Tuesday

MARCH 29TH



BIRTHDAYS


1901
Sidney Arodin
Clarinet/Composer
b. Westwego, LA, USA
d. Feb. 6, 1948
né: Sidney Arnondin.
Clarinetist Sidney Arodin is remembered mostly as the writer of the song "Lazy River," but the facts suggest the name "lazy writer" might be more appropriate. He was born Arnondrin, and the ditching of a few consonants here and there was typical of the man's casual approach toward the writing craft -- in fact, he might have as much as thrown ways some his most valuable songs. "Lazy River" was a tossed-off stream of composition that flowed well enough to be waded through by artists such as Bobby Darin, Nat King Cole, Brenda Lee, the Platters, and Gene Vincent, even though Arodin never recorded the tune himself.
His musical career began in the early '20s in Louisiana, meaning he was part of the New Orleans jazz scene and style, but the songs he wrote extended way beyond that milieu into the realm of '50s pop and early rock. Maybe "Lazy River" should be identified as a good example of "rock and row."
At 15 years old, Arodin got his first clarinet and took lessons for only two months. This was the sum total of his "legit" musical training until years later when he taught himself music theory in one week after being fired from a band for not knowing how to read. From Arodin's 16th birthday onward he was rarely at home. His very first gig was apparently a Saturday night dance in his hometown of Westwego, LA. When a combo that had been hired from New Orleans arrived minus an ill clarinetist, Arodin ran barefoot on ground consisting of mud and oyster shells to grab his own licorice stick. From there he was hired as a musician on the Mississippi River boats, and eventually headed up to New York City where he worked with Johnny Stein's New Orleans Jazz Band beginning in 1922. In the mid-'20s he played with the young Jimmy Durante before returning to Louisiana to gig with the combos of one-armed Wingy Manone and unrelenting Sharkey Bonano, trumpeters both.
Arodin played with the New Orleans-style band of Louis Prima in the '30s, and continued collaborating with Manone in an updated version of the New Orleans Rhythm Kings group. From 1941 onward, Arodin's health began to fail and his musical appearances were few and far between. During his playing career, he cut quite a few sides with groups such as Johnnie Miller's New Orleans Frolickers, Albert Brunies & His Halfway House Orchestra, Monk Hazel & His Bienville Roof Orchestra, and the Jones & Collins Astoria Hot Eight, and was in some situations the only White bandmember. Some of his recording career is shrouded the obscurity that develops when labels issue material minus sideman credits. Slabs by the New Orleans Jazz Band on labels such as Banner go in the "are Arodin" column.
Other missing credits sometimes doled out to Arodin actually belong to Charlie Cordella, a strange mistake since the two clarinetists have stylistic differences as wide as Lake Ponchatrain. Arodin got in on the "little instrument" concept years ahead of avant-garde players such as the Art Ensemble of Chicago by playing a toy instrument known as a "tonette" on the record "Sizzling the Blues," an example of the original thinking that makes him such a unique artist.
Needless to say, Arodin did well from the royalties of "Lazy River," but could have done much better. He sometimes shares credit with the great songwriter Hoagy Carmichael for this song. There are also plenty of recordings where it is Carmichael that gets all the credit, bolstering speculation concerning other standard songs that Arodin claimed to have written in the early days, only to sell the rights away for a pittance, sometimes for as little as a bottle of wine. Any song mentioning rivers is suspect, as this was an Arodin preoccupation, no doubt dating back to his early years in the music business. Almost every ditty he is credited with writing has something to do with the subject. This includes "Drifting on a River," based on the same chord progression as "Lazy River," apparently just an exercise used by Arodin as a warm-up on the clarinet. "Lazy River" consists of this progression slowed down somewhat, with a set of lyrics that Arodin may have found along a riverbank and Carmichael pushed a bit further downstream.
~ Eugene Chadbourne
Sidney Arodin - Wikipedia



1918
Pearl Bailey, Vocal
b. Newport News, VA, USA.
d. August 17, 1990, USA.
Phildadelphia, PA.
née: Pearl Mae Bailey.
Died after collapsing in a Philadelphia Hotel.
Her nickname "Dickie" was a result of her parents expecting a boy.
Father Joseph was a minister and her mother was Ella Mae. "Dickie" received her early education in Washington, DC area, and while still in her teens, frequently appeared in the Old Howard theater in downtown Washington.
As a young lady, she appeared in Vaudeville, first as a dancer and later as a vocalist, touring the Pennsylvania mining towns. She had a starring role, along with vocalist Nat "King" Cole, in the film 'St. Louis Blues' a bio-pic of W.C. Handy's life. On the Broadway Stage, she is best recalled for her role in musical "Hello Dolly". In 1952. she married drummer Louie Bellson, and they remained married until Pearly Mae died in 1990; they had 1 adopted son & 1 adopted daughter.



1915
George Chisholm
Trombone, piano, arranger, comic actor, bandleader
b. Glasgow, Scotland, UK,
d. Dec. 1997, London, England, UK.
George Chisholm might have been considered one of the greatest trombonists in jazz had he not happened to be born in Scotland, according to at least one of the major critics in the genre. The esteemed Leonard Feather even goes so far as to describe Chisholm's first moments of existence -- the setting is Glasgow, late in the winter of 1915 -- as "accidents of birth."
The trombonist must have liked the scent of haggis because he stayed put in Glasgow for most of his career, certainly denying him the type of access to mainstream jazz business contacts that a New Yorker might have. Nonetheless, he played with many greats, some of whom came to his neck of the loch or the European continent in general because the scene was more appealing than in the United States, often for racial rather than economic reasons.
Such a tragic cultural circumstance set the stage for Chisholm to work with both the brilliant Benny Carter and the combustible Coleman Hawkins in 1937. In the same period, he also gigged on the British dance band scene with bandleader Ambrose, among others. Chisholm was motivated enough to begin leading a band under his own name, a unit he brought into recording studios several times in the last several years of the '30s. The British jazz scene was indeed a tight little island during the subsequent decades, but Chisholm at least had no problem rising to the top of the heap in terms of popularity and cultural recognition; perhaps "munro" would be a more appropriate metaphor than heap considering the previously mentioned accident of birth.
By the late '50s, Chisholm had proved himself ready, willing, and able to become a part of the modern jazz scene that was developing in the shadow of the country's curry parlors and chip shops. This was apparent from his playing style, which began to involve harmonic concepts thoroughly up to date with the era's modernist leanings, presented in both the setting of his own groups and in the bands of other leaders, including trumpeter Kenny Baker and drummer Jack Parnell. He also expanded his instrumental expression to include the squeakier flügelhorn and trumpet, the obscure euphonium, and even the tinkling celeste.
Chisholm's involvement with British culture went well beyond jazz; he was one of the musical underlings making merry mayhem on the brilliant Goon Show, and indeed was so identified with this activity that he is sometimes referred to as a comedian. While much of his discography has gone out of print, Chisholm tracks do pop up on compilations of British jazz. A tribute band called George Chisholm's Gentlemen of Jazz has been active since the trombonist's death.
~ Eugene Chadbourne



1911
Brigitte Horney, actress/singer
b. Berlin-Dahlem, Germany
d. July 27, 1988, Hamburg, Germany. (cancer).
Her father was a German industrialist, and her mother, Karen Horney (née: Else Danielsen), was a German psychoanalyst. Brigitte attended acting classes at the Ilka-Grüning-Schule in Berlin, and in 1930, her friendship with theater magnate Max Reinhardt bropught her a role as a sales clerk in Robert Siodmak's Billy Wilder-scripted "Abschied" (1930). Interestingly, Horney refused further film work in favor of the Live stage. She spent the next decade engaged by Berlin's Volksbühne theater.
However, in 1934, she accepted the starring role of a waterfront girl in the highly popular "Liebe, Tod und Teufel" ("Love, Death and the Devil") where in her inimitable husky voice, sang "So Oder Ist Das Leben" (474 kb) ("Such Is Life") Lyric: Hans Fritz Beckmann. and Music: Theo Mackeben. (This song shows more clearly that Brigitte was not really a singer, but rather a diseuse.) Over her career, Brigitte appeared in over 70 German films.
Although her mother had fled to New York, Horney remained in the Third Reich, performing with the Volksbühne and starring in such popular Nazi-era films as 'Savoy-Hotel 217' (1936) and 'Das Mädchen von Fanö' ('The Girl From the Isle of Fanö', 1941). 'Catherine the Great' (1943), 'The Adventures of Münchhausen' and Gustav Ucicky's prophetically titled 'Am Ende der Welt' ('The End of the World', 1944). In early 1945, she fled to Switzerland, - getting out of Germany just before the Allied occupation.

In 1949, she was seen in a Swiss production of Jean-Paul Sartre's 'Les Mains Sales', and then, in 1950, she emigrated to America. After her mother`s death, she founded the "Karen Horney Psychiatric Institute" in New York City, in honor of her mother's achievements. In 1953, Brigitte became a U.S. citizen. Subsequently, she returned to Germany, where she appeared in such TV productions as Sartre's 'No Exit' and the popular soap opera 'The Guldenburgs'. In addition, she appeared in a supporting role in Rainer Werner Fassbinder's 1981 film 'Veronika Voss'.


1914
Camille Howard, piano
b. Galveston, TX, USA
Camille Howard (b. 29 March 1914, Galveston, Texas; d. 10 March 1993, Los Angeles) was an American R&B pianist and singer.
When in California in the 1940s, she became the featured piano player with Roy Milton’s Solid Senders, playing on all their early hits on the Juke Box and then Specialty label, including the seminal “R. M. Blues” in 1946.
After that record’s huge success, she featured on more of Milton’s records, occasionally as singer. Record company boss Art Rupe also began recording her as a solo artiste, with her biggest hit coming with the improvised "X-Temporaneous Boogie”.
She continued to record successfully in the early 1950s, but the growth of rock and roll and her own religious convictions ended her career.

L to R: Bugs Boganoff, drums; Frank Whitman, piano; John "Fat" Dibert,
banjo; Bud Lincoln, trumpet; Sammy Dibert, sax; Abe Lincoln, trombone.
1907
Abe Lincoln, Trombone
b. Lancaster, PA, USA.
d. June 8, 2000, age of 93.
né: Abram Lincoln.
Abe came from a musical family (6 brothers).
His older brother, Bud, had a popular orchestra known variously as the Bud Lincoln Orch., and as the Brunswick Dance Orchestra, in which Abe played. The band played around their home area of Lancaster and Philadelphia, PA. During the 1920's, Abe worked with Arthur Lange and then left for New York City and a job with Ace Brigode and His Fourteen Virginians, with whom he made some acoustic recordings during 1924-'25.
After Brigode, he joined James B. Dimick's Million Dollar Sunny Brook Orchestra which then went to Detroit (MI) and played at the Arcadia Dance Hall and the Hollywood Theater. After that, he returned to New York in 1926, where he replaced Tommy Dorsey in the California Ramblers. The Ramblers were very popular and did a lot of recording (one of the first bands to record with a microphone.) He next joined Sammy Dilbert's band in Detroit, MI. Sammy (reeds) and his brother John (banjo) were from Lancaster and had worked in Bud Lincoln's band In Detroit.
Abe also sat in with the Goldkette orchestras, and played in the Michigan Theater Orchestra (then conducted by Ed Werner) when they recorded Rossini's William Tell Overture. That recording became the radio theme song for the new 1930 'Lone Ranger' program produced in Detroit, MI. After Detroit he returned to Lancaster and formed his own 9 piece band, which included his three brothers, Bud, Roy, and Chet. They made no recordings and soon disbanded with Abe returning to New York. In the '30s, he worked in the bands of Roger Wolfe Kahn, Leo Reisman, Paul Whiteman, and Ozzie Nelson, staying with Nelson for five years.
In 1936. when Nelson's orchestra went to California to appear on the Joe Penner radio program, Abe remained in Los Angeles after Nelson left in 1939, and worked as a studio musician for many years. He worked with John Scott Trotter (Kraft Music Hall), Billy Mills (Fibber McGee and Molly), Victor Young (Al Jolson Show), Johnny Green (Packard Show with Fred Astaire), Freddy Rich (Abbott & Costello Show), etc. He would play first chair trombone in radio studios for the next 25 years. He is heard on recordings with Bing Crosby (1937, 1941), Hoagy Carmichael and Pinky Tomlin (1938), and Judy Garland (1939). The Carmichael recordings used Abe's trombone in Perry Botkin's Orchestra's hit recordings of Hong Kong Blues and Riverboat Shuffle.
Abe's trombone was also heard in several Walter Lantz Woody Woodpecker cartoons and Buster Keaton comedies because of the way he could make his trombone create various animal sounds. With the 1940s resurgence of Dixieland, Abe returned to jazz recording with such groups as Wingy Manone, "Wild Bill" Davison, Pete Fountain, Bob Scobey, Matty Matlock, and Red Nichols. (Interesting sidenote: In 1926, Abe had played (and recorded) with Loring "Red" Nichols in New York City, at the very peak of the Jazz Era. Now, in 1956 -three decades later, was again playing Jazz with Red Nichols, - this time in Los Angeles, CA.) In the 1960's, he mainly freelanced, but was briefly with the Village Stompers, as well as with "Wild Bill" Davison in early 1967 (both in NYC).
On August 1, 1975, he was playing with "Wild Bill" Davison in Indianapolis, IN, and in 1976, Abe was featured at the Sacramento (CA) Dixieland Jubilee. On August 2, 1999, the Jim Cullum Jazz Band visited Abe at his home and played some of his favorite tunes. Abe died June 8, 2000 at the age of 93.

1909
Aubrey 'Moon' Mullican
"Hillbilly" vocals/piano.
b. Corrigan, Polk County, TX, USA.
d. Jan. 1, 1967. Beaumont, TX, USA.
(Cardiac Arrest)
Aubrey Wilson Mullican (March 29, 1909 – January 1, 1967), known as Moon Mullican, was an American country and western singer, songwriter, and pianist. However, he also sang and played jazz, rock 'n' roll and the blues. He was associated with the hillbilly boogie style which greatly influenced rockabilly; Jerry Lee Lewis cited him as a major influence on his own singing and piano playing.


1914
Mabel Robinson Simms, piano
b. Cape Charles, VA, USA



Notable Events Occurring 
On This Date Include:


1961.
Alexander Victor
owner of RCA's logo
"Nipper Dog"
died in Monterey, CA, USA.
Age: 82 1963.


1966.
Jazz Gillum, harmonica
died in Chicago, IL, USA.
Age: 61

1968.
Jack Grant, Mandolin, died.
Age: 64.
Member: the "Tenneva Ramblers", Formed in 1927 with members: Jack Grant, Claude Grant (Guitar, Vocals, b. October 1975, Bristol, Tennessee, USA, d. October 1975 ) Jack Pierce ( Fiddle, b. 1908, Smyth County, Virginia, USA, d. March 1950), and Claude Slagle (Banjo, b. Early 1900's, Bristol, Tennessee, USA, d. March 1950).


1980.
Annunzio Paolo Mantovani
Orchestra leader/Violinist/composer
died in England at age 74.
Songs Recorded/Released
On This Date Include:



1918



Wilbur Sweatman's Jazz Orchestra - Regretful Blues


1921



Yerkes' Jazarimba Orchestra
  • Rebecca (Come Back From Mecca) Introducing: "What Could Be Sweeter?"

Lillyn Brown and her Jazz-Bo Syncopaters - Ever Lovin' Blues

  • If That's What You Want Here It Is

1922


All Star Trio and their Orchestra - No Use Crying (If Your Sweetheart Goes Away)
  • I'm Happy

1923


Frank Westphal and his Orchestra - Railroad Man


1926


Paul Whiteman and his Orchestra

1927


Warner's Seven Aces
  • When Jenny Does That Low Down Dance


The California Ramblers - Pardon The Glove
The California Ramblers - Yes, She Do (No, She Don't)


1928


Thelma Terry and her Playboys - Starlight And Tulips



Eddie Lang - Rainbow Dreams


Clarence Williams' Jazz Kings - Red River Blues


Red Nichols' Five Pennies - There'll Come A Time
  • Panama


Waring's Pennsylvanians - Hello Montreal! - (vocal refrain by Fred Waring)


1934


Marion Harris - One Morning In May
Oo-Oo-Ooh! Honey (What You Do To Me) Introducing Ooh! That Kiss

LYRICS:


GEORGIANNA

Sweet Georgianna,
You are just a honey to me.
Sweet Georgianna,
Sweeter than a peach on a tree.
When we're together,
Walkin' side by side,
I feel so proud
Passing the crowd,
My heart just bump with pride!

Sweet Georgianna,
After all the things you've done,
You are the sweetness under the sun,
Rolled into one.
I dreamed of orange blossom,
You know the sign!
Sweet Georgianna,
Tell me when you're gonna be mine!

Sweet Georgianna,
Tell me, tell me,
Tell me when you're gonna be mine!

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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