Sunday

JULY 3RD


Happy Birthday George M. Cohan!


BIRTHDAYS




1878
George M. Cohan
Born: July 3, 1878
Providence, Rhode Island
Died: November 5, 1942 (aged 64)
New York City, New York
George Michael Cohan (pronounced Ko-han; July 3, 1878 – November 5, 1942), known professionally as George M. Cohan, was a major American entertainer, playwright, composer, lyricist, actor, singer, dancer and producer.
Cohan began his career as a child, performing with his parents and sister in a vaudeville act known as "The Four Cohans." Beginning with Little Johnny Jones in 1904, he wrote, composed, produced, and appeared in more than three dozen Broadway musicals. Cohan wrote some 500 songs during his lifetime, including the standards "Over There", "Give My Regards to Broadway", "The Yankee Doodle Boy" and "You're a Grand Old Flag". As a composer, he was one of the early members of the American Society of Composers, Authors, and Publishers (ASCAP). He displayed remarkable theatrical longevity, appearing in films until the 1930s, and continuing to perform as a headline artist until 1940.
Known in the decade before World War I as "the man who owned Broadway", he is considered the father of American musical comedy. His life and music were depicted in the Academy Award-winning film Yankee Doodle Dandy (1942) and the 1968 musical George M!. A statue of Cohan in Times Square in New York City commemorates his contributions to American musical theatre.
George M. Cohan


1893
"Mississippi" John Hurt, Vocalist
d. Nov. 2, 1966. nee: John Smith Hurt.
~Biography by Bruce Eder
No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. Coupled with the sheer gratitude and amazement that he felt over having found a mass audience so late in life, and playing concerts in front of thousands of people -- for fees that seemed astronomical to a man who had always made music a sideline to his life as a farm laborer -- these qualities make Hurt's recordings into a very special listening experience.
John Hurt grew up in the Mississippi hill country town of Avalon, population under 100, north of Greenwood, near Grenada. He began playing guitar in 1903, and within a few years was performing at parties, doing ragtime repertory rather than blues. As a farm hand, he lived in relative isolation, and it was only in 1916, when he went to work briefly for the railroad, that he got to broaden his horizons and his repertory beyond Avalon. In the early '20s, he teamed up with white fiddle player Willie Narmour, playing square dances.


Hurt was spotted by a scout for Okeh Records who passed through Avalon in 1927, who was supposed to record Narmour, and was signed to record after a quick audition. Of the eight sides that Hurt recorded in Memphis in February of 1928, only two were ever released, but he was still asked to record in New York late in 1928. Hurt's dexterity as a guitarist, coupled with his plain-spoken nature, were his apparent undoing, at least as a popular blues artist, at the time. His playing was too soft and articulate, and his voice too plain to be taken up in a mass setting, such as a dance; rather, his music was best heard in small, intimate gatherings. In that sense, he was one of the earliest blues musicians to rely completely on the medium of recorded music as a vehicle for mass success; where the records of Furry Lewis or Blind Blake were mere distillations of music that they (presumably) did much better on-stage, in John Hurt's case the records were good representations of what he did best. Additionally, Hurt never regarded himself as a blues singer, preferring to let his relatively weak voice speak for itself with none of the gimmicks that he might've used, especially in the studio, to compensate. And he had no real signature tune with which he could be identified, in the way that Furry Lewis had "Kassie Jones" or "John Henry."

Not that Hurt didn't have some great numbers in his song bag: "Frankie," "Louis Collins," "Avalon Blues," "Candy Man Blues," "Big Leg Blues," and "Stack O' Lee Blues," were all brilliant and unusual as blues, in their own way, and highly influential on subsequent generations of musicians. They didn't sell in large numbers at the time, however, and as Hurt never set much store on a musical career, he was content to make his living as a hired hand in Avalon, living on a farm and playing for friends whenever the occasion arose.

Mississippi John Hurt might've lived and died in obscurity, if it hadn't been for the folk music revival of the late '50s and early '60s. A new generation of listeners and scholars suddenly expressed a deep interest in the music of America's hinterlands, not only in listening to it but finding and preserving it. A scholar named Tom Hoskins discovered that Mississippi John Hurt, who hadn't been heard from musically in over 35 years, was alive and living in Avalon, MS, and sought him out, following the trail laid down in Hurt's song "Avalon Blues." Their meeting was a fateful one; Hurt was in his 70s, and weary from a lifetime of backbreaking labor for pitifully small amounts of money, but his musical ability was intact, and he bore no ill-will against anyone who wanted to hear his music.

A series of concerts were arranged, including an appearance at the Newport Folk Festival, where he was greeted as a living legend. This opened up a new world to Hurt, who was grateful to find thousands, or even tens of thousands of people too young to have even been born when he made his only records up to that time, eager to listen to anything he had to sing or say. A tour of American universities followed as did a series of recordings: first in a relatively informal, non-commercial setting intended to capture him in his most comfortable and natural surroundings, and later under the auspices of Vanguard Records, with folk singer Patrick Sky producing. It was 1965, and Mississippi John Hurt had found a mass audience for his songs 35 years late. He took the opportunity, playing concerts and making new records of old songs as well as material he'd never before laid down; whether he eventually put down more than a portion of his true repertory will probably never be clear, but Hurt did leave a major legacy of his and other peoples' songs, in a style that barely skipped a beat from his late-'20s Okeh sides.
As with many people to whom success comes late in life, certain aspects of the success were hard for him to absorb in stride; the money was more than he'd ever hoped to see, even if it wasn't much by the standards of a major pop star; 1,000 dollar concert fees were something he'd never even pondered having to deal with. What he did most easily was sing and play; Vanguard got out a new album, Today!, in 1966, from his first sessions for the label. Additionally, the tape of a concert that Hurt played at Oberlin College in April of 1965 was released under the title The Best of Mississippi John Hurt; the 21-song live album was just that, even if it wasn't made up of previously released work (more typical of a "best-of" album), a perfect record of a beautiful performance in which the man did old and new songs in the peak of his form. Hurt got in one more full album, The Immortal Mississippi John Hurt, released posthumously, but even better was the record assembled from his final sessions, Last Sessions, also issued after his death; these songs broke new lyrical ground, and showed Hurt's voice and guitar to be as strong as ever, just months before his death. 

Mississippi John Hurt left behind a legacy unique in the annals of the blues, and not just in terms of music. A humble, hard-working man who never sought fame or fortune from his music, and who conducted his life in an honest and honorable manner, he also avoided the troubles that afflicted the lives of many of his more tragic fellow musicians. He was a pure musician, playing for himself and the smallest possible number of listeners, developing his guitar technique and singing style to please nobody but himself; and he suddenly found himself with a huge following, precisely because of his unique style. Unlike contemporaries such as Skip James, he felt no bitterness over his late-in-life mass success, and as a result continued to please and win over new listeners with his recordings until virtually the last weeks of his life. Nothing he ever recorded was less than inspired, and most of it was superb.


1915
Jerry Gray, Violin/Leader b. East Boston, MA, USA. d. August 19, 1976. A major influence in popular music during the big band era primarily as an arranger. He joined Glenn Miller in 1939 and is credited with creating the Miller sound. Two of Miller's biggest hits "String of Pearls" and "Pennsylvania 6-5000" were written by Gray and he arranged "Moonlight Cocktails," "Chattanooga Choo Choo" and "I've Got a Girl in Kalamazoo".
Jerry Gray (arranger) - Wikipedia




Fred Maddox (right)
1919
Fred Maddox, vocals/guitar
d. Oct. 29, 1992.
nee: Fred Roscoe Maddox.
Best remembered for 'The Maddox Brothers and Rose', - a Country and Western music group.

1903
Dick Robertson
Leader/Vocal
b. New York, NY.
Dick Robertson--one of the busiest big band and studio singers from the late '20s through the early '40s--eventually pushed the microphone away, sat down and got busy writing songs of his own. This catalog of songs includes the slightly melancholy "I'm a Little on the Lonely Side" as well as "We Three", a melody-a-trois that has been mistakenly interpreted as a precursor to David Crosby's notorious "Triad". Robertson's career opened up in the Roaring Twenties: he was active in live performances as both a soloist and in duo with Ed Smalle before realizing that his voice was perfectly suited for the newly developing recording industry.


Robertson kept so busy cutting vocal tracks that he apparently made use of a stack of pseudonyms in order to quell potential rebellion amongst label managers and audience alike. The trick would not phase future jazz critics, who tend to pan his vocals under whatever name. Pianist Eubie Blake may have made the most vivid use of the Robertson pipes, presenting the vocalist as basically the main solo voice in a large ensemble grouping. The singer also recorded with Duke Ellington, The Mills Blue Rhythm Band, Benny Goodman, Andy Kirk and many others. Robertson also cut a variety of sides as a leader, organizing ensembles dubbed the Dick Robertson Orchestra with the type of studio musicians who kept as busy as he did during this era. Aliases for this performer, who also played violin on records every now and then, include Ray Carroll and Bobby Dick. His final recording session under his real name took place in 1949 for the Coral label with Owen Bradley producing--suggesting that Robertson may have been on the verge of going country. ~ Eugene Chadbourne, Rovi





Notable Events Occurring
On This Date Include:

***1941.
Cab Calloway orchestra recorded "St. James Infirmary".
(Okeh Records).
***I think it was also recorded earlier.. around 1931 (?) St. James Infirmary Blues is a traditional American folk song, the lyric of which can be traced to late 19th-century New Orleans. After a famous 1928 recording by Louis Armstrong, Cab Calloway and His Orchestra recorded it for a 1933 Betty Boop cartoon, Snow White, that is still seen by millions of children on television and considered a classic of early cartoon animation. In the "St. James Infirmary" sequence, Cab's dance moves were transferred from live-action film to animation by a process called the "roto-scope."
LYRICS:
St. James Infirmary
(Primerose-arr. of traditional folksong -The Gambler's Blues)


Folks, I'm goin' down to St. James Infirmary,
See my baby there;
She's stretched out on a long, white table,
She's so sweet, so cold, so fair.


Let her go, let her go, God bless her,
Wherever she may be,
She will search this wide world over,
But she'll never find another sweet man like me.


Now, when I die, bury me in my straight-leg britches,
Put on a box-back coat and a stetson hat,
Put a twenty-dollar gold piece on my watch chain,
So you can let all the boys know I died standing pat.


Folks, now that you have heard my story,
Say, boy, hand me another shot of that booze;
If anyone should ask you,
Tell 'em I've got those St. James Infirmary blues.

Koko the Clown sings St James Infirmary Blues in the 1933 Betty Boop Snow White cartoon.
The song is sung by Cab Calloway and Koko's dance number was rotoscoped.
Songs Recorded/Released
On This Date Include:


1927




Red Mckenzie and his Mound City Blue Blowers - What Do I Care What Somebody Said



1928





Jack Pettis and his Pets - A Bag O' Blues  


Fred Hall and his Sugar Babies
  • Butternut ('Neath The Beautiful Butternut Tree) 




Cliff Edwards "Ukulele Ike"
  • Anita

1929


Victoria Spivey - You Done Lost Your Good Thing Now! - Part 1 



Lee Morse and her Bluegrass Boys - Miss You


1930





Bubber Miley and his Mileage Makers - Chinnin' And Chattin" With May



Red Nichols' Five Pennies - The Sheik Of Araby



LYRICS:

THE SHEIKH OF ARABY
(Harry Bache Smith / Ted Snyder / Francis Wheeler)

Well I'm the sheikh of Araby,
your love belongs to me.
Well at night where you're asleep,
into your tent I'll creep.
The stars that shine above
will light our way to love.
You rule this world with me,
I'm the sheikh of Araby.
Well I'm the sheikh of Araby,
your love belongs to me.
Oh at night where you're asleep,
into your tent I'll creep.
The sun that shines above
will light our way to love.
You rule this world with me,
I'm the sheikh of Araby.
Well I'm the sheikh of Araby,
well I'm the sheikh of Araby, yeah.


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~confetta
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and all those who have provided content,

images and sound files for this site.

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