Ivie Anderson, Vocal
b. Gilroy, CA, USA.
d. Dec. 28, 1949, Los Angeles, CA, USA.
Best recalled for her work with Duke Ellington's band.

Considered one of the finest singers of the golden age of jazz, Ivie Anderson was a fluent vocalist who impressed many with her blues and scat phrasings. Most impressed was Duke Ellington, who kept her on as vocalist for eleven years and would have kept on for more had she not retired due to health problems.

Born in California, young Ivie received vocal training at her local St. Mary's Convent and later spent two years studying with Sara Ritt in Washington, DC. Returning home she found work with Curtis Mosby, Paul Howard, Sonny Clay, and briefly with Anson Weeks at the Mark Hopkins Hotel in San Francisco. She also found work in vaudeville, touring the country as a dancer and vocalist in the Fanchon and Marco revue, starring Mamie Smith, and with the Shuffle Along revue. She was featured vocalist at the Culver City Cotton Club before leaving to tour Australia in 1928 with Sonny Clay. Returning after five months down under she organized her own show and toured the U.S. In 1930 she found work with Earl Hines.

It was while appearing with Hines that Ellington first heard her sing. He hired her in February 1931, and she quickly became a fixture of the orchestra's sound. She gave voice to some of the band's most memorable tunes of the era, ''I Got It Bad and That Ain't Good,'' ''It Don't Mean a Thing,'' ''Stormy Weather,'' and ''Rose of the Rio Grande.'' She was also featured in the 1939 Marx Brothers' film A Day at the Races, singing ''All God's Chillun' Got Rhythm.''
Retiring in August 1942 due to chronic asthma she opened her own Chicken Shack restaurant in Los Angeles. Though continuing to sing regularly in West Coast nightclubs her medical condition kept her from recording or touring extensively and ultimately led to her early death.
Ivie Anderson passed away in December of 1949.
African American Registry

Milt Buckner
Organ/Piano/composer b. St.Louis, MO, USA.
d. 1977 USA. 
Milt Buckner (10 July 1915 – 27 July 1977) was an American jazz pianist and organist, originally from St. Louis, Missouri. He was orphaned as a child, but an uncle in Detroit taught him to play. Buckner pioneered the parallel chords style which influenced Red Garland, George Shearing, and Oscar Peterson.
In 1941 he joined Lionel Hampton's big band ,and for the next seven years served as its pianist and staff arranger. He led a short-lived band of his own for two years, but then returned to Hampton's. Buckner pioneered the use of the electric organ. He died in Chicago, Illinois at the age of sixty-two.
Buckner's brother, Ted Buckner, was a noted jazz saxophonist.

BBC Radio 2
Bio- and discography
Discography on

Dick Cary
Piano/arranger/trumpet/alto horn
b. Hartford, CT, USA.
d. April 6, 1994.
First pianist in Louis Armstrong's (1947 to 1948) All-Stars.
Obituary: Dick Cary - People, News - The Independent

Blind Boy Fuller
Blind Boy Fuller (born Fulton Allen, July 10, 1907 – February 13, 1941) was an American blues guitarist and vocalist. He was one of the most popular of the recorded Piedmont blues artists with rural Black Americans, a group that also included Blind Blake, Josh White, and Buddy Moss.

Life and career
Fulton Allen was born in Wadesboro, North Carolina, United States, to Calvin Allen and Mary Jane Walker. He was one of a family of 10 children, but after his mother's death he moved with his father to Rockingham. As a boy he learned to play the guitar and also learned from older singers the field hollers, country rags, and traditional songs and blues popular in poor, rural areas.

He married Cora Allen young and worked as a labourer, but began to lose his eyesight in his mid-teens. According to researcher Bruce Bastin, "While he was living in Rockingham he began to have trouble with his eyes. He went to see a doctor in Charlotte who allegedly told him that he had ulcers behind his eyes, the original damage having been caused by some form of snow-blindness." Only the first part of this diagnosis was correct. A 1937 eye examination attributed his vision loss to the long-term effects of untreated neonatal conjunctivitis.

By 1928 he was completely blind, and turned to whatever employment he could find as a singer and entertainer, often playing in the streets. By studying the records of country blues players like Blind Blake and the "live" playing of Gary Davis, Allen became a formidable guitarist, and played on street corners and at house parties in Winston-Salem, NC, Danville, VA, and then Durham, North Carolina. In Durham, playing around the tobacco warehouses, he developed a local following which included guitarists Floyd Council and Richard Trice, as well as harmonica player Saunders Terrell, better known as Sonny Terry, and washboard player/guitarist George Washington.

In 1935, Burlington record store manager and talent scout James Baxter Long secured him a recording session with the American Recording Company (ARC). Allen, Davis and Washington recorded several tracks in New York City, including the traditional "Rag, Mama, Rag". To promote the material, Long decided to rename Allen as "Blind Boy Fuller", and also named Washington Bull City Red.

Over the next five years Fuller made over 120 sides, and his recordings appeared on several labels. His style of singing was rough and direct, and his lyrics explicit and uninhibited as he drew from every aspect of his experience as an underprivileged, blind Black person on the streets—pawnshops, jailhouses, sickness, death—with an honesty that lacked sentimentality. Although he was not sophisticated, his artistry as a folk singer lay in the honesty and integrity of his self-expression. His songs contained desire, love, jealousy, disappointment, menace and humor.

In April 1936, Fuller recorded ten solo performances, and also recorded with guitarist Floyd Council. The following year, after auditioning for J. Mayo Williams, he recorded for the Decca label, but then reverted to ARC. Later in 1937, he made his first recordings with Sonny Terry. In 1938 Fuller, who was described as having a fiery temper,[citation needed] was imprisoned for shooting a pistol at his wife, wounding her in the leg, causing him to miss out on John Hammond's "From Spirituals to Swing" concert in NYC that year. While Fuller was eventually released, it was Sonny Terry who went in his stead, the beginning of a long "folk music" career. Fuller's last two recording sessions took place in New York City during 1940.

Fuller's repertoire included a number of popular double entendre "hokum" songs such as "I Want Some Of Your Pie", "Truckin' My Blues Away" (the origin of the phrase "keep on truckin'"), and "Get Your Yas Yas Out" (adapted as "Get Your Ya-Yas Out" for the origin of a later Rolling Stones album title), together with the autobiographical "Big House Bound" dedicated to his time spent in jail. Though much of his material was culled from traditional folk and blues numbers, he possessed a formidable finger-picking guitar style. He played a steel National resonator guitar. He was criticised by some as a derivative musician, but his ability to fuse together elements of other traditional and contemporary songs and reformulate them into his own performances, attracted a broad audience.[citation needed] He was an expressive vocalist and a masterful guitar player, best remembered for his uptempo ragtime hits including "Step It Up and Go". At the same time he was capable of deeper material, and his versions of "Lost Lover Blues", "Rattlesnakin' Daddy" and "Mamie" are as deep as most Delta blues. Because of his popularity, he may have been overexposed on records, yet most of his songs remained close to tradition and much of his repertoire and style is kept alive by other Piedmont artists to this day.


Fuller underwent a suprapubic cystostomy in July 1940 (probably an outcome of excessive drinking) but continued to require medical treatment. He died at his home in Durham, North Carolina on February 13, 1941 at 5 p.m. of pyemia due to an infected bladder, gastrointestinal tract and perineum, plus kidney failure.
He was so popular when he died that his protégé Brownie McGhee recorded "The Death of Blind Boy Fuller" for the Okeh label, and then reluctantly began a short lived career as Blind Boy Fuller No. 2 so that Columbia Records could cash in on his popularity.

Rusty Gill, vocals b. St. Louis, MO, USA - Rusty Gill

Elsie Evelyn Laye
b. London, England. U.K.
d. Feb. 1996, London, England, UK.
This strikingly beautiful soprano
was the toast of the London stage
for more than half a century.
© National Portrait Gallery, London
While still a teenager, she was already working on London's 'East End' stages. She subsequently won wide fame for her roles in such operettas as 'The Shop Girl' (1920), 'The Merry Widow' (1923) and Sigmund Romberg & Oscar Hammerstein's "The New Moon" (1929). In 1929, she played the lead in the Broadway production of Noel Coward's "Bittersweet".
Early years and career
Born as Elsie Evelyn Lay in Bloomsbury, London, Laye made her first stage appearance in August 1915 at the Theatre Royal, Brighton as Nang-Ping in Mr. Wu, and her first London appearance at the East Ham Palace on 24 April 1916, aged 15, in the revue Honi Soit, in which she subsequently toured.
For the first few years of her career she mainly played in musical comedy and operetta, including Going Up in 1918. Among her successes during the 1920s were Phi-Phi (1922), Madame Pompadour (1923), The Dollar Princess, Blue Eyes (1928) and Lilac Time. She made her Broadway debut in 1929 in Noel Coward's Bitter Sweet and appeared in several early talkie Hollywood films. She continued acting in such productions as The Sleeping Beauty and Cinderella. She acted several times opposite her second husband, actor Frank Lawton, including in the 1956 sitcom My Husband and I. Other stage successes included Silver Wedding (1957; with Lawton), The Amorous Prawn (1959) and Phil the Fluter (1969).

Personal life
Married to the actor Sonnie Hale in 1926, Laye received widespread public sympathy when Hale left her for the actress Jessie Matthews in 1928. She was initially very reluctant to abandon the marriage, but despite a trial reconciliation a divorce case eventually followed in 1930, with the judge labeling Matthews an "odious person".
Awarded an OBE in 1973, Laye continued acting well into her nineties. It was reported after Laye's death that Queen Elizabeth, the Queen Mother had planned to try to have Laye awarded a DBE (damehood).
She died in London from respiratory failure at the age of 95.

The Luck of the Navy (1927)
One Heavenly Night (1931)
Waltz Time (1933)
Princess Charming (1934)
Evensong (1934)
The Night Is Young (1935)
Theatre of Death (1967)
Love, I Think (1970)
Say Hello to Yesterday (1970)
Never Never Land (1980)
(Elsie) Evelyn Laye, by Bassano, 12 July 1917 - NPG x26886 - © National Portrait Gallery, London
© National Portrait Gallery, London
While in the USA, she also appeared in several Hollywood films, including "The Night is Young" (1935), with co-star Ramon Novarro. In the film, she introduced 'Romberg & Hammerstein's' "When I Grow Too Old to Dream". Laye was active on the London stage until 1969, and made concert appearances through 1992.
© National Portrait Gallery, London
Evelyn Laye - Wikipedia
[Elsie] Evelyn Laye, actress and singer (Sun Child), dies at 95 ...

Jimmy McHugh, composer
b. Boston, MA, USA.
d. May 23, 1969, Beverley Hills, CA, USA.
James Francis McHugh (July 10, 1894 – May 23, 1969) was a U.S. composer. One of the most prolific songwriters from the 1920s to the 1950s, he composed over 270 songs. His songs were recorded by such artists as Frank Sinatra, Bing Crosby, Judy Garland, Billie Holiday, Dinah Washington, June Christy and Peggy Lee.

Shirley Temple & Jimmy McHugh
After struggling in a variety of jobs, including rehearsal pianist for the Boston Opera House and pianist/song plugger for Irving Berlin’s publishing company, in 1921, at the age of 26, McHugh relocated to New York City. Eventually finding employment as a professional manager with the prominent music publisher Jack Mills Inc., it was here that McHugh published his first song “Emaline”, and briefly teamed up with Irving Mills as The Hotsy Totsy Boys to write the hit song “Everything Is Hotsy Totsy Now”. This songwriting partnership was just the first of McHugh’s many illustrious collaborations, among them Ted Koehler (“I’m Shooting High”), Al Dubin (“South American Way”) and the greatHarold Adamson (“It’s a Most Unusual Day”). As impressive as these master lyricists were, perhaps McHugh’s best symbiotic musical relationship was with the school teacher and poet Dorothy Fields.
Having written material for many of Harlem’s Cotton Club revues, it was no coincidence that their first combined success would be the score for the all-black Broadway musical Blackbirds of 1928, which jump-started the fledgling duo’s career with the memorable songs “I Can't Give You Anything But Love,” “Diga Diga Doo” and “I Must Have That Man.” Other hits written for the stage were soon to follow, including what is arguably their most famous composition, 1930’s “On The Sunny Side of the Street” for Lew Leslie’s International Revue, which also contained the favorite “Exactly Like You”; “Blue Again” for The Vanderbilt Revue; and in 1932, “Don’t Blame Me,” which was featured in the Chicago revueClowns In Clover.
McHugh and Fields contributed title songs for films such as "Cuban Love Song", "Dinner at Eight" and "Hooray For Love", as well as “I Feel A Song Comin’ On” and “I’m In The Mood For Love” from 1935’s Every Night at Eight. In the artistically fruitful years 1930 through 1935, McHugh and Fields wrote over 30 songs for the film world.


Broadway credits
  • 1928 - Blackbirds of 1928 (lyrics by Dorothy Fields)
  • 1928 - Hello, Daddy (lyrics by Fields)
  • 1930 - International Revue (lyrics by Fields)
  • 1939 - The Streets of Paris (lyrics by Al Dubin)
  • 1940 - Keep Off The Grass (lyrics by Dubin and Howard Dietz)
  • 1948 - As the Girls Go (lyrics by Harold Adamson)
  • 1985 - "Sugar Babie
Carl Orff, composer
b. Munich, Germany,
d. March 29, 1982, Munich, Germany.
Carl Orff - Wikipedia

Mitchell Parish (aka: Parrish), lyricist
b. Shreveport, LA, USA.
d. May 31, 1993, USA.
Lyricist Mitchell Parish collaborated with great American composers, including Duke Ellington, and had a long list of hit songs spanning the 1920s through the 1950s. Although he was born in Shreveport, LA, on July 10, 1900, Parish grew up in N.Y.C. and later studied at Columbia and N.Y.U. He got a job as a staff writer for a music publisher and had his first song published by the time he was in his late twenties. His first big success came in 1928 with "Sweet Lorraine." Long interested in literature and poetry, Parish became a first-rate lyricist who followed up this hit with the words for Hoagy Carmichael's "Star Dust," which became one of the top American pop songs . Parish went on to work with many other composers, including Duke Ellington and Oscar winner Sammy Fain, and collaborated with lyricist Irving Mills. His songs were used in such stage shows as Blackbirds of 1934, Blackbirds of 1939, Earl Carroll's Vanities (1940), and It Happens on Ice (1940), as well as in the 1953 film Ruby Gentry. Some of his most successful songs were "Mood Indigo" and "Corrine, Corrina" (1931), "Sophisticated Lady" (1933), "It's Wonderful" (1938), "Moonlight Serenade" (from Blackbirds of 1939), "Let Me Love You Tonight" (1944), and "All My Love" (1950). Parish also added lyrics to existing songs, as with the Leroy Anderson songs "Blue Tango" and "Sleigh Ride," Claude Debussy's "Clair de Lune" (which became "Moonlight Love" in 1956), and the Italian song "Volare" (1958). ~ Joslyn Layne, Rovi
Mitchell Parish - Wikipedia
Songwriters Hall of Fame - Mitchell Parish Exhibit

Noble Sissle
Noble Sissle (July 10, 1889 – December 17, 1975) was an American jazz composer, lyricist, bandleader, singer and playwright.

Early life
Noble Lee Sissle was born in Indianapolis, Indiana on 10 July 1889, around the time his father, the Rev George A. Sissle, was pastor of the city’s Simpson M. E. Chapel. His mother, Martha Angeline (née Scott) Sissle, was a school teacher and juvenile probation officer. 
As a youth Sissle sang in church choirs and as a soloist with his high school's glee club in Cleveland, Ohio. Sissle attended De Pauw University in Greencastle, Indiana on scholarship and later transferred to Butler University in Indianapolis before turning to music full-time.

On October 1, 1918, Sissle joined the New York 369th Infantry Regiment at New York City where he helped Lieutenant James Reese Europe form the 369th Regimental Band. Sissle played violin and also served as drum major for the 369th that, under Europe as bandmaster, is now considered amongst the greatest jazz bands of all time. Sissle sang several vocals on the last disc recorded by the band that was released in March 1919. He left the army after the war as a second lieutenant with the 370th Infantry Regiment and joined Europe’s civilian version of the 369th band. Not long afterwards, on 9 May 1919 James Europe was murdered by a disgruntled band member in Boston, Massachusetts leaving Sissle, with the help of his friend Eubie Blake, to take temporary charge of his band. Years earlier Sissle had struck up a partnership with Blake after they first met in Baltimore in 1915 and had remained in touch during the war.

Sissle is noted for his collaboration with songwriter, Eubie Blake. The pair first performed in vaudeville and later produced the musicals Shuffle Along and The Chocolate Dandies. Sissle is also, famously, the only African-American artist to appear in the Pathé film archives.

Shortly after World War I, Sissle joined forces with Blake to form a vaudeville music duo, "The Dixie Duo". After vaudeville, the pair began work on the musical revue, Shuffle Along, which incorporated many songs they had written, and had a book written by F. E. Miller and Aubrey Lyles. When it premiered in 1921, Shuffle Along became the first hit musical on Broadway written by and about African Americans. The musicals also introduced hit songs such as "I'm Just Wild About Harry" and "Love Will Find a Way."

In 1923, Sissle made two films for Lee DeForest in DeForest's Phonofilm sound-on-film process. They were Noble Sissle and Eubie Blake featuring Sissle and Blake's song "Affectionate Dan", and Sissle and Blake Sing Snappy Songs featuring "Sons of Old Black Joe" and "My Swanee Home". Blake also made a third film in Phonofilm, playing his composition "Fantasy on Swanee River". These three films are preserved in the Maurice Zouary film collection at the Library of Congress.

Sissle and his band appear in a 1930 British Pathétone short filmed at Ciro's nightclub in London, performing Walter Donaldson's "Little White Lies" and "Happy Feet," written by Jack Yellen and Milton Ager. In 1932, Sissle appeared with Nina Mae McKinney, the Nicholas Brothers, and Eubie Blake in Pie, Pie Blackbird, a Vitaphone short released by Warner Brothers.

In February 1931, Sissle accompanied Adelaide Hall on piano at the prestigious Palace Theatre (Broadway) in New York during her 1931/32 world tour.

In 1954, New York radio station WMGM, which was then owned by Loew's Theatre Organization, signed Sissle as a disc jockey. His show featured the music of African-American recording artists.

Sissle was a member of Alpha Phi Alpha fraternity.

He died in 1975 at the age of 86 Tampa, Florida.

His rendition of the song "Viper Mad" was included in the Woody Allen film Sweet and Lowdown.

Noble Sissle and Eubie Blake at

Noble Sissle at Internet Movie Database

Hociel Thomas, vocals/piano b. Houston, TX, USA.
d. Aug. 22, 1952, Oakland CA, USA.
Hociel was one of several well known early female 'Blues' singers that hailed from Texas (some others include Victoria Spivey (singer/guitarist. b. Oct. 15, 1906, Houston, TX, USA, d. Oct. 3, 1976, New York, NY, USA), Maggie Jones (née: Fae Barnes, b. c.1900. Hillsborough, TX, USA. d. unknown), and Beulah "Sippie" Wallace (b. Nov. 1, 1898, Houston, TX, USA, d. Nov. 1, 1986, Detroit, MI, USA. 87th birthday).
Hociel, like the other ladies above, recorded with many of the early Jazzmen including Armstrong, "King" Oliver, "Papa Mutt" Carey, Johnny Dodds, and well into the 1940s, with many others. Hociel was also a wonderful 'boogie-woogie' pianist (taught by her father, George) who carried on the tradition of her short-lived uncle, Hersal Thomas.
On Feb. 24, 1926, Okeh records released 4 sides with Hociel Thomas singing, backed by Louis Armstrong on Cornet, and pianist Hersal Thomas on piano. The four songs were "Deep Water Blues" (9519-A OKeh 8297), "Lonesome Hours" (9522-A Okeh 8297), "Listen To Ma (9521-A Okeh 8346), and "G'wan, I Told You" (9520-A Okeh 8346) The first three were listed on the label as composed by "Thomas", -but it was not stated if it was brother George W, brother Hersal, or Hociel, but perhaps it was a collaboration. ("G'wan" was listed as composed by Blair/Lethwick.)
Listen To Ma
G'wan I Told You

Hociel Thomas
Hociel Thomas (1904 - 1952) - Find A Grave Memorial


Cootie Williams
Charles Melvin "Cootie" Williams (July 10, 1911 – September 15, 1985) was an American jazz, jump blues, and rhythm and blues trumpeter.
Cootie Williams is considered by many to be the greatest jazz trumpeter of the 1930s. His career began at age 14 when he played alongside saxophonist Lester Young in the Young Family Band. In 1928, he made his first recordings with pianist James P. Johnson in New York, where he also worked briefly in the bands of Chick Webb and Fletcher Henderson. Williams went on to play in Duke Ellington’s orchestra and later, Benny Goodman’s. He formed his own orchestra in 1941, giving a home to such future legends as Eddie “Lockjaw” Davis, Charlie Parker, and Bud Powell. 

Williams’ style of trumpet playing was labeled “jungle,” and he was one of the best at it. And he used a plunger as a mute, influencing the likes of Wynton Marsalis. 

Cootie Williams

Notable Events Occurring

On This Date Include:

'His Master's Voice', a 'logo' of the Victor Recording Company,
(later, RCA Victor), showing the dog, "Nipper", looking into
the horn of a gramophone machine, was registered with the
U.S. Patent Office.
It would become one of the world's most famous trademarks.

Ferdinand 'Jelly Roll' Morton
pioneer jazz pianist
died in Los Angeles.
(Age: 56)
Jelly Roll Morton

Songs Recorded/Released
On This Date Include:

Art Hickman and his Orchestra - A Young Man's Fancy (Music Box Song)


Harry Reser and his Orchestra - Send Back My Honeyman

Mamie Smith and her Jazz Hounds 1920. Standing Left to right: Ernest Elliot, Dope Andrews, Addington Major, Leroy Parker, seated at the piano: Willie "The Lion" Smith. Standing in the center: Mamie Smith
Mamie Smith's Jazz Hounds
  • Alabama Blues
  • Mamie Smith Blues


Ellen Coleman accompanied by Lem Fowler's Orchestra


Red Mckenzie and his Mound City Blue Blowers
  • You Ain't Got Nothing I Want

Ray Miller's Orchestra 1923Left to Right: Ward Archer, Charlie Rocco, Miff Mole, Danny Yates, Roy Johnston, Tony Satterfield, Louie Cassaign, Ray Miller, Frankie Trumbauer, Andy Sandolar, Rube Bloom, Billy Richards, Frink DePrima, Andy Sannella.
Ray Miller's Orchestra

Varsity Eight
  • I Can't Get The One I Want

Millard G. Thomas and his Chicago Orchestra
  • Lazy Drag

Art Hickman and his Orchestra


The Goofus Five  - Are You Sorry?


Doc Cook's Dreamland Ballroom Orchestra in 1925left to right:Bert Green, Fred Garland, Andrew Hilaire, Freddie Keppard, Elwood Graham, William Newton, Kenneth Anderson, Jerome Don Pasquall, Jimmie Noone, Doc Cook, Joe Poston, Robert Shelley, Johnny St. Cyr, Clifford King.

Cook and his Dreamland Orchestra - Brown Sugar

Cook and his Dreamland Orchestra - 
Here Comes The Hot Tamale Man 
Cook and his Dreamland Orchestra - High Fever 
      • Spanish Mama

  • 1927

    Jelly Roll Morton's Red Hot Peppers in 1926 Left to Right: Andrew Hlaire, Kid Ory, George Mitchell, John Lindsay, Jelly Roll Morton, Johnny St. Cyr, Omer Simeon.
    Jelly Roll Morton's Red Hot Peppers - Beale Street Blues
    Jelly Roll Morton's Red Hot Peppers The Pearls

    Jelly Roll Morton Trio Mr. Jelly Lord

    Jelly Roll Morton Trio - Wolverine Blues


      Paul Whiteman Orchestra 1928 left to right:
      Roy Bargy, Lennie Hayton. standing Paul Whiteman. seated: Irving Friedman, Michael Pingitore, George Marsh.standing left: Charles Gaylord, Eddie Pinder, Austin Young, Min Leibrook, Rube Crozier, Charles Strickfaden. standing right: Kurt Dieterle, Mischa Russell, Marty Malneck, Charles Margulis, Wilber Hall, Mike Trafficante, Roy Mayer, Chester Hazlett. standing back row: Frankie Trumbauer, Bill Rank, Jack Fulton, Bix Beiderbecke, Boyce Cullen, Harry Goldfeild.
      Paul Whiteman and his Orchestra I'd Rather Cry Over You (Than Smile At Somebody Else)
      • In the Evening
      Paul Whiteman and his Orchestra Tain't So, Honey, Tain't So


      Jelly Roll Morton's and his Orchestra - New Orleans Bump

      Victoria Spivey - Funny Feathers

      Victoria Spivey - How Do You Do It That Way?

      Alabama Jim and George
      • Crossin' Beale Street
      • Memphis Rhythm

      Ruben "River" Reeves and his River Boys Parson Blues


      Fess Williams and his Royal Flush Orchestra - All For Grits And Gravy

      Fess Williams and his Royal Flush Orchestra - Playing My Saxophone
      You Can't Go Wrong


      Joe Venuti's Blue Four/Five/Six Pardon Me Pretty Baby(Don't I Look Familiar To You)

      Joe Venuti's Rhythm Boys Little Girl

      Joe Venuti's Rhythm Boys Tempo di Modernage


      Beale Street Blues
      ~ (W.C Handy)

      I've seen the lights of gay Broadway,
      Old Market Street down by the Frisco Bay,
      I've strolled the Prado, I've gambled on the Bourse;
      The seven wonders of the world I've seen,
      And many are the places I have been,
      Take my advice, folks, and see Beale Street first!

      You'll see pretty browns in beautiful gowns,
      You'll see tailor-mades and hand-me-downs,
      You'll meet honest men, and pick-pockets skilled,
      You'll find that business never ceases 'til somebody gets killed!

      If Beale Street could talk, if Beale Street could talk,
      Married men would have to take their beds and walk,
      Except one or two who never drink booze,
      And the blind man on the corner singing "Beale Street Blues!"

      I'd rather be there than any place I know,
      I'd rather be there than any place I know,
      It's gonna take a sergeant for to make me go!

      I'm goin' to the river, maybe by and by,
      Yes, I'm goin' to the river, maybe by and by,
      Because the river's wet, and Beale Street's done gone dry!

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      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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