Sunday

MARCH 20TH



BIRTHDAYS



1914
Nick Caiazza
bass clarinet/Clarinet/Tenor Sax
b. New Castle, PA, USA.


1908
Bob Chester
bandleader/tenor sax/clarinet/arranger/vocals
d. 1977, Had two theme songs, "Sunburst" and "Slumber".The bandleader Bob Chester, adored by lovers of both cold desserts and big band music for his lip-smacking "Shoot the Sherbert to Me, Herbert," started out as a tenor saxophonist under the direction of bandleaders such as Irving Aaronson, Ben Bernie, and Ben Pollack. By the mid-'30s he was leading his own group, based out of Detroit. His family owned the General Motors Fisher Body Works, so he was able to pursue the musical muse without worrying about going hungry.
While his band was hardly the most famous from the swing era, it was known for quality music, garnered good reviews, and tended to feature a talented array of sidemen. Players such as virtuoso young trumpeters Alec Fila and Conrad Gozzo, saxophonists Herbie Steward and Peanuts Hucko, and even progressive trombonist Bill Harris played in this group.
Chester may have had an even better knack for choosing charismatic singers, putting talent such as Bob Haymes, Gene Howard, Betty Bradley, and Dolores O'Neil in front of the band, although some of the numbers they were forced to sing were a bit trivial. The musical direction of the band moved from a fairly straight imitation of the Glenn Miller band to some progressive developments in the early '40s. In the beginning, the Miller cloning was much more than just an artistic decision. Chester's group was bankrolled by trombonist Tommy Dorsey, who did it to get back at Miller himself after a business arrangement had gone sour. Did the Chester band steal Miller's thunder? Hardly.
This original mission thwarted, the group got out from under Dorsey's thumb (or slide) and pursued other directions. Arranger David Rose gets some credit for making Chester's group sound more individual in the later years. A new connection with producer, songwriter, and publisher Joe Davis also was something of a pipeline to material such as the clever tune "The Lion and the Mouse," which the Chester band got to premiere on a CBS broadcast -- not the type of event to mess up a band's career. The big band pummeling economy of the mid-'40s forced Chester out of the business, however. He put another band together briefly in the early '50s, but retired for good a few years later. Chester went back to Detroit and spent the rest of his life working in the auto business.
~ Eugene Chadbourne
1921
Jimmy Coe
alto & tenor saxes/clarinet.
b. Tompkinsville, KY, USA.
d. Feb. 26, 2004, Indianapolis, IN, USA.
When he was just age 3, his family moved to Indianapolis, where he later graduted from Crispus Attucks High School. Jimmy, Freddie Hubbard, and Wes Montgomery, were amoung the Jazzmen who came out of the Jazz scene in Indianapolis during the 1940s and ''50s. In 1942, Coe replaced Charlie "Bird" Parker in Jay McShann's Big Band, and later played in Tiny Bradshaw's band. During the 1950s, he often recorded R&B tunes for some small labels.

1927
John Ross Twiston Davies
(reeds,trumpet, cornet, trombone)/Discographer, vocal, recording engineer
b. Wivelsfield, England
d. May 25, 2004, England.
Sound engineer John R.T. Davies was among the world's premier specialists in restoring and remastering classic jazz recordings. John Ross Twiston Davies was born March 20, 1927 in Sussex, England -- the son of a dermatologist, he began playing piano at the age of four, later studying the drums as well.
Between 1945 and 1948 he served with the Royal Signals, and while stationed in Austria he began playing guitar; upon returning to the U.K., Davies also picked up the banjo, playing in Gerry Mulligan and George Melly's band. He next picked up the trombone, teaming with tuba-playing brother Julian and cornetist Ken Colyer in 1949 to form the revivalist combo the Crane River Jazz Band; credited with almost single-handedly launching Britain's trad jazz boom, the group resurrected classic New Orleans-style material from the likes of Bunk Johnson and George Lewis, playing together in one capacity or another for 40 years.
In addition to working a day job at Heathrow Airport, Davies also moonlighted behind Acker Bilk, Monty Sunshine, Steve Lane, and Cy Laurie, and over time, he added saxophone to his repertoire. But he remained, first and foremost, an obsessive jazz record collector: In 1952, he purchased a disc-cutting lathe and a primitive magnetic tape recorder, bootlegging copies of the Dave Brubeck album Jazz at Oberlin when import issues rendered the album unavailable in British retail outlets.
From there, Davies expanded into more above-board dealings, recording sessions for Doug Dobell's 77 Records and founding his own Ristic reissue label. Over time, Davies devised a series of remastering techniques he called "decerealistation," painstakingly removing the clicks, pops, and scratches on 78 RPM records; most notably, he adapted the optical film soundtrack method eliminating clicks by scraping tiny notches of oxide off magnetic tapes to within a few thousandths of an inch to reduce the sharp transient.
Over the years Davies remastered the complete catalogs of artists including King Oliver, Jelly Roll Morton and Louis Armstrong, among countless others -- his slow, perfectionist methodology clashed with the cost-conscious business practices of major labels, and he worked mostly for small niche labels like Frog, Retrieval, Timeless, Hep, and Jazz Oracle. In 1959, Davies joined the cheeky trad jazz unit the Temperance Seven, a nine-piece group of Chelsea College students unable to read music yet capable of playing multiple instruments apiece; adopting the stage name Sheikh Wadi El Yadounia and wearing a fez, Davies served as their de facto musical director in addition to playing saxophone and trombone.
The Temperance Seven proved an unlikely phenomenon: clad in velvet frock coats and wing collars, their appearance on television's Juke Box Jury -- where they played the show's theme on phonafiddles, a sousaphone, and a banjo -- made them overnight sensations, with vocalist Paul McDowell causing a frenzy among female fans comparable to that of Elvis Presley. EMI Records producer George Martin helmed their 1961 chart-topper "You're Driving Me Crazy," and while rock & roll (most notably another Martin-produced act, the Beatles) would soon push the Temps' quaint, nostalgic music back into the margins of public interest.
The group continued performing live until the end of the 1960s. Davies later reunited with fellow Temperance Seven alum/cornetist Alan Swainston-Cooper and American journalist/clarinetist Dick Sudhalter in the Anglo-American Alliance; from 1972 to 1975, he also led the 28-piece New Paul Whiteman Orchestra, a group based on transcripts of bandleader Whiteman's original arrangements dating back to the 1920s. During the 1990s, Davies led his own Gentle Jazz group and occasionally sat in with Crane River and Ken Colyer memorial bands. But most notably, advances in recording technology enabled him to supplement his analog remastering processes with faster, easier digital components -- his expertise was by now so advanced that he was sometimes able to produce reissues with fidelity far better than the original recordings.
Davies also expanded his purview beyond traditional jazz into everything from the classic vocal pop of Bing Crosby to the Greek rembetika music of the 1930s. He had just completed an eight-CD set comprising the known recorded canon of blues legend Bessie Smith when he died of cancer on May 25, 2004.
~ Jason Ankeny

Harry Warren & Mort Dixon
1892
Mort Dixon, composer
b. New York, NY, USA.
d. March 23, 1956, Bronxville, NY, USA.
American pop lyricist Mort Dixon scored a few musicals for Broadway and Hollywood, but mostly wrote songs that were independent hits during the 1920s and '30s. Born in N.Y.C. in 1892, Dixon started out in show business as an actor in vaudeville. After his WWI military service, Dixon directed a show in France called Whiz Bang, and a few years later began songwriting.
The future member of the Songwriters Hall of Fame got a hit with his first published try, 1923's "That Old Gang of Mine." Some of Dixon's other hits are "Bye Bye Blackbird," "I'm Looking Over a Four Leaf Clover," "You're My Everything," "The Lady in Red," and "Happiness Ahead."
He also wrote songs for musicals, including the 1930 stage production Sweet and Low and movies Flirtation Walk (1934), Sweet Music, and We're in the Money (1935). Dixon most often collaborated with Ray Henderson, Allie Wrubel, Harry Warren, Harry Woods, and lyricist Billy Rose.
~ Joslyn Layne

1909
Frank Edwards, guitar
b. Washington, GA, USA
Like quite a few country blues performers, Frank Edwards could not be said to have consistent gigging and recording opportunities during his nearly 80 years in the music business. His recording career began in the early '40s on the Okeh label, resulting in a small number of sides that nonetheless seem to have had some kind of impact, even catching the attention of a large New York City booking agency that normally promoted more "uptown" types of entertainment, such as dance orchestras or radio performers. In the mid-'40s, the Taps Agency was attempting to create enough interest in Edwards to lure him back to the big city from Atlanta, an event that unfortunately never took place. As it turned out, Edwards would not release recordings again for decades. In the late '40s, producer Fred Mendelsohn of the Regal label cut several tracks with Edwards in Atlanta, but this material was not released commercially until the '60s. The Trix label finally put out a full album of Edwards in 1972 entitled Done Some Travelin', and it is considered a masterpiece.
Edwards' professional life also follows the pattern of country blues artists who headed north from Mississippi circa the second World War. His traveling partner at the time was fellow bluesman Tommy McClennan. Edwards recorded for Okeh producer Frank Melrose in 1941, eight sides in which the backup was provided by Robert Brown, also known as Washboard Sam. The release of these sides was unfortunately impacted by the outbreak of the war and the resulting recording ban, although several of the songs did come out. Following this venture, Edwards headed back south, choosing Atlanta and apparently staying put there.
Edwards covered guitar, harmonica, and vocals, and really did not need any other backing. His repertoire included quite original interpretations of blues and jazz standards such as "Good Morning Little School Girl" and "When the Saints Go Marching In," as well as original songs on a variety of subjects: prison ("Alcatraz Blues"), clothing styles ("Mini Dress Wearer"), and, well, chicken raids ("Chicken Raid"). Despite the appeal of such material, he was not able to consistently support himself as a musician, finding work as a carpenter, painter, and plumber. But except for two years following a house fire that burned up his guitar, he always played the blues. A scant two hours prior to his death, Edwards completed a recording session in North Carolina. He suffered a heart attack on the ride home and died in an ambulance on the way to the hospital.
~ Eugene Chadbourne

1913
Kenny Gardner, Singer
b. Lakeview, IA, U.S.A.
d. July 26, 2002, Manhasset, NY, USA.
(Coronary following an appendectomy.)
né: Kenneth A. Gardner.
The lead singer for Guy Lombardo and His Royal Canadians for nearly 30 years, Kenny Gardner's airy voice and smooth crooning became synonymous with the band's trademark smooth style. Born in Lakeview, IA, in March 1913, Gardner joined the band after Lombardo's sister Elaine heard the singer on the radio in 1940. Later married to Elaine, Gardner quickly clicked with the band, resulting in such memorable tunes as "Enjoy Yourself, It's Later Than You Think and "Frankie and Johnny." A brief departure to serve in World War II found Gardner returning stateside a wounded veteran though the recipient of a Purple Heart. Upon his return the singer would rejoin the band until Guy Lombardo's death in 1978. Three short years after his wife's death in 1999, Gardner died after suffering a heart attack as the result of an appendectomy. He was 89.  
~ Jason Buchanan



1897
Frank Hutchison
C&W vocals/guitar/harmonica
b. Logan, WV, USA.
The first white bluesman to record, Frank Hutchison recorded for a brief three years. But the 32 tunes that he recorded between 1926 and 1929 influenced everyone from Leo Kottke and Spider John Koerner to Bob Dylan and Paul Geremia. Doc Watson covered both sides of Hutchinson's first single, "Worried Blues"/"The Train That Carried the Girl Back Home, "recorded in New York in October 1926. Cowboy Copas rewrote Hutchison's tune "Coney Isle," renamed it "Alabam'," and had a country hit in 1960.
An ex-miner, Hutchison reportedly learned to play the blues by watching Bill Hurt, a disabled black man, as a youngster. Best known for his slide guitar playing, Hutchison held his guitar on his lap, in the style popularized in Hawaii. On September 24 and 25, 1929, Hutchison recorded in Atlanta, along with Emmett Miller, Fiddlin' John Carson, Namour & Smith, Moonshine Kate, Bud Blue, the Black Brothers, and Martin Molloy, a three-disc album of music and comedy entitled The Medicine Show. Following his last recording session in September 1929, Hutchison worked as a steamboat entertainer and a store owner.
~ Craig Harris


1917 
Vera Lynn, vocals

b. England

Biography 
~by John Bush

England's sweetheart during the trying times of World War II, Vera Lynn was born in London one year before the close of the first World War. She began singing at the age of seven, working in dance as well during her teenage years. Lynn appeared on radio broadcasts with the Joe Loss Orchestra as early as 1935, and sang with Charlie Kunz and Ambrose. 

After first performing solo in 1940, she became the host of the BBC radio program Sincerely Yours; the show became incredibly popular with overseas servicemen who missed their girlfriends, and her regular songs included such hopeful/heartsick ballads as "White Cliffs of Dover," "We'll Meet Again," "Wishing" and "Yours." Lynn also made several films during the war years, appeared in a stage revue and sang for troops in Asia before retiring at the close of the war.

Her retirement was hardly two years old when Vera Lynn returned to the spotlight in 1947, touring the variety circuit and gaining another BBC radio program. Her recording label, Decca, seized a golden opportunity in 1948 by releasing Vera Lynn material in America during a musicians strike that had crippled the stateside music industry, and Lynn gained a Top Ten hit that year with "You Can't Be True, Dear." 
In 1952, she became the first British artist to hit number one on the American charts when "Auf Wiederseh'n Sweetheart" spent nine weeks at the top spot. 

Her first (and only) British number one came two years later, with "My Son My Son," and she gradually moved from radio/variety work to television spots during the '50s in order to round out her schedule, recording increasingly contemporary material during the 1960s and '70s. In 1976, Vera Lynn added the title Dame of the British Empire to her credit list, and though she performed sparingly during the 1980s, she did appear at commemorations for the 40th anniversary of D-Day and the 50th anniversary of the beginning of World War II.



Vera Lynn - Wikipedia

Vera Lynn




1920 
Marion McPartland, Piano
b. Slough, Berkshire, England. 
née: Margaret Marian Turner. 
Cornetist Jimmy McPaartland's wife.
Biography
~by Scott Yanow 

Marian McPartland has become famous for hosting her Piano Jazz radio program since 1978, but she was a well-respected pianist decades before. She played in a four-piano vaudeville act in England and performed on the European continent for the troops during World War II. In Belgium in 1944, she met cornetist Jimmy McPartland and they soon married. Marian moved with her husband to the United States in 1946, where she sometimes played with him even though her style was more modern than his Dixieland-oriented groups. McPartland eventually had her own trio at the Embers (1950) and the Hickory House (1952-1960), which until 1957 included drummer Joe Morello. She recorded regularly for Savoy and Capitol during the 1950s and also made sessions for Argo (1958), Time (1960 and 1963), Sesac, and Dot. 

Although eventually divorced from Jimmy, they remained close friends, sometimes played together, and even remarried just weeks before his death. She formed her own Halycon label and recorded several fine albums between 1969-1977. McPartland also made three albums for Tony Bennett's Improv label during 1976-1977 before signing with Concord, where she has been since 1978. The Jazz Alliance label has made available over 30 CD's worth of material from Marian McPartland's Piano Jazz show, some of which are quite fascinating and significant.

Marian McPartland
Marian McPartland's Piano Jazz - NPR

NPR : Meet Marian McPartland
Jazz Legend Marian McPartland




1906 
Ozzie Nelson, Leader
b. Jersey City, NJ
d.June 3, 1975 
né: Oswald George Nelson
Biography
~by Bruce Eder 
Okay, anyone under the age of 60 at the end of the twentieth century may laugh at the notion of Ricky Nelson's dad getting a musical entry of his own. The fact is, however, that during the 1930's, Ozzie Nelson led what was one of the most popular swing and dance bands in the New York area--a part of the country that, in those days, represented close to 15% of the population of the United States, and the heart of the broadcasting and entertainment worlds, apart from movies. 

No less a journal than the jazz world bible Downbeat, in 1935, praised Ozzie Nelson band for it "subtle suggestion of melodic beauty and rhythmic patterns" and wrote that these "get under your skin." What's more, Ozzie Nelson and his Band were the first swing outfit ever booked into the legendary Glen Island Casino on Long Island, which became one of the most celebrated swing band venues in the world. Indeed, just as his youngest son, Ricky, carved a place for himself in the wake of the groundbreaking work of a singer named Elvis Presley, so Ozzie Nelson made a successful career following on in the wake of another musical idol 27 years earlier, Rudy Vallee. 
Ozzie Nelson was born in Jersey City, New Jersey, and as a youth he excelled in sports, including boxing and football. During the 1920's, in keeping with the fad of the time, he picked up a ukelele and learned to accompany his own singing. He switched to the banjo a little later and became part of a duo with pianist Frank Leithner, and the two eventually became part of a quartet called the Syncopation Four, playing garden parties and local clubs and weddings, with Ozzie as singer. Nelson also taught himself the saxophone. He entered college in 1923, where he played football and joined the boxing team, where he earned a gold medal. By 1929, he was in law school, coaching football, and playing with a small swing orchestra at a tavern on City Island in New York. 

It was with the emergence of Rudy Vallee as a major singing star--the first star popular singer of the mass media era (i.e. radio and records)--that fostered the boom in Ozzie Nelson's career. He bore a striking the physical resemblance to the lean, handsome Vallee, and also similar singing style. Ozzie Nelson was mentioned in the local press as "the guy who sings and looks like Rudy Vallee," and he had his own radio show by the middle of 1930. 

Fate then took a hand when The New York Daily Mirror, a tabloid similar to the Daily News, began running a contest to poll its readers about which was the most popular radio orchestra. Nelson's radio station did its best to promote him, but he was at a considerable disadvantage next to such nationally known figures as Vallee and Paul Whiteman, the self-proclaimed "King of Jazz." His manager then took a hand--after learning that newsdealers received credit for their unsold papers by returning only the front pages of the unbought copies, and realizing that the Mirror's ballots were on the back page, and Nelson's manager arranged to secure them from hundreds of unsold copies and send them in. 
When the voting was done, Ozzie Nelson had passed Rudy Vallee and Paul Whiteman to lead the poll. 
At around that same time, the Glen Island Casino on Long Island was looking to book its first swing band, and Nelson's manager used the newspaper poll as the leverage to get the band the gig. And with the engagement at the prestigious casino came a series of national radio network broadcasts. Nelson's band and reputation were made. 

In 1932, Nelson--who did a lot of the singing for the band himself--added a female vocalist, a singer and would-be actress named Harriet Hilliard, whom he had met the previous year; at that time, Mildred Bailey was the only woman to have a regular spot with a dance or jazz orchestra, in Whiteman's band. The two hit it off not only musically but personally, and they were married in October of 1935. By that time, Ozzie Nelson's orchestra had a fully sponsored radio show, and were still among the most popular bands of the era--the stars, apart from Ozzie Nelson and Harriet Hilliard, included baritone saxophonist Charlie Bubeck, tenorman Bill Stone, trumpet man Boe Ashford, an admirer of Bix Beiderbeck, trumpet player Harry Johnson, and trombonist Elmer Smithers. 

While none of these names are exactly legendary in the history of swing music, in a 1936 poll of the Paramount Theater's patrons in New York, the Nelson orchestra placed fourth behind Guy Lombardo, Louis Armstrong, and Eddie Duchin, and ahead of Ray Noble, Hal Kemp, Fred Waring, and Glen Gray. Musically, the group was more swing (i.e. jazz) than sweet (i.e. pop), and straddled the two areas. They recorded for Brunwick and RCA-Victor's Bluebird label, but none of that work is available as of the 1990's. 
The couple's first son, David, was born in 1936--his toddlerhood was commemorated in the novelty tune "The Kid In The Three-Cornered Pants." Their second son, Ricky, was born on May 8, 1940. Ozzie and Harriet Nelson continued their music career well into the 1940's, on radio and in concert--during this period, their real-life marriage and home-life figured big in the image they presented, and by the end of the 1940's, music had given way to a career in radio situation comedy, The Adventures of Ozzie And Harriet. 

The couple and their children came to television in 1952, following a 1951 feature film (Here Come The Nelsons). Ozzie Nelson was the producer of both the radio show and its television successor, writing scripts (sometimes with David) and even recruiting an Oscar(tm)-winning cinematographer, William C. Mellor (A Place In The Sun), to shoot the program in a modified wide-screen format, in anticipation of wide-screen television. The Nelsons appeared as a family, even on behalf of sponsors of the show (both sons' teeth were shown in close-ups as part of commercials for Ipana toothpaste, as Ozzie and Harriet spoke with seeming authority about "tooth decay enzymes"). In the late 1950's, as his son Ricky reached his teen years completely taken with the sounds of rock 'n roll, Ozzie Nelson added this side of Ricky's persona to the program, allowing him to play guitar and sing on the program--this coincided with Ricky Nelson's real-life debut as a recording artist. His debut single, "I'm Walking," a mid-tempo cover of the Fats Domino r&b standard, was a major hit and led Ricky Nelson to a 25 year career in music. 

It became something of an inside joke that Ozzie Nelson, whose on-screen persona was never seen working, pulled most of the strings on the program and made all of the creative decisions, and, with his knowledge of the music business, launched his youngest son on an immensely successful career in a new brand of popular music. The Advantures of Ozzie and Harriet was one of the most successful sitcoms of the 1950's, lasting for 15 years, right into the mid-1960's and Ricky and David's marriages. 
Ozzie Nelson became one of the definitive pop-culture father figures, a likeable, benign, slightly befuddled character rivaled only by Hugh Beaumont (Leave It To Beaver) and Fred MacMurray (My Three Sons), and a model for the figure of Howard Cunningham (played by Tom Bosley) on Happy Days. By that time, his music career had been forgotten by the public, eclipsed by the rock 'n roll success of his youngest son. Indeed, his bland television persona had become a cultural touchstone for more than benign fatherhood--in an Odd Couple episode in which Tony Randall's Felix Unger is trying to convince a game show host that's he's a typical American, he asks, "Don't I look average," his roommate answers cynically, "Like Ozzie Nelson." 
He wrote, produced, and directed the movie Love and Kisses, starring Ricky Nelson and his wife Kristin, in an offshoot of the series, and appeared in The Impossible Years. He later tried to update his old series with the syndicated program Ozzie's Girls, and wrote an autobiography, Ozzie. Ozzie Nelson died in 1975--by then, along with his wife Harriet (who outlived him by more than 20 years), he was a beloved figure in American popular culture.
Ozzie Nelson - Wikipedia
Solid! -- Ozzie Nelson




**1902 

Santo Pecora, trombone
d. May 29, 1984
Biography
**Some Sources List Pecora’s Birthday as March 21st.
Biography ~by Eugene Chadbourne
The talented Santo Pecora accomplished a great deal during his career, including some versatile challenges that other players from the New Orleans jazz scene were either unable to meet, uninterested, or both. Nonetheless even the relatively small segment of society impressed by such achievements would probably find the situation regarding this artist's name more fascinating, certainly more amusing. His real name was Santo Pecoraro--but so, however, was the name of his cousin who was born about four years later. Generously or maybe sensing an opportunity, the elder man trimmed his name slightly. The percussionist who got to keep the Santo Pecoraro monicker actually did work in a band with Pecora, the liason bearing discographical fruit in terms of several compilation tracks. 

French horn was Pecora's first instrument, chosen as a child. In his teens he switched to trombone, an axe much more appropriate to the instrumental styles developing in New Orleans. Professionally he has said to have begun as a player in a the silent cinema orchestra pit, but he had already worked casually with bandleaders such as Johnny De Droit and Leon Roppolo. Vocalist Bea Palmer took the trombonist on a road tour in the early '20s and by the middle of that decade Pecora had teamed up with the New Orleans Rhythm Kings. Chicago and its fervid interest in the new jazz styles became an important destination for him, like many players from his geographical background, with additional theatre music work filling in the schedule. 
During the '30s his course of action regarding employment was again similar to his peers on the national jazz scene as opposed to New Orleans stylists: he headed for the big bands. He did not abandon his musical homeground, however, bringing the Crescent City sounds to New York City with Sharky Bonano's aggregation in the mid '30s. Subsequently the trombonist set himself up on the west coast, his skills honed and ready for studio assignments. Collaborators from the stylistic good old days included the one-armed trumpeter and bandleader Wingy Manone. Pecora returned to New Orleans in the '40s, having evolved into a bandleader in his own right. He also kept working with Bonano, gigged on riverboats and was solidly cemented into a series of epic club residencies. In the '60s his spot of choice was The Dream Room.


1915 
"Sister" Rosetta Tharpe, Vocal
b. Cotton Plant, AR, USA. 
d. 1973.
née: Marie Knight.
Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973) was an American pioneering gospel singer, songwriter and recording artist who attained great popularity in the 1930s and 1940s with a unique mixture of spiritual lyrics and early rock and roll accompaniment. She became the first great recording star of gospel music in the late 1930s and also became known as the "original soul sister" of recorded music.




Willing to cross the line between sacred and secular by performing her inspirational music of 'light' in the 'darkness' of the nightclubs and concert halls with big bands behind her, her witty, idiosyncratic style also left a lasting mark on more conventional gospel artists, such as Ira Tucker, Sr., of the Dixie Hummingbirds. While she offended some conservative churchgoers with her forays into the world of pop music, she never left gospel music.

www.afgen.com/rosetta_tharpe.html
www.aaregistry.com/african_...tual_show
www.ascap.com/playback/20...-tharpe.html





Notable Events Occurring 

On This Date Include:


1935. 
"Your Hit Parade" debuted on network radio.

1936. 

Benny Goodman orchestra recorded 
"Christopher Columbus" (Victor). 


1976. 

Princess White, vocals
died in Manaroneck, NY, USA. 
Age: 95.


1989. 

Archie Bleyer
bandleader/label owner (Cadence)
died in Sheboygan, WS, USA. 
Age: 79.
Archie Bleyer - Wikipedia



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brought to you by... 
~confetta

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

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


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