Saturday

AUGUST 13TH


BIRTHDAYS

1913
Anna Mae Winburn, guitar/bandleader
b. Port Royal, TN, USA.
Member: 'The Sweethearts Of Rhythm' With female jazz musicians as rare as they are, Anna Mae Winburn is doubly unusual. She was not only a member of one of the rare all-female jazz bands in the genre's history, she was the leader of the outfit as well -- promoting her to the incredibly rare status of a female jazz bandleader. The opportunity for this only came about, sadly enough, because the Second World War had removed so many male musicians from circulation. While women in general enjoyed new working opportunities as a result, female jazz players were not about to slouch off either. The International Sweethearts of Rhythm was formed as a result and became a popular group, boasting excellent charts by Jesse Stone and Eddie Durham.
The group was formed in 1939 at the Piney Wooks Country Life School in Mississippi but made its debut at a much more prestigious venue, the Howard Theater in Washington, D.C. In between came a complete change in philosophy. While the group was originally formed on an amateur basis to support the Mississippi school, a decision was eventually made to sever ties with that organization and move the band north, hiring more professional players to beef up the sound. Winburn hooked up with the group several years later and became the leader from 1941 on. Previously she had been a collaborator of Lloyd Hunter, an interesting and innovative Mississippi bandleader, arranger, and composer who formed all-female groups off and on throughout his career. Winburn had been fronting the Lloyd Hunter Serenaders and had also been involved with several other Hunter projects.
Her roots were in Nebraska, where she was one of the only female bandleaders fronting what are often known as territory bands, or groups whose touring activities and popularity were geographically limited to several adjoining states. Her Nebraska activities included leading the Cotton Club Boys based out of Omaha, NE, a group that at one point included the amazing guitarist Charlie Christian. Once a "sweetheart," Winburn stayed on in the leader's role until the group folded in the late '40s.
The membership of the group is a fascinating list of female jazz players who obviously came and went without leaving that much of a historical trace on the jazz scene. The list includes Ernestine "Tiny" Davis, Ray Carter, Johnnie Mae Stansbury, and Edna Williams, trumpeters all; Marge Pettiford, Amy Garrison, Helen Saine, Grace Bayron, Willie Mae Wong, and Viola Burnside on saxophones; Judy Bayron, Helen Jones, and Ina Bell Byrd on trombones; and a rhythm section featuring Lucille Dixon on bass, Roxanna Lucas on guitar, Johnnie Mae Rice on piano, and Pauline Braddy on the drums. Evelyn McGee shared vocal duties with Winburn, who was sometimes too distracted conducting the musicians to burst into song. "I don't know whether or not I can get along with that many women or not," was apparently the first concern on Winburn's mind when she first got together with the group.

It was the first racially integrated women's band and played to primarily black audiences in theaters and ballrooms throughout the United States. At one Howard Theater show, the band set a new box office record of 35,000 patrons in one week of 1941. Yet the impact of this group should not be cheapened simply by quoting attendance statistics. It was an incredible example of Latina, Asian, Caucasian, black, Indian, and Puerto Rican women coming together and making music that was fully on the level of anything being played in the swing era.
The group's music was widely admired by musical peers, including the likes of jazz giants Count Basie and Louis Armstrong. Satchmo even tried lure trumpet player Davis away from the International Sweethearts of Rhythm by offering her ten times the moolah. The female group was certainly cheated on the amount of exposure to mainstream audiences it received in the South as the good-old-boy network obviously like the idea all-white, male big bands better. When Winburn did head South with the group, the white women in the group blackened their faces so the police would not arrest them right on the bandstand. In 1946, the group appeared in the film Jump Children. Generations after the group's heyday, interest continues to flourish and several documentary films have been produced about the band, including one simply entitled The International Sweethearts of Rhythm and another with the more vivid name of Tiny and Ruby: Hell-Divin' Women. ~ Eugene Chadbourne
FORGOTTEN WOMEN IN THE ARTS / OTHERS REDISCOVERED / Anna Mae Winburn



1909
Skinnay Ennis, Leader
b. Salisbury, NC
d. June 3, 1963, Beverly Hills, CA, USA.
(Choked to death on a Bone stuck in his throat.)
né: Robert Ennis.
Looking for a missing link between cornpone comedian Bob Hope and sophisticated arranger Gil Evans? Look no further than Skinnay Ennis, a man whose nickname appears to be an attempt to make "skinny" look a little fatter. He was born Robert Ennis and was attending university in his home state of North Carolina when he met the first major collaborator in his musical life, Hal Kemp. By the late '20s he was both a member and one of the founders of the orchestra that would become active under Kemp's name. This relationship involved both recording and touring, including trips to Europe, and would continue through 1938. Not too shabby considering the fact that Ennis had only been playing drums for a few years when he met Kemp.
Ennis next went on his own, assembling a group with a hunger for commercial honey that became busy as a bee around Hollywood. As a leader, Ennis began to demonstrate a buzz for comedy, something producers of the various radio shows the group was appearing on naturally took advantage of. The ultimate result of all this was an extended job for him on Bob Hope's radio show. Buffs who like the cinematic output of the '40s will have a good chance of seeing the Ennis group onscreen as well. The young Gil Evans was hired on as arranger for the band during this hectic period. Ennis put his own band together for the military during the Second World War, then was back in action in Hollywood as soon as the peace treaties were signed.
The last stage of his career was a bit more quiet. As the '50s came to a close, the way to check out Ennis was to go see his group in person at one of the larger hotels in Los Angeles. Rediscovered in the new millennium as yet another aspect of lounge music or space age jazz, Ennis would probably still be going strong had he not choked to death on a bone during his supper at a restaurant in Beverly Hills.
~ Eugene Chadbourne
MORE Skinnay Ennis - Wikipedia
1912
Nate Kazebier, Trumpet
b. Lawrence, KS, d. 1969
A good swing trumpeter who never really became a major soloist, Nate Kazebier is best-known for his early association with Benny Goodman. He began playing trumpet when he was nine and started out working with local territory bands in the Midwest including Austin Wylie in Cleveland, Jan Garber and Slats Randall. He was part of Goodman's 1935-36 big band and was on a small group date led by Gene Krupa. Kazebier left by mid-1936, moved to California and worked with Ray Noble, Seger Ellis' Brass Choir, Spud Murphy and other local orchestras. He was with Gene Krupa's first big band (1939-40) and spent a period with Jimmy Dorsey (1940-43) before going in the military. After his discharge, he had a second stint with Goodman (1946-47) and then became a studio musician in California. Although he recorded with Ray Bauduc and was active into the 1960's, Nate Kazebier (who did not lead any records of his own) was always quite obscure.
~ Scott Yanow


Buddy Rogers and Clara Bow from he 1927 film "Wings" 
1904
Buddy Rogers
Charles Edward “Buddy” Rogers (August 13, 1904 – April 21, 1999) was an American actor and jazz musician.
Life and career
Early years
Rogers with The Twin Stars radio program, 1937.
Rogers was born to Maude and Bert Henry Rogers in Olathe, Kansas. He studied at the University of Kansas where he became an active member of Phi Kappa Psi. In the mid-1920s he began acting professionally in Hollywood films. A talented trombonist skilled on several other musical instruments, Rogers performed with his own jazz band in motion pictures and on radio. During World War II, he served in the United States Navy as a flight training instructor.


According to American Dance Bands On Record and Film (1915–1942), compiled by Richard J. Johnson and Bernard H. Shirley (Rustbooks Publishing, 2010), Rogers was not a bandleader in the normal use of the term. Instead, he was a film actor who fronted a band for publicity purposes. His later bands were organized by Milt Shaw. In 1930, he recorded 2 records for Columbia as a solo singer with a small jazz band accompanying. In 1932, he signed with Victor and recorded 4 sweet dance band records. In 1938, He signed with Vocalion and recorded 6 swing records.


Career
Nicknamed "Buddy", his most remembered performance in film was opposite Clara Bow in the 1927 Academy Award winning Wings, the first film ever honored as Best Picture. Respected by his peers for his work in film and for his humanitarianism, the Academy of Motion Picture Arts and Sciences honored Rogers in 1986 with The Jean Hersholt Humanitarian Award.

For his contribution to the motion picture industry, Rogers has a star on the Hollywood Walk of Fame at 6135 Hollywood Blvd.


A longtime resident and benefactor of California's Coachella Valley, Rogers was honored by having named after him a children's symphony orchestra that he and second wife, Beverley Ricondo, a real estate agent he married in 1981, helped found. A street in Cathedral City, California is named after him as well.


In 1993, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to him.


Personal life

In 1937, Rogers became the third husband of silent film legend Mary Pickford, a woman twelve years his senior. The couple adopted two children—Roxanne (born 1944, adopted in 1944) and Ronald Charles (born 1937, adopted in 1943)—and remained married for 42 years until Pickford's death in 1979.

Death


Rogers died in Rancho Mirage, California, in 1999 at the age of 94 of natural causes, and was interred at Forest Lawn Cemetery, Cathedral City, near Palm Springs.




1913
"Big Chief" Russell Moore, trombone
b. Komatke, AZ, USA.
d. 1983 (member of the Native American Pima Tribe).
The "Big Chief" was born (on the reservation) August 13, 1913 (Pima Tribe). He studied music with his uncle at Blue Island, IL. (Along with the t'bone, he also mastered the piano, trumpet, drums and euphonium - and also played the baritone sax with the National Guard band in Chicago 1928-9). A brief chronology on him should include: 1941 With Harlan Leonard's band; 1942 with Noble Sissle's band; 1943-5 Satchmo's Big Band; 1946-8 With Sidney Bechet; 1949 To Europe and the Paris Jazz Festival.
1953 Again toured Europe - recording with Buck Clayton and Mezz Mezzrow (Was also in a film with Satchmo - "New Orleans" ). In 1954 With Jimmy McPartland's band (In 1924, Jimmy replaced Bix in the Wolverines.); 1957 With Lester Lanin's band - featured jazz soloist. In Late 50s Seen at New York's Metropole Cafe (that's where I first saw and heard him. He (and the band) were up on the shelf above the Bar. Did you know that today (2002), the Metropole is an All-Nude show joint? He also played Central Plaza and the 'obligatory' college dates. In 1959, he led his own band on tours (sponsored by Nat'l Council of American Indians) to Arizona and South Dakota, to raise funds for indigent Indian students. Sadly, Russell passed away in 1983

1919
George Albert Shearing, piano
b. London, England.
(composer "Lullabye of Birdland".)


1919
'Baby Boy' Warren
Blues vocals/guitar
b. Lake Providence, LA, USA.
né: Robert Henry Warren.
~Biography 
The denizens of Detroit's postwar blues scene never really received their due (except for John Lee Hooker, of course). Robert "Baby Boy" Warren compiled a sterling discography from 1949 to 1954 for a variety of Motor City firms without ever managing to transcend his local status along Hastings Street. After honing his blues guitar approach in Memphis (where he was raised), Warren came to Detroit in 1942 to work for General Motors and gig on the side. The fruits of his first recording session in 1949 with pianist Charley Mills supporting him came out on several different logos: Prize, Staff, Gotham, even King's Federal subsidiary.
A second date in 1950 that found him backed by pianist Boogie Woogie Red was split between Staff and Sampson; Swing Time snagged "I Got Lucky"/"Let's Renew Our Love" and pressed it for West Coast consumption. One of his most memorable sessions took place in 1954, when wizened harpist Sonny Boy Williamson came to Detroit and backed Warren on "Sanafee" and "Chuc-A-Luck," which found their way to Nashville's Excello label. Joe Von Battle's JVB imprint unleashed Warren's "Hello Stranger" and "Baby Boy Blues" from the same date. That same year, a single for powerful Chicago deejay Al Benson's Blue Lake Records coupled "Mattie Mae" and "Santa Fe." The 1970s brought Baby Boy Warren a taste of European touring, though nothing substantial, before he passed away in 1977.
~ Bill Dahl



Notable Events Occurring
On This Date Include:

1860.
Phoebe Anne Oakley Moses, later known as Annie Oakley was born. The Irving Berlin musical, Annie Get Your Gun, was based on her life. Among her other accomplishments, she was also a fine markswoman, who, as a member of Buffalo Bill Cody's "Wild West Show" had toured America.
Annie Oakley - Wikipedia


1924.
Vernon Dalhart recorded
first Country song to sell
one million copies.



Songs Recorded/Released
On This Date Include:



1917


Earl Fuller's Famous Jazz Band - 1917 Left to right: Harry Raderman, Ted Lewis, John Lucas, Earl Fuller, Walter Kahn.
Earl Fuller's Famous Jazz Band

1919



Original Dixieland Jass Band - Satanic Blues


1923



Paul Ash and his Granada Orchestra
  • Valse Blue

Bailey's Lucky Seven
  • Foolish Child
  • I've Got The Yes! We Have No Bananas Blues
  • No, No, Nora

1924




The Little Ramblers - Hard Hearted Hannah

The Little Ramblers Tessie (Stop Teasin' Me)



Paul Whiteman and his Orchestra - Little Old Clock On the Mantle

1925



The Tennessee Tooters

Johnny Hamp's Kentucky Serenaders
  • Cecilia
  • The Promenade Walk


Original Indiana Five
  • Oh! Boy, What A Girl






1926



Lonnie Johnson Baby, Please Tell Me

Victoria Spivey

1928



King Oliver's Dixie Syncopators - Four Or Five Times (vocal)


Louisiana Rhythm Kings - When You're Smiling

1929




Benny Goodman's Boys - After A While
  • Muskrat Scramble

Ruben "River" Reeves and his River Boys
  • Black And Blue



The Clicquot Club Eskimos - Marianne - (Tom Stacks vocal)


1931



Ben Selvin and his Orchestra
LYRICS:

~Adapted Spiritual
~Written By: Unknown


The old gray mare,
She ain't what she used to be
Ain't what she used to be,
Ain't what she used to be
The old gray mare,
She ain't what she used to be
Many long years ago.
Many long years ago,
Many long years ago,
The old gray mare,
She ain't what she used to be
Many long years ago.
The old gray mare,
She kicked on the whiffletree,
Kicked on the whiffletree,
Kicked on the whiffletree
The old gray mare,
She kicked on the whiffletree
Many long years ago.
Many long years ago,
Many long years ago,
The old gray mare,
She kicked on the whiffletree
brought to you by...
~confetta

Special Thanks To:
and all those who have provided content,
images and sound files for this site.

No comments: