Image result for Frank Fay
Happy Birthday Frank Fay


Katie Crippin and her Kiddies, 1925.
Katie Crippen, vocals
d. 1929
Katie Crippen (November 17, 1895 – November 25, 1929), also billed as Little Katie Crippen or Ella White, was an African American entertainer and singer.
She was born in Philadelphia, Pennsylvania, United States. She performed at Edmond's Cellar in New York City ca. 1920. In 1921 she recorded four sides for Black Swan Records in the classic female blues style, accompanied by Fletcher Henderson's Orchestra. She toured in 1922–23 as the star of a revue, "Liza and her Shuffling Sextet", that included Fats Waller. She subsequently formed a revue, "Katie Crippen and Her Kids", in which she was accompanied by a teenaged Count Basie. In the later 1920s he appeared in revues at the Lafayette Theater in New York City, and toured the RKO theater circuit with Dewey Brown as Crippen & Brown.
After a long illness, Crippen died of cancer in New York City on November 25, 1929. She is buried in Marion Cemetery, Philadelphia.
Crippen's complete recordings have been reissued in CD format by Document Records on Fletcher Henderson and the Blues Singers: Complete Recorded Works In Chronological Order Volume 1 (1921–1923) (DODC-5342).
Vaudeville-Singer. Her six piece band, "Katie Crippen and Her Kiddies", was part of the "Hippity Hop" revue touring across the United States on the Columbia vaudeville circuit and performing for highbrow New York area audiences. The act was a special feature that was called the "Olio", being a mix of song and dance. A young Count Basie got his start as a pianist in her group.
from: Katie Crippen (1895 - 1929) - Find A Grave Memorial

Frank Fay, vocals
d. 1961   
Birth name: Francis Anthony Donner
Height: 6' 1" (1.85 m)
Spouse: Barbara Stanwyck
(26 August 1928 - February 1936) (divorced)
A popular vaudeville star, on stage from age 4.
Severe alcoholism ruined his marriage to actress Barbara Stanwyck and nearly obliterated his career. He revived himself in the 40s when he starred in the play "Harvey" as Elwood P. Dowd, whose friend is an invisible rabbit. James Stewart played the role in the film version. Known for his clever wit and uncontrollable ego, he once, when asked during a court appearance what his profession was, exclaimed "I'm the greatest comedian in the world." He later told his exasperated attorney, "I was under oath, wasn't I?"

Frank Faye was the first really successful stand up comedian and MC to work in nightclubs and in Vaudville. He did his act in top hat and tails (Sans clown makeup, costumes and pratfalls). He used wit and interaction with the other performers and the audiences to make his act unique. He was also reasponsible for discovering Comic/character actresses Patsy Kelly, Ruby Stevens and Barbara Stanwyck and giving them their first acting gigs in Vaudville and in the theater. Mr. Fay and Ms. Stanwyck appeared in the star studded film comedy "The Slippery Pearls" in April, 1931. (The film was produced as a fund raiser by The Hollywood Masquers Club and by Paramount Pictures to raise monies to build The Will Rogers Memorial Hospital in Lake Saranc, New York).
b. Magnolia Plantation, LA, USA
d: Jan. 7, 1960, New Orleans, LA, USA

Max Miller, piano/vibes
New Philadelphia, OH, USA.
Originally played banjo later switched to guitar; local bands 28-35; with Vincent Lopez orch. 1937; MDir. Station WIND (Gary, IN); own combo in 1940 with many club dates. There might not be a large discography for this Chicago jazz artist, but by all accounts he has been what is informally known as "a playin' (censored)" all his life. His performing career stretched back to the Roaring Twenties. The 16-year-old Max Miller participated in tours involving various romping territory bands of the Midwest, playing both banjo and guitar. The subject of his instruments provides ample evidence of his ability to play, play, play. He eventually switched to a double of piano and vibraphone in the early '40s, but those in the know did not forget his previous abilities as a string plucker, not to mention legends of him taking care of business from any vantage point in the rhythm section. John Chilton's Who's Who in Jazz lists Miller as also playing bass and drums.
A record buyer excited by these accounts will indeed find Max Miller discs in the shops, but these are the work of a prolific British comedian and vaudeville entertainer whose career began just a bit later than the Chicagoan, although he was actually nearly 20 years older. An early-'50s series of 10" vinyls on Columbia featuring pianists in solo and trio settings is the major surviving documentation of Miller as Chicago jazz piano stylist. These sides were originally aimed at cool bachelors obsessed with their hi-fi systems, collectively entitled the Piano Moods Series. These were make-out discs, a fact Miller underscored by hugging standards such as "Embraceable You" for his session. The Mosaic label deemed the entire project worth reissuing in 2000. Miller is considered part of the obscure group of pianists featured in this collection. More than ten times, a dozen performances by jazz pianists were recorded for the series, also including stars such as Erroll Garner, Ahmad Jamal, and Earl Hines.
Miller's place in the biography of the famous big-band singer Anita O'Day is hardly obscure, and better yet provides an opportunity to repeat a miserable joke about singers: How do you tell when a singer is knocking at the door? They don't know how to come in! If O'Day can possibly be pictured starring in this joke, not an unpleasant image visually, then it was Miller who taught her how to come in, as in figuring out the right moment in the instrumental introduction in which to begin singing. The singer began her career in the late '30s at the age of 19, vocalizing in front of the Max Miller Band at Chicago venues such as the Three Deuces and the Off-Beat, appropriate enough considering the musical knock-knock joke.
Miller is also mentioned in accounts of both the 1933 and 1934 World's Fair events in Chicago, where he gigged in various bands as a guitarist. Despite that kind of grandeur, Miller's main venues were the more simplified stages of nightclubs and radio stations. His involvement with broadcasting began around the time he hired O'Day, Miller playing as a staff performer for WIND in Gary, IN, and WJJD in Chicago. The pianist led most of his own groups, one exception being a 1942 outfit with Shorty Sherock, whose name sounds like the jotting of a dissatisfied building contractor. During the Second World War, Miller was out of the music business, working in a defense plant. This is in stark contrast to the British Max Miller, who had his greatest period of popularity during the war years. The pianist returned to performing in Chicago clubs in the '50s and has been going strong ever since.
~ Eugene Chadbourne
Jack Owens, guitar
b. Bentonia, MS, USA.
Like Skip James, Owens hails from Bentonia, MS. Owens is much less famous than James, but he's often compared to Skip due to his high, rich vocals and intricate guitar styles, which finds him using several tunings and occasional minor keys. His material, it must be noted, is not nearly as strong or tightly constructed as James', although it draws from some of the same sources. Noted folklorist and blues scholar David Evans made several recordings with Owens in the late '60s and early '70s.


"Shorty" Sherock, Trumpet
b. Minneapolis, MN, USA.
d. Feb. 19, 1980, Los Angeles, CA, USA.
Nee: Clarence Francis Cherock.
Played with Bob Crosby; Jimmy and Tommy Dorsey; Gene Krupa, and Ben Pollack-1936
An excellent swing trumpeter, Shorty Sherock was never a major name but he was a strong asset to several big bands. He worked locally in Gary, Indiana while in high school and attended the Illinois Military Academy. Sherock gigged with Charlie Pierce, Dell Coon, Ben Pollack (1936), Frankie Masters, Jacques Renard, Jack Pettis, Seger Ellis and Santo Pecora.
His first major job was with Jimmy Dorsey (1937-39) where he was a key soloist and appeared in a couple of film shorts. Sherock also had associations with the orchestras of Bob Crosby (1939-40), Gene Krupa (fairly prominent during 1940-41 where he preceded Roy Eldridge), Tommy Dorsey, Raymond Scott, Bud Freeman, Bob Strong, Alvino Rey and Horace Heidt. Sherock, who took several swing/dixieland solos at the first Jazz At The Philharmonic concert in 1944, led his own bands on an occasional basis during 1946-48, he rejoined Jimmy Dorsey briefly in 1950 and then became a studio musician in Los Angeles. Sonny Sherock, who recorded in later years with Matty Matlock (1958) and Benny Carter (1962), was active into 1979 in the studios but always a bit underrated in the jazz world. Other than six titles with his big band in 1947, his only record date as a leader resulted in four titles with a septet of mostly Harry James sidemen in 1946.
Henry Whitter
rural folk music recording pioneer
died Morganton, NC, USA.
Henry Whitter: Information from

Notable Events On This Day...

James P. Johnson, piano
died in New York, NY, USA.
Age: 61.
Worked with Bessie Smith, and so many other musicians.

Walter S. "One-Leg Shadow" Gould, piano
died in Albany, NY, USA.
Age: 83.

Richard W. Fulbright, bass
died in New York, NY, USA.


Tenor saxman Jerry Jerome died of leukemia.
He was 89.
He had been a featured soloist with the 

Songs Recorded/Released
On This Date Include:


The Virginians - “Teddy Bear Blues” - (James H. Jackson)
  • “Where The Bamboo Babies Grow” - (Walter Donaldson)


    Paul Whiteman and his Orchestra
    • “Indian Love Call”

    Fletcher Henderson Orchestra - “How Come You Do Me Like You Do”


    Bessie Smith - “Florida Bound Blues” - (Clarence Williams )
    • “New Gulf Coast Blues” (Clarence Williams )


    Fats Waller - “St. Louis Blues” (W.C. Handy)
    • “Lennox Avenue Blues” - (Fats Waller)

    Luis Russell's Heebie Jeebie Stompers


    Blind Willie Dunn (Eddie Lang) and Lonnie Johnson

    Blind Willie Dunn (Eddie Lang) and Lonnie Johnson - “Church Street Sobbin' Blues”

    Blind Willie Dunn (Eddie Lang) and Lonnie Johnson - “Have To Change Keys To Play These Blues”

    Blind Willie Dunn (Eddie Lang) and Lonnie Johnson - “There'll Be Some Changes Made”


      McKinney's Cotton Pickers - “To Whom It May Concern” - Vocal refrain by Lois Deppe


      Paul Whiteman and his Orchestra
      • “A Boy and a Girl Were Dancing” - Vocal refrain by Jack Fulton
      Paul Whiteman and his Orchestra - “So At Last It's Come To This” - Vocal refrain by Irene Taylor
      • “Take Me in Your Arms” - Vocal refrain by Jack Fulton 
      Paul Whiteman and his Orchestra 
      “Willow, Weep for Me” - Vocal refrain by Irene Taylor


          ~W. C. Handy, Louis Armstrong
          I hate to see that evening sun go down
          I hate to see that evening sun go down
          'Cause my lovin' baby done left this town
          If I feel tomorrow like I feel today
          If I feel tomorrow like I feel today
          I'm gonna pack my trunk and make my getaway
          Oh, that St. Louis woman with her diamond rings
          She pulls my man around by her apron strings
          And if it wasn't for powder and her store-bought hair
          Oh, that man of mine wouldn't go nowhere
          I got those St. Louis blues, just as blue as I can be
          Oh, my man's got a heart like a rock cast in the sea
          I love my man like a schoolboy loves his pie
          Like a Kentucky colonel loves his rocker and rye
          I'll love my man until the day I die, Lord, Lord
          I got the St. Louis blues, just as blue as I can be, Lord, Lord
          That man's got a heart like a rock cast in the sea
          Or else he wouldn't have gone so far from me
          I got those St. Louis blues
          I got the blues, I got the blues, I got the blues
          My man's got a heart like a rock cast in the sea
          Or else he wouldn't have gone so far from me, Lord, Lord
          I hate to see that evening sun go down
          I hate to see that evening sun go down
          'Cause my lovin' baby done left this town

          ~ Lyrics: W. Benton Overstreet / Billy Higgins

          They say don't change the old for the new
          But I've found out that this will never do

          When you grow old don't last long

          You're here today and then tomorrow you're gone

          I loved a man for many years gone by

          I thought his love for me would never die

          He made some changes that would never do

          From now on I'm going to make some changes too

          For there's a change in the weather

          There's a change in the sea
          So from now on there'll be in change in me
          My walk will be different, my talk and my name
          Nothin' about me is going to be the same
          I'm goin' to change my wayof livin'
          If that ain't enough
          Then I'll change the way that I strut my stuff
          'Cause nobody wants you when you're old and gray
          There'll be some changes made today
          There'll be some changes made
          The say the old time things are the best
          That may be very good for all the rest
          But I'm goin'g let the old things be
          'Cause they are certainly not suited for me
          There was a time when I thought that way
          That's why I'm all alone here today
          Since every one these days seeks something new
          From now on I'm goin' to seek some new things too
          For there's a change in the fashion
          Ask the femine folks
          Even Jack Benny has changed jokes
          I must make some changes from old to new
          I must do things just the same as others do
          I'm goin' to change my long, tall daddy for a little short fat
          Goin' to change the number where I live at
          I must have some lovin' or I'll fade away
          There'll be some changes made today
          There'll be some changes made today

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