Sunday

MARCH 13TH


HAPPY BIRTHDAY INA RAY HUTTON!

BIRTHDAYS


1916 
Ina Ray Hutton
singer/leader/tap dancer
b. Chicago, IL, USA
d. Feb 19, 1984. Ventura, CA, USA (Diabetes). 
né: Odessa Cowan. 
Ina Ray Hutton is most famous in jazz history for having led an all-female big band in the 1930s. Her dancing in front of the orchestra (often using a baton as a prop) and her occasional winning vocals were a strong attraction for years. 

In the early '30s she sang and danced in several Broadway productions including Lew Leslie's "Clowns In ilover," George White's "Melody Revue" and the Ziegfield Follies. In 1934 she was signed by Irving Mills to front an all-female orchestra which became known as Ina Ray Hutton and her Melodears; that venture lasted for several years. They appeared in several film shorts including performing a classic version of "Truckin'."


In the 1940s Hutton led a couple different male big bands, she married Randy Brooks and continued performing into the 1950s, often on television. Ina Ray Hutton recorded six numbers in 1934 (including "How About Tomorrow Night") and a dozen with her male bands during 1940-41. 
~ Scott Yanow
One of her memorable quotes: 
"You'd be surprised how hard it is to find a good female trumpet player." 
1906
Frank Teschemacher
Clarinet/alto sax/violin
b. Kansas City, MO, USA.
d. March 1, 1932 (auto accident).

One of the early jazz legends, Frank Teschemacher was an exciting if erratic clarinetist and altoist who was an important participant in the Chicago jazz scene of the 1920s.
A member of the fabled "Austin High School Gang" of young Chicago jazz musicians, Teschemacher started recording in 1927 (with the McKenzie-Condon Chicagoans), although observers of the period have stated that his records were not as strong as his live performances.
A fine musician whose solos are a little reminiscent of his contemporary Pee Wee Russell, Teschemacher recorded in Chicago with a variety of overlapping pickup groups in 1927, spent 1928 in New York (where he played with Ben Pollack, Sam Lanin, and Red Nichols), and then returned to Chicago. His life was cut short by a tragic automobile accident, making one wonder how Tesch (a good all-round musician) would have fared in the swing era. All 34 of his recordings plus six others that he might be on are included on a perfectly done Time/Life three-LP box set.



1906
John B. Brown, Bass
b. Dayton, OH, USA.
d. August 12, 1987.
né: John Benjamin Peabody Brown



1919
Dave Cavanaugh
tenor sax/producer
b. St. Paul, MN, USA
d. Dec. 31, 1981
David Cavanaugh, also known as Dave Cavanaugh or occasionally Big Dave Cavanaugh was an American composer, arranger, musician and producer.
1881
Louis Chauvin, celebrated ragtime pianist, composer and contemporary of Scott Joplin, is born in St. Louis, Missouri, USA.
Louis Chauvin (March 13, 1881 – March 26, 1908) was an American ragtime musician.
Early life and education
Born in St. Louis, Missouri of a Mexican Spanish-Indian father and an African-American mother, he was widely considered the finest pianist in the St. Louis area at the turn of the century. He was part of the ragtime community that met at Tom Turpin's Rosebud bar, along with Joe Jordan and others.
Career
Chauvin left only three published compositions and died without having recorded, so his ability is hard to judge today. However, he was long remembered by his peers as an exceptionally gifted performer and composer. He is primarily remembered today for Heliotrope Bouquet, the rag in which he shares compositional credit with Scott Joplin: the nature of the music seems to indicate that Chauvin provided the basis for the first two strains, while Joplin wrote the last two, and edited the work into a cohesive piece, due to the debilitating effects of Chauvin's illness.
His published works are:
The Moon is Shining in the Skies (with Sam Patterson, 1903)
Babe, It's Too Long Off (words by Elmer Bowman, 1906)
Heliotrope Bouquet (with Scott Joplin, 1907)
Later life and death
Chauvin died in Chicago at the age of 27. His death certificate lists causes of death as "multiple sclerosis, probably syphilitic", and starvation due to coma, although a modern diagnosis would probably conclude he had a neurosyphilitic sclerosis and not link it to multiple sclerosis. He is buried in Calvary Cemetery in St. Louis, MO.
LINKS:
Louis Chauvin - "Perfessor" Bill Edwards
Louis Chauvin by Arwulf Arwulf


1914
Robert Sherwood "Bob" Haggart
bass/composer/arranger
b. New York, NY, USA
d. Dec 2, 1998, Venice, FL, USA.
(Cardiac Arrest.)
Bob is probably best remembered for the wonderful drums (Ray Beauduc b. June 18, 1909 New Orleans, LA, USA, d. Jan 8, 1988 Houston, TX, USA) and Bass (Haggart) duet of a song that he wrote entitled "Big Noise From Winnetka". Just these two rhythm instruments played the rhythm and melody, helped only by a little bit of whistling by Haggart (rec'd: 1940). Haggart originally had formal instruction on the Guitar, but switched over (while still in High School) after dabbling with the trumpet and piano to the Bass (on which he is self taught). In his younger years he did somewhat abuse alcohol, but was successful in getting over the addiction early on.
He joined the Crosby band in 1935, a co-operative band composed of the former members of the Ben Pollack orchestra. The band was briefly led by Gil Rodin, but it was soon decided that Bing Crosby's brother Bob would be a better "front man", although Rodin still continued to call the shots from his sax chair. Under the nominal leadership of Bob Crosby, the orchestra became one of the great successes of the swing era, combining popular dance band music with an exciting two-beat Dixieland style As a long time member of the Bob Crosby Orch. it was some of Haggart's arrangements that helped greatly to make the Bob Crosby orchestra a Big Band Era standout.
In addition to arranging, he also composed some hit songs including "South Rampart Street Parade," "What's New," "My Inspiration," and the above mentioned "Big Noise From Winnetka." In 1942, Crosby disbanded, and Haggart freelanced as a studio musician, mainly for the Decca label. During this time, he also arranged for many artists, including Louis Armstrong. Still, he retained his playing connections with former Crosby-band colleague Yank Lawson. In the early 1950s, Haggart teamed with Lawson, for recordings as 'The Lawson-Haggart Band', and he also part of the 'Peanuts Hucko's Pied Piper Quintet'.
In 1968, Lawson and Haggart co-led 'The World's Greatest Jazz Band'. And, during the summer of 1968, Haggart was a part of a group called the Ten Greats of Jazz, then playing at Elitch Gardens in Denver, CO, USA. In the group were "Yank" Lawson, Billy Butterfield, Cutty Cutshall, Lou McGarity, Peanuts Hucko, Bud Freeman, Ralph Sutton, Clancy Hayes, Haggart, and Morey Feld. Over the years, Bob Haggart was often found at the many "Bobcat" band reunions with Bob Crosby. He also a great favorite at the many Jazz festivals that he attended.

1913
Sammy Kaye, Leader
b. Lakewood, OH, USA.
d. June 2, 1987, CA, USA.
In 1940, married Ruth Knox Elden, divorced 1956
Sammy Kaye's band was a textbook example of "sweet" dance bands: large groups whose arrangements seldom swung in the true sense, but were very popular among those who enjoyed overly sentimental light pop and novelty tunes. Kaye began building his reputation in college, then became a hit on radio in Cincinnati. He moved to Pittsburgh and eventually became a national staple. His radio show Sunday Serenade was a huge hit in the '40s and '50s.
Kaye had many pop hits, some of them adapted for Broadway shows. His gimmick of having fans volunteer to lead his band was highly popular and was transferred to television in the '50s. Perry Como and Nat King Cole had hits with Kay material. This was far from being a jazz band in the real sense, but made enjoyable material of its kind.
~ Ron Wynn
1909
Saunders Samuel King, vocals
b. Staple, Louisiana, USA
d. August 31, 2000, Oakland, California, USA.
Age: 91 (complications from a Stroke)
~Al Campbell
Pioneering R&B guitarist Saunders King had his first hit in 1942 with "S.K. Blues." King was a preacher's son who sang gospel in his father's church in Oakland. He learned piano, banjo and ukulele. In 1938 he began playing guitar and wound up singing with the Southern Harmony Four for an NBC radio station in San Francisco. 
He soon developed his passion for blues and "S.K. Blues" was an enormous hit. It also features one of the earliest examples of electric blues guitar, the style for which T-Bone Walker would soon be famous.
SK Blues part 1&2 - Saunders King
King recorded for the Aladdin, Modern, and Rhythm labels. He may have made a greater impact in the burgeoning West Coast blues scene of the '40s but was saddled with numerous personal problems including the suicide of his wife in 1942, a serious wound from a .45-caliber pistol fired by his landlord in 1946, and his serving time at San Quentin prison for heroin possession. King retired from music in 1961 and dedicated time to the church. In 1979, he briefly came out of retirement to play on his son-in-law Carlos Santana's Oneness album. By 1999 he had suffered a stroke that partially paralyzed him. He passed away on August 31, 2000 at his Oakland home. He was 91.

1913
"Lightnin' Slim"
né: Otis V. Hicks, guitar
b. St. Louis, MO, USA.
The acknowledged kingpin of the Louisiana school of blues, Lightnin' Slim's style was built on his grainy but expressive vocals and rudimentary guitar work, with usually nothing more than a harmonica and a drummer in support. It was down-home country blues edged two steps further into the mainstream; first by virtue of Lightnin's electric guitar, and secondly by the sound of the local Crowley musicians who backed him being bathed in simmering, pulsating tape echo. As the first great star of producer J.D. Miller's blues talent stable, the formula was a successful one, scoring him regional hits that were issued on the Nashville-based Excello label for over a decade, with one of them, "Rooster Blues," making the national R&B charts in 1959.

Combining the country ambience of a Lightnin' Hopkins with the plodding insistence of a Muddy Waters, Slim's music remained uniquely his own, the perfect blues raconteur, even when reshaping other's material to his dark, somber style. He also possessed one of the truly great voices of the blues; unadorned and unaffected, making the world-weariness of a Sonny Boy Williamson sound like the second coming of Good Time Charlie by comparison. His exhortation to "blow your harmonica, son" has become one of the great, mournful catchphrases of the blues, and even on his most rockin' numbers, there's a sense that you are listening less to an uptempo offering than a slow blues just being played faster. Lightnin' always sounded like bad luck just moved into his home approximately an hour after his mother-in-law did.
He was born with the unglamorous handle of Otis Hicks in St. Louis, Missouri on March 13, 1913. After 13 years of living on a farm outside of the city, the Hicks family moved to Louisiana, first settling in St. Francisville. Young Otis took to the guitar early, first shown the rudiments by his father, then later by his older brother, Layfield. Given his recorded output, it's highly doubtful that either his father or brother knew how to play in any key other than E natural, as Lightnin' used the same patterns over and over on his recordings, only changing keys when he used a capo or had his guitar de-tuned a full step. But the rudiments were all he needed, and by the late '30s/early '40s he was a mainstay of the local picnic/country supper circuit around St. Francisville. In 1946, he moved to Baton Rouge, playing on weekends in local ghetto bars, and started to make a name for himself on the local circuit, first working as a member of Big Poppa's band, then on his own.
The '50s dawned with harmonica player Schoolboy Cleve in tow, working club dates and broadcasting over the radio together. It was local disc jockey Ray "Diggy Do" Meaders who then persuaded Miller to record him. He recorded for 12 years as an Excello artist, starting out originally on Miller's Feature label. As the late '60s found Lightnin' Slim working and living in Detroit, a second career blossomed as European blues audiences brought him over to tour, and he also started working the American festival and hippie ballroom circuit with Slim Harpo as a double act.
When Harpo died unexpectedly in 1970, Lightnin' went on alone, recording sporadically, while performing as part of the American Blues Legends tour until his death in 1974. Lazy, rolling and insistent, Lightnin' Slim is Louisiana blues at its finest.
~ Cub Koda
1901
Andrew Morgan
Clarinet/tenor sax
b. Pensacola, FL, USA.
d. 1972.
Andrew Morgan (March 13, 1901, Plaquemines Parish, Louisiana – September 19, 1972, New Orleans) was an American jazz clarinetist and saxophonist.
Morgan played clarinet with the Imperial Band in the mid-1920s and then joined his brother Isaiah Morgan's band in 1925. Sam Morgan led this ensemble for its recordings in 1927. He recorded in the late 1920s and 1930s with Kid Howard, Kid Rena, and Kid Thomas Valentine. He and Isaiah played together again in Biloxi, Mississippi in the 1940s, then Andrew moved back to New Orleans to play with Alphonse Picou, Kid Rena again, Herb Morand (1946–52), and Kid Clayton (from 1952). He played with the Young Tuxedo Brass Band from 1958 and led the group after 1964. He played with Percy Humphrey (1953), Sweet Emma Barrett (1960), Kid Howard again (1962), Alvin Alcorn (1964), Onward Brass Band (1965), Eureka Brass Band (1969), and Captain John Handy (1970). He recorded as a leader in 1969 for the album Down By the Riverside.


1903
Bill Nettles
(C&W) songwriter/recording artist
b. Natchitoches, LA, USA.
1913
Tessie O'Shea
vocalist/actress.
d. 1995
Though her signature song was "Two-Ton Tessie From Tennessee," Tessie O'Shea was anything but. The slim Welsh actress/singer started out in British films in the mid-'40s with The Immortal Battalion/The Way Out (1944).
She made her Broadway debut in 1963 and won a Tony for her performance in The Girl Who Came to Supper. In 1964, O'Shea was a regular on the short-lived CBS variety show The Entertainers. Her work in the 1968 made-for-television version of The Strange Case of Dr. Jekyll and Mr. Hyde garnered her an Emmy nomination.
~ Sandra Brennan
1908
Johnny Williams
Jazz Bassist
b. Memphis, TN, USA.
d. Oct. 23, 1998
Johnny Williams: 1908-1998


1922
Willie "Rough Dried" Williams
drums, b. Lake Village, AR, USA.


Notable Events Occurring
On This Date Include:



1985.
Bob Shad, arranger/producer
died in Los Angeles, CA, USA.
Age: 65
Bob Shad: Information from Answers.com



1985.
Annette Hanshaw, Jazz Age Chanteuse died Mar 13 1985, buried Ferncliff Cemetery, Hartsdale, Westchester County, New York.
She was 84 years old.
(October 18, 1901 - March 13, 1985).



1994.
Danny Barker, guitar
died in New Orleans, LA, USA.



2001.
Benny Martin, (C&W) fiddle
died in Nashville, TN, USA.
Benny Martin - Wikipedia



Songs Recorded/Released
On This Date Include:


1923


New Orleans Rhythm Kings - Tin Roof Blues


Johnny Dunn and his Original Jazz Band - Dixie Blues


1925



Ray Miller's Orchestra - Just A Little Drink - Vocal Duet by Wright and Bessinger
  • Moonlight And Roses - Vocal Duet by Wright and Bessinger

1926



The Six Jumping Jacks) - I'm Gonna Let The Bumble Bee Be - (Tom Stacks vocal)


1928




Johnny Dunn and his Band - Buffalo Blues

Lonnie Johnson - Broken Levee Blues

Paul Whiteman and his Orchestra
  • Metropolis (A Blue Fantasie) (4 parts - includes Part 3 (4)

1929



Boyd Senter and his Senterpedes

Clarence 'Pine Top' Smith [aka Pinetop Smith]

  • Driving Wheel Blues

1931



Waring's Pennsylvanians - Elizabeth
  • Oh Donna Clara!


Fats Waller - I’m Crazy ‘Bout My Baby


1936



Paul Whiteman and his Orchestra

1938





Eddie South - Black Gypsy

  • Honeysuckle Rose
  • On The Sunny Side Of The Street
  • Fiddleditty

LYRICS:


~Lyrics by Walter Melrose

Verse:
I have seen, the bright lights burning up and down old Broadway,
Seen 'em in gay Havana, Burmingham, Alabama, and say,
they just can't compare with my hometown New Orleans,

Chorus:
'cause there you'll find the old Tin Roof Café,
where they play the blues 'til break of day.
Fascinatin' babies hangin' 'round,
dancin' to the meanest band in town,
Lawd, how they can play the blues.
and when that leader man starts playin' low,
folks get up and start to walk it slow,
Do a lot of movements hard to beat,
'til that old floorman says "Move your feet",
Lawd, I've got those Tin Roof Blues.

Verse:
Ev'ry day, my baby writes to me and says, Daddy please,
don't keep your mamma grievin', tell me you'll soon be leavin' and please,
bring your dancin' shoes and come on back to me

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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