Blanche Calloway
vocal, leader
d. 1978, USA.
~by Eugene Chadbourne
Although she was hardly the model for the song character of Minnie the Moocher, Blanche Calloway was the sister of both famous jive bandleader Cab Calloway and the lesser-known performer Elmer Calloway. Her first high-profile gigs were at the lively Ciro Club in New York City in the mid-'20s, leading to widespread touring with various revues and territorial bands.

Some of these groups would establish residencies at Chicago clubs, giving the singer something of a foothold in the Windy City jazz scene. Of even more importance was a long stint at the Pearl Theatre in Philadelphia in 1931, where she was the front-line singer for the Andy Kirk band. The next challenge was leading a group on her own, a process which continued through the fall of 1938. Although there were periods of success, the final chapter in her story as a bandleader would have to be numbered 11, literally.

Official records from the year indicate that she filed for bankruptcy under her married name of Blanche Calloway Pinder, a move that made the dismantling of her musical group a necessity. 

In the '40s and '50s she continued working as a solo artist, and in the '60s she became the programming director of a radio station in Florida. She returned to her native Baltimore and retired the following decade.

Charlie Bailey, (Bluegrass)
b. Happy Valley, TN, USA.

Erskine Butterfield
d. May or July 11, 1961 
Biography by 
~Eugene Chadbourne 
The professional career of this pianist and prolific recording artist began when he wandered into the publishing offices of then successful recording artist and composer Clarence Williams with hopes of selling and song or two. It was the mid '30s, and whatever songs Erskine Butterfield had on tap at that time have been forgotten since Williams nor anyone else was ready to publish them. Williams did recognize the man's musical potential , however, hiring Butterfield right then and there as a pianist, and according to legend teaching him to play the blues.
That Butterfield might have been lacking in that musical department makes sense in the perspective of his entire career. While some of his eventual hit recordings came out of the boogie woogie camp, Butterfield continually attempted to come up with something more sophisticated, adding aspects of classical and jazz to his creations. He can be credited with helping to invent the style of cocktail piano, but it was a notion that the public did not embrace at first in the early days of rock and roll. Thus, recording companies he was involved with eventually left him by the wayside, one of many talented players who were sidetracked by the rock avalanche.

After a period of working as Williams' manager, Butterfield went out on his own and signed his first publishing contract in 1939 with publisher, songwriter, A&R man and label owner Joe Davis. The two developed a cordial relationship that would last for several decades and result in dozens of excellent recordings. By 1940 Butterfield was hosting several radio broadcasts and had received dabs of print publicity. In the next years he cut some 40 sides for Decca with Davis producing, and became known as the "Singing Vagabond of the Keys." Some of the tunes Butterfield recorded at this time were co-writing ventures with Davis, who used the name Leslie Beacon on these records. "Two-Faced Man" might have been a title meant to describe this habit of hiding behind aliases, but Davis had so many of them that "Forty-Faced Man" would have been more accurate.

The pianist was innovative in utilizing black and white musicians together in his combo, to the point where an article by Eve Ross in the Orchestra World publication mentions that Butterfield was "the only Negro pianist we know of on the air with an entire radio show of white folk built around him." The small bands that appear on Butterfield 's Decca sides would be worth mentioning regardless of skin color. These combos were brilliant, featuring players such as clarinetist Jimmy Lytell, guitarist Carmen Mastren and bassist Haig Stevens. Meanwhile, other artists also began cutting Butterfield's hit original compositions such as "Foo Gee", and royalties began pouring in. In 1943 pianist Deyck Sampson recorded an EP of four Butterfield tunes including the tasty "Blackberry Jam" and "Boogie De Concerto", an inkling that the maestro was becoming more ambitious in his musical philosophy. The following year Butterfield recorded pieces such as "Piano Cocktail" and "Fantasy In Blue", usually arriving at the studio in such an advanced state of preperation that everyone involved got to go home early.
He was also drafted that year, but this certainly didn't put an end to his musical activities. His combo at Fort Dix included talented inductees such as guitarist Slim Furness from the Three Keys, drummer Eugene Brooks from the Eddie Heywood band and bassist Lynwood Jones from the Loumel Morgan Trio. Royalties continued coming in from other artists recording Butterfield's compositions as well. Pianist and singer Kirby Walker cut the self-explanatory "Goin' On an Errand for Uncle Sam".

Following the war and throughout changing musical styles, Davis was the only producer who attempted to keep Butterfield working, bringing him into the studios in the mid '50s after the pianist had been absent for recording for several years. Once again he had a crack band including dynamic saxophonist Sam The Man Taylor and drummer Panama Francis, credited as Butterfield and His Blues Boys. Some of this material was not released until the mid '80s, however, and that which did see the light of day immediately was considered to be dated by a listening public entranced with rhythmically more assertive artists such as Fats Domino. The 1957 album Piano Cocktail was Butterfield's final collection of recordings to be released during his lifetime.
Erskine Butterfield - Wikipedia
Erskine Butterfield: Information from

Arthur Edwards, Bass
b. Ft.Worth, TX, USA.
d. USA

"Peanuts" Holland
b. Norfolk, VA, USA.
d. 1979, USA 
~by Scott Yanow
A fine trumpet soloist who never became a major name, Peanuts Holland was a talented journeyman whose style was based in swing. Holland learned trumpet while at Jenkins' Orphanage, played with Alphonse Trent's legendary outfit (with whom he recorded) on and off during 1928-33 and also had stints with Al Sears (1932 in Buffalo), the Jeter-Pillars Orchestra, Willie Bryant, Jimmie Lunceford and Lil Armstrong's Big Band (1935-36). 

After more freelancing including frequently leading his own band, Holland moved to New York City in 1939 where he was a member of Coleman Hawkins' short-lived orchestra and Fletcher Henderson's Big Band (1941). He gained the most recognition of his career for his work with Charlie Barnet (1941-46) during which he recorded fairly frequently. After visiting Europe with Don Redman's big band in 1946, Holland decided to stay overseas, spending the remainder of his life performing on the Continent, most often in Paris and Scandinavia. Peanuts Holland led recording sessions overseas during 1946-48, 1950-52, 1954, 1957 and 1959-60; 46 titles in all for European labels.

Carmen Miranda
b. Marco de Canavezes, Portugal (near Lisbon)
d. Aug. 5, 1955, Los Angeles, CA, (Beverly Hills) USA (heart attack).
née: Maria do Carmo Miranda Da Cunha. Her Tagline: "The Brazilian Bombshell".
"The lady with the tutti-frutti hat" was immediately identifiable by her bare-midriff costumes and elaborate, fruit-covered headwear. She delighted movie audiences with her energetic singing and dancing, and with her endless, often hysterical malapropisms.

While still a very young child, her parents moved from Portugal to Rio de Janeiro, Brazil which is where the young Carmen later became a popular singer in clubs and on radio. During this time, she adopted the costume with the distinctive "fruit hat" from the traditional headdress seen on black women fruit sellers seen on the streets of Rio de Janeiro. In 1933, she appeared in her first film (produced in Brazil) 'A Voz do Carnaval', and was so popular, that other films followed in quick succession.
In the mid-1930s, famed theatrical producer Lee Shubert saw her act in Brazil and offered her a spot in his new Broadway show. She played Broadway and New York nightclubs before being signed by 20th Century-Fox in 1940. Her 1940 American film debut in "Down Argentine Way" (co-starring Betty Grable and Don Ameche) was a smashing success. Carmen appeared with her own Brazilian band (in Technicolor segments photographed in New York). From that moment on, she was a star, becoming a fixture in Fox musicals during the World War II years. Unfortunately, Carmen became trapped in the image of a foreign bimbo who didn't know English.
On March 17, 1947, Carmen married David Sebastian, who had produced one of her films, "Copacabana". This abusive and opportunistic brute made Carmen's life hell, but Carmen , a good Catholic, never considered a divorce. She maintained a grueling schedule of shows, taking 'uppers' and 'downers' to remain functional, all of which soon damaged her health. Eventually, after collapsing, she returned to her native Brazil for a complete rest. Recovering her health, she again returned to America and resumed the grind. This lovely and talented lady died of a heart attack just hours after performing a dance number, on comedian Jimmy Durante's show.
Walter Page, Leader/Bass
b. Gallatin, MO, USA
d. Dec. 20, 1957.
né: Walter Sylvester Page. Leader: Page Blue Devils orch., and later with the Count Basie band. One of the finest bassists of the swing era, Walter Page rarely soloed but his four-to-the-bar walking behind soloists set the standard for bassists in the 1930s before the rise of Jimmy Blanton. A longtime resident of Kansas City, Page was with Bennie Moten in the early days (1918-1923) and then during 1925-1931 led the Blue Devils, Moten's main competition. Unfortunately Page's group only made two recordings and by 1931 Moten had achieved his goal of stealing most of the band's top players, including Page himself.

After Moten's death in 1935, Walter Page achieved fame as part of Count Basie's unbeatable rhythm section (along with the pianist/leader, rhythm guitarist Freddie Green and drummer Jo Jones) during 1935-1942 and 1946-1949. He spent his remaining years playing with Eddie Condon's Dixieland bands and with his friends from the swing world, including Hot Lips Page, Jimmy Rushing, and various Basie alumni. Page collapsed on the way to filming The Sound of Jazz and died shortly after at the age of 57.
~ Scott Yanow

Howard Ra
C&W guitar. Member:
"The Fruit Jar Drinkers"

Ernest Tubb
C&W vocals/guitar
b. Crisp, TX, USA
d. Sept 6, 1984.
né: Ernest Dale Tubb 
Ernest Dale Tubb (February 9, 1914 – September 6, 1984), nicknamed the Texas Troubadour, was an American singer and songwriter and one of the pioneers of country music. His biggest career hit song, "Walking the Floor Over You" (1941), marked the rise of the honky tonk style of music. In 1948, he was the first singer to record a hit version of "Blue Christmas", a song more commonly associated with Elvis Presley and his mid-1950s version. Another well-known Tubb hit was "Waltz Across Texas" (1965), which became one of his most requested songs and is often used in dance halls throughout Texas during waltz lessons. Tubb recorded duets with the then up-and-coming Loretta Lynn in the early 1960s, including their hit "Sweet Thang". Tubb is a member of the Country Music Hall of Fame.
Ernest Tubb - Wikipedia

Notable Events Occurring
On This Date Include:

Herschel Evans, tenor sax
died in New York, NY, USA.

Willie Bryant, piano
died in Los Angeles, CA, USA.
Age: 55.

Buddy Johnson
died in New York, NY, USA.
Age: 62.

Songs Recorded/Released
On This Date Include:


The Cotton Pickers Way Down Yonder in New Orleans


Red Mckenzie and his Mound City Blue Blowers - Play Me Slow
Red Mckenzie and his Mound City Blue Blowers - Gettin' Told


Paul Ash and his Orchestra - Always - Vocal chorus by Milton Watson
  • But I Do - You Know I Do

Paul Ash and his Orchestra - Lantern Of Love


Bessie Smith - I Used To Be Your Sweet Mama
Bessie Smith - Pickpocket Blues
Bessie Smith - Thinking Blues

Paul Whiteman and his Orchestra

  • By the Waters of Minnetonka (electrical)
  • Dardanella - (Trumpet chorus featuring Bix Beiderbecke)
  • Meditation from Thais
  • My Lucky Star
Paul Whiteman and his Orchestra - Oriental (fox trot) (electrical)


Charleston Chasers

Charleston Chasers - Walkin' My Baby Back Home

Charleston Chasers - When Your Lover Has Gone

Red Nichols and his Orchestra
  • Things I Never Knew 'Til Now


Lonnie Johnson - Men, Get Wise To Yourself
Lonnie Johnson - Sam, You're Just A Rat


Original Dixieland Jass Band


Joe Sullivan and his Cafe Society Orchestra - I Can't Give You Anything But Love - Foxtrot from "Blackbirds of 1928" Vocal Chorus by Joe Turner
Oh, Lady Be Good


Sam, You're Just A Rat

Sam you say you're my friend, but your ways I just don't like
Sam you say you're my friend, but your ways I just don't like
Soon as I leave my home, you're tryin' to bite me in my back

Now Sam you're not my friend, and my home you better stop hangin' 'round
Sam you're not my friend, and my home you better stop hangin' 'round

Cause I paid for your coffin, and I mean that you're graveyard bound

Sam if you want a woman go get one, and let my wife alone
Sam if you want a woman go get one, and let my wife alone
Cause if I would catch you with my wife, you're hellbound sure as I'm born

Sam a real man can't live happy, for no good man like you
Sam a real man can't live happy, for no good man like you
You're tryin' to wreck my family, and some other man's family too

Sam I thought you was my friend, I thought you just was swell
Sam I thought you was my friend, I thought you was just too swell
Sam I wanna give you a vacation, that's a round-trip ticket to hell

Way Down Yonder In New Orleans

Way down yonder in New Orleans

In the land of the dreamy scenes
There's a garden of know what I mean

Creole babies with flashin' eyes
Softly whisper their tender sighs
Then stop....won't you give your lady fair...a little smile
Stop..ya bet your life you'll linger there...a little while

We've got heaven right here on earth
With those beautiful queens
Way down yonder in New...Orleans

(instrumental break)

You're gonna find heaven right here on earth
With all them beautiful queens
Way down yonder in New Or.....
I goin' down yonder to New Orleans
It's way down yonder in New Orleans

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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