Oh man everything's wrong! My old lady done ran off with the iceman. And my daughter ran off with the undertaker. And I'm about to die and ain't got nobody to bury me!"
He began playing drums when he was a teenager and had an opportunity to study with Jimmy Bertrand. He started playing professionally in 1926 with Art Simms' Orchestra in Milwaukee. Bishop toured with Jelly Roll Morton and gigged with Bernie Young, Hughie Swift, Richard M. Jones and Thomas Dorsey. He was with Erskine Tate in Chicago during 1928-30 and then was an important part of the Earl Hines Orchestra (1931-37) where he gained his reputation.

Dial's career as a bandleader included a series of sides for Vocalion beginning in 1930. The group, whose recordings included the deadly "Poison," was known as Harry Dial's Blusicians (sic), and included players such as banjoist Eursten Woodfork, trumpeter Shirley Clay (a man), and the fine alto saxophonist Lester Boone. Some of this material has been reissued on the compilation Chicago 1929-1930: That's My Stuff. He was already recording with Armstrong around this time, and began cutting tracks with Waller as as member of Fats Waller's Rhythm before the middle of that decade. It might have taken him an additional ten years to master the art of playing the maracas, since he seemed to find a way to include the delicate shakers on just about every funny style of music he played with Jordan beginning in the mid-'40s when he enlisted in the Tympany Five.
In the late '40s, he took another crack at recording under his own name, producing "Prince's Boogie" for Decca with one of the earliest versions of the catchy "Diddy Wah Diddy" on the flipside. Dial liked to write as well, beginning with a song entitled "Don't Play Me Cheap," recorded by the famous Armstrong. His songs were also recorded by the merely infamous, a category that would not exist if it didn't include a singer named Bea Booze, who cut Dial's "Catchin' as Catch Can" for Decca in 1942. Many years later, the drummer published his All This Jazz About Jazz: The Autobiography of Harry Dial. He is no relation to the young Tennessee blues and country guitarist and songwriter Harry Dial, and also was not the inspiration for the Harry Dial character played on Murder She Wrote by tough guy Vince Edwards. 
Finally, the dapper, suave Dial would have felt it important that he is most certainly not the Harry Dial who made it into the Guiness Book of World Records by claiming to have gone 78 years without bathing. 

Music by James F. Hanley
1892
James F. Hanley, songwriter
b. Renselaer, IN, USA,
d. Feb. 8, 1942, Douglaston, NY, USA. 
Biography
Three Wonderful Letters From Home~by Steve Huey
Best remembered for "Zing! Went the Strings of My Heart," James F. Hanley was an archetypal Tin Pan Alley professional who composed numerous songs for stage and film, mostly during the early '20s. Hanley was born February 17, 1892, in Renselaer, IN, and that would inform his first major hit, 1917's "(Back Home Again In) Indiana"; written with lyricist Ballard MacDonald, "Indiana" was in part a tribute to Paul Dresser's sentimental, then-recent hit "On the Banks of the Wabash." Hanley and MacDonald teamed up for another significant success, 1920's "The Rose of Washington Square," which became Fanny Brice's signature song; Brice also popularized a follow-up, "Second Hand Rose." Hanley subsequently worked with lyricist Joe Goodwin, which produced songs like "Gee, but I Hate to Go Home Alone" and "Just a Thought of You." Hanley had little success after 1925, save for one major hit in 1935 with "Zing! Went the Strings of My Heart," for which Hanley wrote the lyrics as well as the music; a young Judy Garland recorded the song and turned it into a standard. Hanley passed away in Douglaston, NY, in 1942.
Songwriters Hall of Fame - James F. Hanley Exhibit Home




Alex Hyde 1923
Alex Hyde (February 17, 1898 - July 7, 1956) 
was an American jazz bandleader and violinist. 
Pictured here in his passport photo with wife, Estelle. 
PHOTO: Courtesy Dave Miller: puzzlemaster
1898
Alex Hyde
violin/leader
d. July 7, 1956
Biography 

~by arwulf arwulf
Born in Hamburg, Germany, on February 17, 1898, Alex Hyde became a U.S. citizen while still an infant, after emigrating with his parents. Tutored by a professional violinist, he performed in New York cafés and worked for a while with Mike Denzi's Red Devils. Hyde is said to have visited Germany immediately after WWI, entertaining U.S. military personnel in the occupied Rhineland. During the early '20s, Hyde led one of Paul Whiteman's numerous offshoot bands, the Romance of Rhythm Orchestra. Hyde's first recordings were made with this group in Montreal in 1923 and subsequently issued on the Victor label. His next move was to relocate to London, England, where from December 1923 throughout much of 1924, Hyde led a British jazz band at the Piccadilly Hotel, sharing the bill with Jack Hylton.

On May 1, 1924, Alex Hyde's Orchestra made its debut at the Tivoli Variete in Hanover, Germany, but this engagement soon teetered on the brink of financial disaster. Just as the unpaid ensemble was about to dissolve, a Russian dancer by the name of Ivan Bankoff paid all of Hyde's debts and took the band under his wing. Alex Hyde's New York Orchestra now took Berlin by storm and stood the German public on its ear with a species of corny, "doo-wacka-doo" hot novelty dance music. Hyde's enormous popularity has been attributed to snappy arrangements and the introduction of buzzer mutes and Besson B flat trumpets in an environment where only rotary valve C trumpets had been regularly used. After playing Munich's Deutches Theater in June 1924, Hyde disbanded, sailed for the U.S., and returned to Germany in 1925 with a much better, more authentic hot jazz ensemble. This put him in Berlin at about the same time as Sam Wooding's Chocolate Dandies. By the end of the 1920s and throughout the 1930s, Hyde assembled and produced a series of all-female orchestras. He then retired from music to co-manage an insurance company with his brothers and passed away in Santa Monica, CA, on July 7, 1956.
Alex Hyde - Wikipedia


1905
Orville "Hoppy" Jones, vocals
d. Oct. 18, 1944.
né: Orville Jones. 
Member: 'The Ink Spots'
For this performer a nickname based on hopping is only a step in the right direction. Orville "Hoppy" Jones used his vocal talents to create actual walking, not hopping, bass lines on many popular records by the vocal group The Ink Spots. He thereby spawned legions of imitators whose low-end rumblings, would be quite threatening if amassed but retain a great deal of charm on their own. Jones also deserves distinction as part of the elite who keep performing right up to the end, in his case the sad event coming in 1944 while onstage at the Cafe Zanzibar in New York City.
What eventually became the original Ink Spots line-up evolved out of several Cincinatti groups in which Jones was a member in the early '30s, a trio called the Three Peanut Boys and the plus-one Four Riff Brothers. In photographs of the riffy quartet,Jones is shown playing a tenor guitar which is held up by a cane, quite an interesting arrangement.
The Ink Spots first performed in 1934 and began recording the following year. By then the combo had evolved its own style, expanding beyond earlier mimicry of popular performers such as Fats Waller. Jones began performing in what would be called his "patter" style during a radio broadcast in 1935, creating a deeply-voiced spoken interlude that was just the kind of event listeners looked forward to, and wanted to repeat. While the high quality of the group's falsetto singing is never questioned, a combination of Jones' vocal techniques and his onstage personality made him a focal point of the group.
He was replaced by Cliff Givens, the group itself becoming a cliche example of a line-up changing so much that the audience has no idea if any of the membership is actually entitled to be there. Franchising and illegal duplicate versions of the group furhter blotted the reputation of the Ink Spots while strengthening even further Jones' stylistic stranglehold over the bass singer's role in vocal groups. He was a huge influence on both David Ruffin and Eddie Kendricks of the Temptations. Examples of Jones' unique vocalizing include the 1938 "When The Sun Goes Down"--in which he imitates a guitar solo--and the breakthrough "If I Didn't Care", featuring one of Jones' "talking" bridges.

1904
Enric Madriguera
b. Barcelona, Spain
d. Sept. 5. 1973, Danbury, CT, USA.
A child prodigy of the violin, Enric arrived in the US at the age of 14 with his sister Paquita Madriguera, a child prodigy of the classical piano. They were sponsored by the Aeolian Company and toured the US. After Paquita went to South America ---much later marrying Andres Segovia, Enric went to Havana and became director of the Havana Symphony. He fell in love with Cuban Ensemble music with he introduced to NY audiences in the 1920's.

The (NYC) Lincoln Center Library did an exhibition on Swing and Latin Music (1997) in which Enric had a large part. His orchestra of the 1930's and '40s came after his Cuban orchestra. Enric was not only a pioneer in bringing Cuban Ensemble music to the U.S.A (in mid-1920s), but very greatly helped in popularizing Rumba, Tango, and Conga, through his Radio, stage and recordings.


Enric Madriguera - Wikipedia



1917
Adrian "Lazy" Ade Monsbourgh
Reeds/Leader
b. Melbourne, Australia 
Biography 
~by Scott Yanow
One of the top Australian musicians active in the trad jazz movement, Lazy Ade Monsborough was an important force and a popular figure for decades in his native country. A versatile multi-instrumentalist who mostly played clarinet and alto, Monsborough was also a decent trumpeter and trombonist. Monsborough studied piano first before taking up reeds, valve trombone, trumpet and even recorder. He met pianist Graeme Bell early on and was part of his influential band regularly during 1944-52.
Monsborough made many recordings with Bell's freewheeling band (with whom he toured Europe and Czechoslovakia) and had occasional opportunities to lead his own dates. In addition to playing with groups led by Roger Bell, Dave Dallwitz, Len Barnard and Frank Traynor, Ade Monsborough headed his own bands (which were called his Late Hour Boys), recording prolifically for Swaggie through 1971. He retired from fulltime playing in the 1970's.
Lazy Ade Monsborough
Ade Monsbourgh, 1917-2006
'Lazy Ade' Monsbourgh - Obituaries




1907
Dick Reinhart
(Western Swing) vocals
b. Tishomingo, OK, USA.
Hillbilly-Music.com - Dick Reinhart



1906 Italic
Charlie Spivak
Leader/trumpet
b. Kiev, Ukraine
d. Mar. 1. 1982 Greenville, SC, USA. 
Biography
~by Scott Yanow

Despite coming up in the jazz world and spending his life around jazz musicians, Charlie Spivak rarely improvised and was most notable for his pretty tone. He moved to the U.S. with his family as a small child and grew up in New Haven, Connecticut.

Spivak began playing trumpet when he was ten, gigged locally as a teenager and worked with Don Cavallaro's Orchestra. During most of 1924-30 he was with Paul Specht's Orchestra, primarily playing section parts where his tone was an asset. Spivak was cast in the same role with Ben Pollack (1931-34), the Dorsey Brothers (1934-35) and Ray Noble.
He worked in the studios during most of 1936-37 and then had stints with the orchestras of Bob Crosby, Tommy Dorsey and Jack Teagarden. Spivak formed his own band in November 1939 (financed by Glenn Miller) and, although his first orchestra failed within a year, his second attempt shortly after was more successful; in fact Charlie Spivak became a major attraction throughout the 1940's and he kept his band together until 1959.

Spivak lived in later years in Florida, Las Vegas and South Carolina, putting together orchestras on a part-time basis, staying semi-active up until his death at the age of 75. Among his better recordings were his theme "Let's Go Home," "Autumn Nocturne" and "Star Dreams." Charlie Spivak, who recorded as late as 1981, was married to singer Irene Daye (who was formerly with Gene Krupa's Orchestra). 

Charlie Spivak - Wikipedia

1911
Orrin Tucker, Leader
b. St. Louis, MO, USA.
(Still active. 2003) 
Biography 
~by Eugene Chadbourne
Bandleader Orrin Tucker has earned a star on the downtown St. Louis Walk of Fame. Through the '90s he comfortably coasted on a reputation as a director of polished easy listening big bands, performing and recording live at the nation's poshest hotels. In his early days, he claims to have made musical history, leading the first band to be signed and recorded by a brand new record company called Columbia. This was in 1939, the year his recording of "Oh Johnny" sung by pint-sized vocalist Wee Bonnie Baker, became a hit and rested comfortably atop the hit parade for many weeks. 
Six decades later, Tucker's own Bermuda House would manufacture their own product and distribute it over the Internet, but back then keeping up with the demand for his records was apparently similar to having the Columbia record facilities hit by a typhoon. Production was delayed on scheduled recording sessions with the likes of Harry James and Benny Goodman so that the company could toss money at its pressing plants, infuriating Goodman to the point that he would go red in the face whenever the bandleader's name was mentioned. Tucker proceeded to cut more than 70 records including six which sold over a million copies each.

Those who remember him from the old days in St. Louis couldn't be more surprised. As a young man he had studied to be a doctor, but also learned to play saxophone. He formed his first band in college, and was invited by an impressed Chicago agent to play a New Orleans gig. Like many a gung-ho bandleader, Tucker borrowed from his own bank account to fund the trip, even though he had only enough money to get them there, not back. Luckily, the New Orleans gig led to another one in Kansas City, then expanded to a run of local theaters. 
During this period, the bandleader exercised yet another talent. Something of a shade-tree inventor, Tucker built a series of gimmicky light boxes for his musicians. Pictures of musical notes, symbols, and colors for different sections would flash during each song. Other songs were livened up by props, such as beer drinking numbers in which the players held up special Tucker-designed mugs upon which the names of whatever towns they were in could be dabbed with fluorescent paint. Novelties such as this helped build a reputation for the group.
During the early years of the band, Tucker was the only vocalist, until he got a tip one night from a musician that was certainly worth taking advice from, Louis Armstrong. Satchmo was fond of the cute voice of Wee Bonnie Baker, which turned out to be just the thing to help push the Tucker band over the top, leading to the Columbia signing. The female singing star must have been so "wee" that the bandleader thought she might need some protection, so he dubbed a group of background singers the Bodyguards. Other vocalists who worked with the band include Helen Lee and Scottee Marsh. Winding up with such success as a bandleader might have been a prescription for artistic egomania, but instead Tucker apparently both realized his limitations and that his orchestra's strength was in providing dance music for the middle-aged crowd. He remained active until health problems forced him to cool it during the '90s. 
Orrin Tucker - Wikipedia
Solid! -- Orrin Tucker





Notable Events 
Occurring 

On This Date Include:




1967.
Smiley Burnette
(Western) singer-songwriter/actor/comedian, died.

 
1975.
Eck Robertson
C&W fiddler
died.


1982.
Thelonious Monk, piano
died in Weehawken, NJ, USA.
(stroke) 
Age: 64.

Thelonious Monk - Wikipedia



1992.
Sallie Blair, vocals
died in Baltimore, MD, USA.
Age: 68.
Sang with Cab Calloway's orch.




1993.
Sammy Lowe
trumpet/arranger/producer
died in Birmingham, AL, USA.
1993.
Al Rivers, vocals
died in Portland, OR, USA.
Age: 65.
Member: 'The Ink Spots'


1993.
Morgan Smith
Apollo Theatre photograper
died in New York (Manhattan), NY, USA.
Age: 83.




Songs Recorded/Released
On This Date Include:



1923



Eva Taylor - 12th Street Rag


1925




The Tennessee Tooters - Everybody Loves My Baby
  • Jacksonville Gal


Emerson Gill And His Orchestra - Birmingham Bound
  • That's My Girl
  • You Should Have Told Me [You Were Only Fooling]
  • No Wonder [That I Love You] 

1926




Percival Mackey's Band
  • Serendade
  • Catchy Melody
  • Creep Into My Arms
  • Deep In My Heart, Dear

1927



Jackie Souder and his Orchestra - Gonna Get A Girl
  • Promise

1927



Bessie Smith - Back-Water Blues - Piano accompaniment by James P. Johnson


1928



Original Indiana Five - Moten Stomp

1930



Missourians - Prohibition Blues
Harry Reser and his Orchestra - Puttin' On The Ritz
  • With You

1932



Eddie Lang

1936



Red Mckenzie and his Mound City Blue Blowers

1933




Glen Gray Orch. - Casa Loma Stomp


LYRICS:


Twelfth Street Rag


In a certain city, where the girls are cute and pretty,


They have a raggy, jazzy jazz-time tune.
When you hear that syncopated jazz created melody
You could dance all morning night and noon,
When the slide trombone and moaning saxophone begin to play,
It will make you sad, 'twill make you glad.
Oh boy, what joy,
Burn my clothes for I'm in Heaven, wish I had a million women.

Solomon in all his glory, could have told another story,
Were he but living here today,
With his thousand wives or more, a jazz band on some Egypt shore,
He could dance the night and day away.
I will tell you how they dance
That tantalizing 12th Street Rag.

First you slide, and then you glide, then shimmie for a while;
To the left, then to the right, "Lame Duck," "Get over Sal"
Watch your step then Pirouette, Fox Trot, then squeeze your pal
O-ver you comes stealing such a funny feeling, 'till you feel your senses reeling.
Tantalizing, hypnotizing, mesmerizing strain,
I can't get enough of it, please play it o'er again;
I could dance forever to this refrain,
To that 12th Street, oh you 12th Street Rag.

Jazz-time music is the rage, this is a syncopated age,
ev'ry body loves a jazz-time tune.
For the music captivating, sets your heart a palpitating
You just can't make your feet behave.
Ancients youths of sixty-four, do steps they never did before,
Father time is mad, no one grows old.
Oh boy, what joy,
Put your loving arms around me, say babe, ain't you glad you found me.

Cleopatra on the Nile, could vamp right in the latest style,
If she'd only known this ragtime tune;
Old King Cole a merry soul, called for his pipe and then his bowl,
And the first jazz band his fiddlers three.
Play, oh play me while I dance
That tantalizing 12th Street Rag.

First you slide, and then you glide, then shimmie for a while;
To the left, then to the right, "Lame Duck," "Get over Sal"
Watch your step then Pirouette, Fox Trot, then squeeze your pal
Over you comes stealing such a funny feeling, 'till you feel your senses reeling.
Tantalizing, hypnotizing, mesmerizing strain,
I can't get enough of it, please play it o'er again;
I could dance for ever to this refrain,
To that 12th Street, oh you 12th Street Rag.


Composed by Euday L. Bowman.
Lyrics by James S. Sumner.

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.

No comments: