Sid Harkreader, (C&W) Fiddler
b. Gladville, TN, USA
d. March 19 1988.
aka: "Fiddlin'" Sid Harkreader.
Sid is best recalled today as the sidekick to old-time music legend "Uncle" Dave Macon. 
~by Eugene Chadbourne

This mysterious character was also known as Fiddlin' Sid Harkreader, which should give a good idea as to his vocation. He is mostly known as a sidekick to the old-time music legend Uncle Dave Macon. A latecomer to a music career, Macon chose Harkreader as his sidekick for his first road tour in the early '20s. After a well-received jaunt through the South, the duo decided to try to lineup recording activities in New York City. They got in on the first wave of hillbilly recordings being done, cutting more than a dozen sides for Vocalion in 1924. Both performers became associated with the beginning days of the Grand Old Opry and Harkreader was on-stage regularly at the Opry from the '30s onward, both with Macon and in other combinations. Harkreader was one of the first historic country players to broadcast live over Nashville's radio stations WDAD and WSM.
Sid Harkreader and Grady Moore
The number of musicians in Harkreader's family was almost nil, a quiet contrast to the usual scenario with old-time players. Here was a great-great grandfather that had apparently been a fine violinist, and Harkreader's father hoped that somehow this talent might be passed down to his offspring through the bloodline. His hunch turned out to be correct. The boy picked up most of his early musical knowledge from friends and neighbors at square dances and ice cream parties, taking great care not to get the sticky stuff on the fingerboard. 

Once he had mastered the fiddle, he was delighted to realize he could make between ten dollars and 20 dollars per night playing at square dances, and this is how he began building his reputation. He first met Macon in 1923 in a barbershop. The afternoon evolved from haircutting to a musical cutting contest, the two players drawing a large crowd of amused bystanders. Their playing combination was certainly one of the classic duos in country music, producing, among other sides, one of the great recordings of the standard "Soldier's Joy," an instrumental about morphine that dates back to at least the Civil War, which was no doubt used as a musical background for injections and amputations.
Following the first recording session with Macon, the fiddler was approached by a talent scout who offered him a cool grand to cut 24 sides for Paramount. He took along banjo player Grady Moore for the first set of sessions, returning the following year with Blythe Poteet because the former player was too sick to travel. Most of these tracks were reissued in the '70s by County on their Early Nashville String Band series, and some material by Harkreader has also been released by the JEMF label, which also printed the delightful booklet Sid Harkreader's Memoirs. Harkreader was one of the white old-time musicians who openly acknowledged a heavy black influence in his playing. 

Perhaps it wasn't in the best taste to acknowledge this musical debt by recording a tune entitled "Southern Whistling Coon," but this track does demonstrate Harkreader's enjoyable sideline as a skilled musical whistler and tends to show up in lists of great records involving whistling. His last recordings were done with Macon in 1929, but they continued to perform together in the United States into the following decade. Harkreader's main base of operations, however, was the Opry, where he continued making appearances until as late as 1969. His departure coincided with one of the venue's regular attempts at modernization. Harkreader continued to perform occasionally around the Nashville area.

Chauncey Haughton, Clarinet
b. Chestertown, MD, USA.
d. 1989, USA. 
~by Scott Yanow

A relatively overlooked figure, Chauncey Haughton played with some major names through the years. He came from a musical family (his brothers John and Clifton played trombone and trumpet). Haughton started on piano when he was eight, switching to clarinet while in high school. He played clarinet and saxophone in the Morgan College Band and started working professionally in 1927 with Ike Dixon. After periods with Elmer Calloway (Cab's brother) and the White Brothers' band, Haughton moved to New York in 1932. He worked with Blanche Calloway (Cab's sister) during 1932-35 and then with Claude Hopkins, Noble Sissle and Chick Webb; while with the latter, Haughton was featured on clarinet with Webb's Little Chicks opposite the flute of Wayman Carver. 

Haughton spent a period (1937-40) as a member of Cab Calloway's Orchestra and then returned to Webb's band which at the time (1940-42) was under the direction of Ella Fitzgerald. In the summer of 1942 he was Barney Bigard's replacement with Duke Ellington, staying until he was drafted in Apr. 1943. Discharged in 1945, he did a U.S.O. Tour with singer Frances Brock, visited Europe with Don Redman's Orchestra (1946) and stayed overseas into 1947. After his return home, Chauncey Haughton played briefly with Cab Calloway and then retired from fulltime music although he did record with Calloway again in 1958. 
Chauncey M. Haughton

Betty Hutton
b. Battle Creek, MI.
né: Betty Thornburg.
Her sister, Marion Hutton, was vocalist with Glenn Miller Orch.
Known as one of the most versatile and energetic entertainers of all time, Betty Hutton has been a band singer, performed on and off Broadway, in motion pictures, on-stage, and in nightclubs. Her acting range has proven her capable of both comedic and dramatic roles, in addition to the expected musical ones. 
Hutton was born Betty June in Battle Creek, MI, to a railroad worker and a homemaker. Her sister, Marion Hutton, also flourished in the entertainment industry as a singer with the Modernaires and the Glenn Miller Orchestra. In 1923, Hutton's father left the family and her mother moved to Detroit, seeking a better life for her children. At the age of nine, Hutton began her singing career in a school performance. With her mother's encouragement, she sang in beer gardens and for local and resort bands. In 1936 she traveled to Broadway, but returned to Detroit after being told she would never make it.
Determined to succeed, Hutton continued to sing and dance in clubs in Detroit. At the Continental Club in Detroit, she got a break when Vincent Lopez signed her to sing with his orchestra under the name Betty Darling. In 1939, she performed in several short musical movies: One for the Book with Hal Sherman, Three Kings and a Queen, and Public Jitterbug #1 with Chaz Chase, Hal LeRoy, and Emerson's Sextette. With determination and effort, Hutton finally made it to Broadway in 1940. She made her Broadway debut in Two for the Show with then newcomers Eve Arden, Alfred Drake, Richard Haydn, Tommy Wonder, and Keenan Wynn.
She was well on her way to a successful musical career when she met producer B.G. DeSylva. He gave her a role in his Broadway musical Panama Hattie. She sang "Fresh as a Daisy," "They Ain't Doin' Right by Our Nell," and "All I Gotta Get Is My Man." The chorus included such singing greats as Lucille Bremer, Janis Carter, and Vera Ellen. When DeSylva took over Paramount in 1941, Hutton's career only flourished more. She performed in 14 films in 11 years, including Happy Go Lucky, Annie Get Your Gun with Howard Keel, Let's Dance with Fred Astaire, and The Miracle of Morgan's Creek. In 1952, after a dispute with Paramount, Hutton left Hollywood and films to perform on Broadway, in concerts and nightclubs, and to record her works.

Without looking back on her film disappointment, Hutton performed in London for three weeks at the Palladium Theater. In 1953, she returned to New York to perform in the Palace Theater with the Skylarks and comedian Dick Shawn. She performed many motion picture hits and received rave reviews. The next 12 years saw Hutton making television appearances on such programs as Gunsmoke and Burke's Law. In 1967, Hutton's life turned to despair as her mother passed away and she declared bankruptcy.
Getting her life back in order, Hutton decided to pursue an education in 1974. She attended Salve Regina University and earned a bachelor's degree. Shortly after she earned her master's degree and was awarded and honorary Ph.D. With her newfound zest for life, she began teaching acting and singing classes at the university. In 1985 she received an Award of Achievement from the Musical Theater Society of Emerson College in Boston for her contributions to musical theater. Despite many setbacks, Hutton is recognized for her versatile singing and dancing techniques. She passed away in Palm Springs, CA, on March 12, 2007, at the age of 86.
~ Kim Summers
"Flip" Phillips, Tenor sax
b: New York (Brooklyn), NY, USA
d: Aug. 17, 2001, Fort Lauderdale, FL, USA
(Age: 86 -after surgery for Cancerous Kidney).
né: Joseph Filipelli.
In late 1930s, joined Frankie Newton's band, making him one of the first 'White' musicians to play in a 'Black' band. In early '40s, he worked in Benny Goodman band, and in 1944 joined the Woody Herman Orch., where he became a star. In 1946, left Herman to play with 'Jazz at the Philharmonic' (a touring group of All-Star musicians). During the next 11 years, he went on 17 world tours. 
During the years of 1945 through 1954, he placed either First or Second in Downbeat Magazine's Poll of leading Jazz Tenor Sax players.
In 1957, he settled in Pompano Beach, FL, USA, remaining there for the remainder of his life. He underwent Open Heart Surgery at age 83, only then giving up his smoking habit. During his long career, he worked with such men as Buddy Rich, Coleman Hawkins, Kenny Davern, Eddie Higgins, Lester Young, Ben Webster, as well as with singers Ella Fitzgerald, Billie Holiday and singer/dancer/actor Fred Astaire. He nursed, Sophia, his first wife (of 53 years) through Alzheimer's before her demise, and was survived by his second wife Miki when he died. He once told a reporter: "A man's character comes out of his horn. The Sadness part, The Madness part, the Happy part, - it all comes out of my horn." 
Bill Russell
b. Canton, MO, USA.
d. August 9, 1992, USA.
One of the most important writers and historians involved in the New Orleans Revival of the 1940s, Bill Russell had many accomplishments behind the scenes. A violinist who had extensive study in both performance and composition, Russell was with the Red Gate Shadow Players from 1934-40. During that period, he became enamored with New Orleans jazz. He bought and sold records through the Hot Record Exchange, which he ran starting in 1935. Russell was a jazz journalist by the mid-1930s, contributing three chapters to the 1939 book Jazzmen and writing articles for Jazz Hot. Russell helped discover Bunk Johnson in 1942, recording the forgotten cornetist.
Russell documented a variety of famous and obscure New Orleans musicians on his American Music label from 1944-57; many of its sessions have since been reissued by GHB. Russell worked in New Orleans as the curator of the jazz archive at Tulane University from 1958-65, and his interviews helped document the early history of jazz. During his later years, starting in 1967, Bill Russell had opportunities to play violin with the New Orleans Ragtime Orchestra. His love for New Orleans jazz never wavered, and throughout his life, he did his best to save as many details of jazz's early history for posterity as he could.

Notable Events Occurring
On This Date Include:

The Original Dixieland "Jass" Band
recorded "The Dixie Jass Band One Step."
Victor Records first jazz recording.

Major "Big Maceo" Merriweather
piano/songwriter, died in Chicago, IL, USA.

"Fats" Pichon, piano
died in Chicago, IL, USA.

Bukka White, guitar/piano/songwriter,
died in Memphis, TN, USA.
Age: 70.
William "Fats" Jefferson, piano
died in Albany, NY, USA.
Age: 88.

Roy Eldridge, trumpet
died in Valley Stream, LI NY, USA.
Bulee "Slim" Gaillard, guitar/piano
died in London, UK.
Age: 75.
Member: 'Slim & Slam' (Stewart, - bassist) 
Slim Gaillard Biography

Songs Recorded/Released
On This Date Include:


Original Dixieland 'Jass' Band


Lucille Hegamin and her Blue Flame Syncopaters - “High Brown Blues” (Jack Yellen / Milton Ager) 


The Virginians

The Georgians - You've Got To See Mama Ev'ry Night


Lanin's Red Heads - Jimtown Blues
  • King Porter Stomp


Louis Armstrong and his Hot Five - “Georgia Grind” - Vocal Chorus by Louis Armstrong and Lillian Armstrong (Spencer Williams) 
Louis Armstrong and his Hot Five “Heebie Jeebies” Vocal Chorus by Louis Armstrong (Boyd Atkins)

Chicago Hottentots 


Alberta Hunter - “I'm Down Right Now But I Won't Be Down Always”

Annette Hanshaw - “If You See Sally” (Donaldson / Kahn / Egan) 


Jimmie Noone's Apex Club Orchestra
  • Chicago Rhythm
  • St. Louis Blues


The Travelers - I've Got A Sweet Somebody
  • Dream A Little Dream Of Me
  • Sweet And Hot
  • You Said It


Don Redman and his Orchestra - How'm I Doin'? (Hey, Hey)

Don Bestor and his Orchestra - Forty-Second Street - Vocal refrain by Dudley Mecum
  • Close To Your Heart


Adrian's Ramblers

Adrian Rollini and his Orchestra

  • A Hundred Years From Today - Vocal Chorus by Chick Bullock
  • Get Goin’ - Vocal Chorus by Chick Bullock


You've Got To See Mamma Every Night...
~Con Conrad (m) ~Billy Rose (l)

You gotta see your mamma every night,
Or you can't see your mamma at all!
You've got to kiss your mamma, treat her right,
Or I won't be home when you call!

Now I don't like that kind o' man
That makes love on the installment plan!
You gotta see your mamma every night,
Or you won't see your mamma at all!

Monday night, you didn't show,
Tuesday night, you claimed no dough,
Wednesday night, that same old stall,
Thursday night, you didn't call.

Friday night, you dogged my path,
Saturday night, you took your bath,
Sunday night, you had a date,
And from the looks of everything it's clear that I don't rate!

Hey you, you better show tonight,
Or you won't see your mamma at all!
You better kiss me, you better hold me right,
Or I won't be home when you call!

Now I don't like that kind o' man
That operates on the installment plan.
You better see me, you better make things right,
Or you won't see your mamma at all!

Cut out all this stallin',
Cut in some callin',
Or you won't see your mamma at all!

brought to you by... 

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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