Earl "Fatha" Hines
b. Duquesne, PA, USA
d. April 22, 1983, Oakland, CA, USA.
We could write a book about the "Fatha".
Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others.

Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club.
1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.
A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy.

In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.

In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band.
Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson.
The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD.
~ Scott Yanow
Hines, Earl "Fatha" (Kenneth) – | Jazz Music – Jazz …

Eugeniusz Bodo and his dog Sambo
Eugeniusz Bodo
Eugeniusz Bodo (born Bohdan Eugène Junod; 1899 – 1943) was a film director, producer and one of the most popular Polish actors and comedians of the inter-war period. He starred in some of the most popular Polish film productions of the 1930s, including His Excellency, The Shop Assistant (Polish: Jego ekscelencja subiekt), Czy Lucyna to dziewczyna? and Pieśniarz Warszawy. A skilled singer, he became one of the icons of Polish musical comedies of the time and a symbol of Polish commercial cinema. Towards the end of that decade he also became a successful entrepreneur, a co-owner of a successful film studio, a café and a producers company. Arrested by the Soviets in the aftermath of the German and Soviet invasion of Poland, he perished in the Gulag.

European superstar Eugeniusz Bodo, with his dog Sambo - photo by Benedykt Jerzy Dorys.
Bohdan Eugène Junod was born on 28 December 1899. His birthplace however is not certain, sources mention Warsaw, Łódź and Geneva, Switzerland. His mother was Jadwiga Anna Dorota née Dylewska. His father, Teodor Junod, was a Swiss citizen who moved to Russian-held Poland and in 1903 settled in Łódź. There he opened a revue-cinema Urania - the first permanent cinema theatre in that city. It was there that Bodo made his stage debut at the age of six.
In 1917 Junod moved to Poznań where he joined "Teatr Apollo". In 1919 (under a new stage name of Eugeniusz Bodo, the surname created from the initials of his own first name Bohdan and his mother's - Dorota) he started acting in various Warsaw-based theatres, variétés and cabarets (Qui Pro Quo, Perskie Oko and Cyrulik Warszawski being the most famous). He also played major roles in Warsaw-based "Teatr Polski" and Wilno-based "Teatr Lutnia".

He is best known for his film roles; he played in more than thirty films. His screen debut was a 1925 silent film Rywale. With the advent of sound film Bodo in a matter of years became one of the best-known Polish actors. Usually appearing in musical comedies, already in 1932 he was voted the King of Polish Actors by the Film magazine's readers. His popularity rose following three mistaken identity comedies: 1933 His Excellency, The Shop Assistant, 1935 His Excellency, the Chauffeur (both directed by Michał Waszyński and co-starring Ina Benita) and 1934 Czy Lucyna to dziewczyna? (co-starring Jadwiga Smosarska). Always appearing well-dressed, in 1936 Bodo was awarded the title of King of Style by the readers of Film magazine.

In 1931 Bodo became a co-founder of the B.W.B. film studio, and, in 1933, he opened a private producers' company "Urania", named after his fathers' cinema in Łódź. His best-known film was 1937 Piętro wyżej, which he wrote and produced himself. On 10 January 1939 Bodo with his business partner Zygmunt Woyciechowski opened a restaurant and a café - the "Café Bodo" - at Warsaw's prestigious Pierackiego street (modern Foksal). By that time his popularity reached far beyond the borders of Poland, to the extent that Yugoslavian press dubbed him Polish Maurice Chevalier. Bodo himself toured Germany promoting Polish-made feature films on that market.

During the Invasion of Poland he organized recitals for the Polish soldiers and civilians during the Siege of Warsaw. He then fled to Lwów, where he joined the Tea-Jazz band led by Henryk Wars. With that troupe he toured Soviet Union in 1940, he also published a record containing Russian-language versions of his songs. Simultaneously he started efforts to leave the Soviet Union using his Swiss passport. However, shortly after the German invasion of the Soviet Union he was arrested by the NKVD and sentenced to 5 years. Initially imprisoned in Butyrki prison in Moscow, he was not released following the Sikorski-Mayski Agreement as the Soviet authorities argued that he was not a Pole but rather a Swiss citizen and hence the Amnesty for Polish citizens in the Soviet Union did not apply to him. Eugeniusz Bodo starved to death on his way to a remote Soviet GULAG camp, in Kotlas. He was declared dead on 7 October 1943.

His whereabouts remained unknown for another 50 years, before the collapse of communism in 1989 the Soviets gave the false version that Bodo had been murdered by the Germans in 1941. This version is repeated even in some modern publications. It was only in 1991 that the Soviet authorities revealed his fate. The tragic circumstances surrounding Bodo's death became the subject of a documentary by Stanisław Janicki Eugeniusz Bodo: Za winy niepopełnione (For Crimes Not Committed). The title of the 1997 documentary refers to a 1938 film in which Bodo starred.

In October 2011 in Kotlas, where he died, a cenotaph in his honor was unveiled at a local cemetery.
Eugeniusz Bodo

Rene Compere
b. Brussels, Belgium
d. April 24, 1969.

Al Klink
Tenor Sax
b. Danbury, CT, USA.
d. March 7, 1991, Bradenton, FL, USA.
Perhaps best recalled for his work in the Glenn Miller orchestra.
Although few realize it, most people have heard Al Klink's tenor literally hundreds of times; he can be heard trading off with fellow tenor Tex Beneke on the famous version of Glenn Miller's "In The Mood!" Klink, a much better jazz improviser than Beneke, unfortunately never received any real fame. Klink was with Miller's Orchestra during its main years (1939-42) but was rarely featured.
After Miller went into the military, Klink worked with Benny Goodman and Tommy Dorsey. He became a studio musician when the swing era ended and was little heard from in jazz circles other than his playing with the Sauter-Finegan Orchestra during 1952-53. Klink re-emerged in 1974 when he became an occasional member of the World's Greatest Jazz Band. He had opportunities to record with Glenn Zottola and George Masso in the late 1970's for the Famous Door label and was active until retiring to Florida in the mid-1980's. Al Klink's only record date as a leader resulted in six titles for a 1955 Grand Award album that he shared with Bob Alexander.
~ Scott Yanow
Al Klink - Wikipedia

Hildegard Knef
b: Ulm, Germany
d. February 1, 2002, Berlin, Germany.
She was also a good friend of Marlene Dietrich. She found fame in the U.S. for her performance as a Soviet commissar in Cole Porter's 'Silk Stockings'. She starred opposite Gregory Peck in 'The Snows of Kilimanjaro'. (Not Jazz Age per se, but -I am throwin' her in cuz I like her) - and in the words of Annette Hanshaw, "That's All".

Billy Mackel, Guitar
b. Baltimore, MD, USA.
d. May 5. 1986.
He played with Lionel Hampton from 1944 to 1982.
One of the great examples of loyalty in the music business was guitarist William "Billy" Mackel's relationship with charismatic vibraphonist and bandleader Lionel Hampton. Concerning Mackel, who like many string players from his generation started out on banjo, some biographers would like to write simply: "He played with Lionel Hampton." Furthermore, they made a lot of records, considering that the stack of Hampton sides in which Mackel gets a tackle could be utilized to obscure a vibraphone from visibility were such an action to be required for security purposes. Vague as that is, it does summarize quite a bit of Mackel's life. It would also be only fair to mention the city of Baltimore, where Mackel was born and where he retired after more than three decades on the road with Hampton.
Up until 1982, the date of the guitarist's final performance with Hampton, the grinning bandleader would always create a special feature for the retired Mackel during any appearance in the Baltimore area. Mackel theoretically retired from the band five years earlier. From 1944 onward he had played almost exclusively for Hampton, for a short time moving over to a vocal group led by Billy Williams, who both wrote and performed the song "I'm Going to Sit Right Down and Write Myself a Letter," most likely on the subject of returning to the Hampton band. For an understanding of Mackel's musical outlook prior to coming into contact with Hampton, a Baltimore resident who heard him play sometime over the decade beginning in the early '30s would have to provide anecdotal description. During this time Mackel was gigging on banjo and leading his own group.
Digging through the piles of documentation that resulted from the long Hampton and Mackel association, the final year of recording studio involvement seems to be 1978. By then the guitarist had worked on more than 120 recording sessions with Hampton, but only one on his own, the 1977 At Last. Hampton's retirement present to the accompanist who had kept such perfect time in so many situations was a watch made out of solid gold, inscribed "To Mackel, Thanks for a great 32 -- Hamp."
~ Eugene Chadbourne
The Billy Mackel Story & Guitarplayer for Lionel Hampton 1944-1982 Billy Mackel Tribute William Mackel - Verve Records

Manuel Perez
b. New Orleans, LA, USA. d.1946.
Manuel Perez's place in the history of Jazz would probably have been greater if he would have talked to historians, but when scholars became interested in the history of Jazz in the 1930s, he refused to speak about his past or his music. Perez played cornet and in his time he was famous for his work in New Orleans' brass bands. He was playing in the Onward Brass Band before the turn of the century and put together his Imperial Orchestra in 1900. Perez was in great demand for parade and dance work in the years leading up to the First World War.
Perez is said to have been an excellent reading musician and demanded the same from his musicians, unlike the more improvised music of his contemporary Buddy Bolden. In 1915 he left New Orleans and played with Charles Elgar's Creole Orchestra at the Arsonia Café in Chicago, and with the Arthur Sims Band in Chicago. He returned to New Orleans and led bands in the Storyville district and he played excursions with Fate Marable aboard the SS Capitol. During the early 1920s he played parades with the Maple Leaf Orchestra and other bands. In the mid-1920s he was up north again playing with Elgar's Creole Orchestra and he made his only recordings with Elgar in 1926. He continued to play until 1931 when he quit trying to make living as a musician and returned to his trade of cigar making. In the early 1940s he suffered a series of strokes that left him disabled.

Abner Silver, composer
b. New York, NY, USA
d. Nov. 24, 1966, New York, NY, USA.
Abner Silver (born Silberman) was an American songwriter who worked primarily during the Tin Pan Alley era of the craft. He was born on December 28, 1899 in New York, NY. Usually composing the music while others handled the lyrics, Silver wrote for almost half a century, starting with World War I–era songs such as 1918's "You Can't Blame the Girlies (They All Want to Marry a Soldier)," and continuing through the decades with such classics as 1921's "I'm Going South"; "Chasing Shadows" in 1925; and 1940's "How Did He Look?" Silver frequently teamed with lyricists Benny Davis, Al Sherman and Al Lewis.
Between 1931 and 1934, during the last days of Vaudeville, Silver and several of his fellow hitmakers formed a sensational revue called "Songwriters On Parade", performing all across the Eastern seaboard on the Loew's and Keith circuits. Toward the end of his career, he was commissioned to pen several numbers that Elvis Presley performed in his movies, including the songs "Young and Beautiful," "What's She Really Like?" and "Lover Doll." Sung by Tom Jones, Silver's "With These Hands" (with lyrics by Benny Davis) was featured in the movie Edward Scissorhands, starring Johnny Depp. His early song "He's So Unusual" was covered by Cyndi Lauper on her breakout album, the similarly titled She's So Unusual. Silver died on November 24, 1966, in New York, NY.

Photo of jazz band with of Billy Taylor, piano; Zutty Singleton, drums and Leonard Ware, guitar. Possibly Pops Foster on string bass? New York, N.Y.(?).
Leonard Ware
b. Richmond, VA, USA. Biography by Chris Kelsey One of the early electric guitarists, Ware played on clarinetist/saxophonist Sidney Bechet 's first (belated) recordings as leader in November 1938 for the Vocalion label. Soon after, Bechet teamed Ware with fellow guitarist Jimmy Shirley, making the group perhaps the first to include two electric guitars. Ware attended Tuskegee Institute in his youth, where he learned to play oboe. He switched to guitar and began leading his own trio, which performed in New York during the ‘30s and ‘40s.

Besides his work with Bechet, Ware also recorded with Buddy Johnson, Don Byas ,Joe Turner, and Albinia Jones. He recorded as a leader in 1947; shortly thereafter, Ware stopped working as a full-time musician.

Leonard Ware - Wikipedia

Billy Williams, vocals
b: Waco, TX, USA.
Billy Williams (December 28, 1910 – October 17, 1972) was an African-American singer, who had a successful cover recording of Fats Waller's "I'm Gonna Sit Right Down And Write Myself A Letter" in 1957. The record sold over one million copies, and was awarded a gold disc. His trademark hook for his songs was to shout "Oh, Yeah" at the end of lyrics.

Born in Waco, Texas, Williams was the lead singer of The Charioteers between 1930 and 1950, when he formed his own Billy Williams Quartet with Eugene Dixon, Claude Riddick and John Ball. Many television appearances followed, including an appearance on Your Show of Shows with Sid Caesar.

By the early 1960s he lost his voice due to complications of diabetes. He subsequently moved to Chicago and worked as a social worker until his death there in 1972.
Notable Events Occurring
On This Date Include:

Ivie Anderson, vocals
died in Los Angeles, CA, USA.
Age: 44.
Ivie Anderson was a classy yet swinging singer, the best that Duke Ellington ever had. Early on she worked at the Cotton Club in shows and sang with Anson Weeks, Curtis Mosby, Paul Howard's Quality Serenaders, and Earl Hines (1930). And then, from February 1931 until 1942, Ivie Anderson was an integral part of the Duke Ellington Orchestra, introducing "It Don't Mean a Thing" and singing such numbers as "Stormy Weather," "I'm Checkin' Out -- Go'om Bye," and a variety of pop tunes.

When she left Ellington, it was because of asthma. She opened up a restaurant in Los Angeles and recorded eight songs in 1946, but her illness eventually struck her down.
~ Scott Yanow
Ivie Anderson - Wikipedia

Songs Recorded/Released
On This Date Include:


The Virginians - I'm Goin' South (from "Bombo"), Vocal refrain by Georgie Price, (Abner Silver / Harry Woods)


Busse's Buzzards - “The Monkey Doodle-Doo”, (Irving Berlin)

Isham Jones and his Orchestra - “I Love My Baby”, (Green / Warren)

Paul Whiteman and his Orchestra

Ted Lewis and his Band


Original Memphis Five - “A Blues Serenade”


Ben Selvin and his Orchestra - “When You're With Somebody Else”


Rosa Henderson accompanied by the Three Jolly Miners - “You Can't Be Like My Last Man Was”

Clarence Jones and his Sock Four - “Hold It Boy Blues”, (Clarence Jones)

The California Ramblers

Harry Reser and his Orchestra - “Don't Be Like That”, (Tom Stacks vocal)

Harry Reser and his Orchestra “My Troubles Are Over”, (Tom Stacks vocal)


Buster Bailey and his Seven Chocolate Dandies - “Shanghai Shuffle”, (Romenich / Conley)



Monkeys upon a tree never are very blue
They never seem to be under par that is true
Not like the ones you see on a bar in the zoo
Monkeys upon a tree do the Monkey Doodle Doo


Oh, among the mangoes where the monkey gang goes
You can see them doThe little Monkey Doodle Doo
Oh, a little monkey playing on his one key
Gives them all the cue
To do the Monkey Doodle Doo
Let me take you by the hand
Over to the jungle band
If you're too old for dancing
Get yourself a monkey gland
And then let's
Go, my little dearie, there's the Darwin theory
Telling me and you
To do the Monkey Doodle Doo

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 The Red Hot Jazz Archives, The Big Band DatabaseScott Yanow,
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