Eubie Blake
b. Baltimore, MD, USA.
d. Feb. 12, 1983, New York, NY, USA.
James Hubert Blake (February 7, 1887 – February 12, 1983) was an American composer, lyricist, and pianist of ragtime, jazz, and popular music. In 1921, Blake and long-time collaborator Noble Sissle wrote the Broadway musical Shuffle Along, one of the first Broadway musicals to be written and directed by African Americans. Blake's compositions included such hits as, "Bandana Days", "Charleston Rag", "Love Will Find A Way", "Memories of You", and "I'm Just Wild About Harry". The musical Eubie! featured the works of Blake and opened on Broadway in 1978.
~from Wikipedia
Early years
Blake was born at 319 Forrest Street in Baltimore, Maryland to former slaves John Sumner Blake (1838–1917) and Emily "Emma" Johnstone (1861–1917). He was the only surviving child of eight, all the rest of whom died in infancy. In 1894 the family moved to 414 North Eden Street, and later to 1510 Jefferson Street. John Blake worked earning US$9.00 weekly as a stevedore on the Baltimore docks. In later years Blake claimed to have been born in 1883, but his Social Security application and all other official documents list his year of birth as 1887. Many otherwise reliable sources mistakenly give his year of birth as the earlier year.
Blake's musical training began when he was just four or five years old. While out shopping with his mother, he wandered into a music store, climbed on the bench of an organ, and started "foolin’" around. When his mother found him, the store manager said to her: "The child is a genius! It would be criminal to deprive him of the chance to make use of such a sublime, God-given talent." The Blakes purchased a pump organ for US$75.00 making payments of 25 cents a week. When Blake was seven, he received music lessons from their neighbor, Margaret Marshall, an organist from the Methodist church. At age fifteen, without knowledge of his parents, he played piano at Aggie Shelton’s Baltimore bordello. Blake got his first big break in the music business when world champion boxer Joe Gans hired him to play the piano at Gans' Goldfield Hotel, the first "black and tan club" in Baltimore in 1907.

Blake said he first composed the melody to the "Charleston Rag" in 1899, which would have made him 12 years old, but he did not commit it to paper until 1915, when he learned to write in musical notation.
In 1912, Blake began playing in vaudeville with James Reese Europe's "Society Orchestra" which accompanied Vernon and Irene Castle's ballroom dance act. The band played ragtime music which was still quite popular at the time.
Shortly after World War I, Blake joined forces with performer Noble Sissle to form a vaudeville music duo, the "Dixie Duo." After vaudeville, the pair began work on a musical revue, Shuffle Along, which incorporated many songs they had written, and had a book written by F. E. Miller and Aubrey Lyles. When it premiered in June 1921, Shuffle Along became the first hit musical on Broadway written by and about African-Americans. The musicals also introduced hit songs such as "I'm Just Wild About Harry" and "Love Will Find a Way."
In 1923, Blake made three films for Lee DeForest in DeForest's Phonofilm sound-on-film process. They were Noble Sissle and Eubie Blake featuring their song "Affectionate Dan", Sissle and Blake Sing Snappy Songs featuring "Sons of Old Black Joe" and "My Swanee Home", and Eubie Blake Plays His Fantasy on Swanee River featuring Blake performing his "Fantasy on Swanee River". These films are preserved in the Maurice Zouary film collection in the Library of Congress collection.
Personal and later life
In July 1910, Blake married Avis Elizabeth Cecelia Lee (1881–1938), proposing to her in a chauffeur-driven car he hired. Blake and Lee met around 1895 while both attended Primary School No. 2 at 200 East Street in Baltimore. In 1910 Blake brought his newlywed to Atlantic City, New Jersey, where he had already found employment at the Boathouse nightclub.
The headstone of Eubie Blake in Cypress Hills Cemetery; note inscription with the false birth date
In 1938 Avis was diagnosed with tuberculosis and died later that year at 58. Of his loss, Blake is on record saying, "In my life I never knew what it was to be alone. At first when Avis got sick, I thought she just had a cold, but when time passed and she didn’t get better, I made her go to a doctor and we found out she had TB … I suppose I knew from when we found out she had the TB, I understood that it was just a matter of time."

While serving as bandleader with the United Service Organizations (USO) during World War II, Blake met and married Marion Grant Tyler, widow of violinist Willy Tyler, in 1945. Tyler, also a performer and a businesswoman, became his valued business manager until her death in 1982.
In 1946, as Blake's career was winding down, he enrolled in New York University, graduating in two and a half years. Later his career revived again culminating in the hit Broadway musical, Eubie!.
In the 1950s, interest in ragtime revived and Blake, one of its last surviving artists, found himself launching yet another career as ragtime artist, music historian, and educator. Blake signed recording deals with 20th Century Records and Columbia Records, lectured and gave interviews at major colleges and universities all over the world, and appeared as guest performer and clinician at top jazz and rag festivals.

He was a frequent guest of The Johnny Carson Show and Merv Griffin. Blake was featured by leading conductors such as Leonard Bernstein and Arthur Fiedler. By 1975 Blake had been awarded honorary doctorates from Rutgers, the New England Conservatory, the University of Maryland, Morgan State University, Pratt Institute, Brooklyn College, and Dartmouth. On October 9, 1981, Blake received the Presidential Medal of Freedom, awarded by President Ronald Reagan.
Blake claimed that he started smoking cigarettes when he was 10 years old, and continued to smoke all his life. The fact that he smoked for 85 years was used by some politicians in tobacco-growing states to build support against anti-tobacco legislation.

Blake continued to play and record into late life, until his death. Eubie Blake died February 12, 1983 in Brooklyn, just five days after celebrating his (claimed) 100th birthday (actually his 96th—see below). He was interred in the Cypress Hills Cemetery in Brooklyn, New York. His head stone,engraved with the musical notation for I'm Just Wild About Harry, was commissioned by the African Atlantic Genealogical Society (AAGS). The bronze sculpture of Eubie's bespectacled face was created by David Byer-Tyre, Curator/Director of the African American Museum and Center for Education and Applied Arts, Hempstead NY. The original inscription indicated his correct year of birth, but individuals close to him insisted that Eubie be indulged; and paid to have the inscription changed.

“If I'd known I was going to live this long, I would have taken better care of myself.

— Eubie Blake

Age discrepancy

In later years Blake listed his birth year as 1883; his 100th birthday was celebrated in 1983. Most sources, including the Encyclopædia Britannica, and a U.S. Library of Congress biography, incorrectly list his birth year as 1883. Every official document issued by the government, however, records his birthday as February 7, 1887. This includes the 1900 Census, his 1917 World War I draft registration, 1920 passport application, 1936 Social Security application, and death records as reported by the United States Social Security Administration. Peter Hanley writes: "In the final analysis, however, the fact that he was only ninety-six years of age and not one hundred when he died does not in any way detract from his extraordinary achievements. Eubie will always remain among the finest popular composers and songwriters of his era."
Irving Aaronson
b. New York, NY, USA.
d. May 10, 1963, Hollywood, CA, USA. 
~by Uncle Dave Lewis 

New York native Irving Aaronson started out as a classically trained pianist who studied with Alfred Sendry at the David Mannes School for Music. 

Aaronson began his career at the age of 11, playing piano in nickelodeons. He is shown in some sources as being a member of Sophie Tucker's Five Kings of Syncopation, but this is likely a result of Aaronson's name being mixed up with that of pianist Jack Aaronson, who also worked with Ted Lewis. Around 1920, Aaronson started a dance group called the Versatile Sextette, which had changed its name to the Crusaders Dance Band by the time it made its first recording on one of the least-known Edison Diamond Discs (51685) in 1925. 
Reorganized in 1926 as Irving Aaronson and the Commanders, the group began to record for Victor late in the year and scored an immediate hit with "Crazy Words, Crazy Tune," containing the catchy chorus "vo-do-dee-oh/vo-do-do-dee-oh-doh." Although the California Ramblers had recorded "Vo-do-de-o Blues" in 1924, the Aaronson title was more or less the record that spread this term to the American public.
Aaronson's Commanders had a bright, peppy, swinging sound that quickly made them a favorite in the era of college humor and bootleg gin. Aaronson's Commanders were a highly popular outfit on the movie theater and ballroom circuit, as their splashy, big-boned arrangements and onstage antics were ideally well-suited for these types of venues. In terms of their recorded work, the Commanders relied heavily on novelty numbers that featured their wild and loony frontman Phil Saxe. The band was filled with talented instrumentalists -- for example, saxophonists Artie Shaw and Tony Pastor -- who met while playing in this band. The arrangements were tough, complicated affairs drawn up mainly by the band's pianist Chummy Macgregor, who later developed the famous ride-out chorus that concludes Glenn Miller's "In the Mood." Among their notable Victor recordings were "Poor Papa," "She Was Just a Sailor's Sweetheart," "I'm Just Wild About Animal Crackers," "I'll Get By as Long as I Have You," "Wimmen-Ah!," and "Waffles," to name a few.

In 1928, Aaronson's Commanders scored a hit on Broadway appearing in Cole Porter's show Paris, backing up French chanteuse Irene Bordoni. Among the Porter songs introduced in Paris were such certifiable classics as "Let's Misbehave," "Let's Do It," and "Don't Look at Me That Way," "The Land of Going-to-Be," and "Two Little Babes in the Wood." The Commanders made the first recordings of all these songs, some with Bordoni and some without. Both "Let's Misbehave" and "Let's Do It" became best-selling records that regularly appear on compilations of vintage 1920s dance band music. However, "Two Little Babes in the Wood" was never issued and no copy has ever been found. 

With the advent of Paris being adapted into a Vitaphone movie musical by Warner Bros., the Aaronson band headed for Hollywood. But outside of Bordoni, nothing of the stage version of Paris was retained for the film, which opened on Black Tuesday in 1929 and was a resounding flop. The Commanders had to settle for making an MGM musical short in November 1928, and as in the case of Paris, nothing remains of this film save the soundtrack.
Aaronson's Victor recordings stop abruptly in January 1929 after just 27 titles, a total way under the average for such a popular group. 18 months were to pass before the band recorded again for Brunswick, two sides released in the depths of the depression, so obscure that extant copies of the record are unknown. This was a few months before the first edition of Aaronson's Commanders collapsed due to the economic fallout opening up around them. By 1933, Saxe and Aaronson had put together a new incarnation of the Commanders, including drummer Gene Krupa, future bandleader Bob Chester, and vocalists Harmon Nelson and Kay Weber. 
The band played to packed houses at the boardwalk in Atlantic City and were especially popular at the Avalon Ballroom on Santa Catalina Island, where they played a long home stand that included live broadcast radio remotes. Recording again for ARC, the Commanders produced about 20 sides that appeared on Vocalion and "Royal Blue" Columbias. Aaronson's Commanders backed up Bing Crosby on his final ARC session, which included the hit "Love in Bloom." The second edition of Aaronson's Commanders was one of the finest of the early swing bands, but had a difficult time making it in the hard economic climate of the depression. Aaronson must have known that the end was coming, as the very last of their "Royal Blue" Columbias, made in January 1935, was "Commanderism," the band's theme. Aaronson finally threw in the towel about a year later.

After spending a couple of years more or less without work, Aaronson landed a job working in Josef Pasternak's unit at MGM working as an assistant musical director. Due to the nature of the way movie credits were doled out to such underlings, little is known about what Aaronson actually did in his two decades at MGM. But by 1950 he was working very closely with singing star Mario Lanza, converting familiar, public domain melodies into copyrightable English language songs that were designed to sound good for Lanza. One such number, "The Loveliest Night of the Year," was so adored by Lanza that he was furious to learn that Josef Pasternak had decided to give the song to Lanza's co-star Ann Blyth in the movie The Great Caruso. Lanza was able to finally sing the number himself in his failed "comeback" picture The Seven Hills of Rome, filmed mere months before his premature death at age 37 in 1959.
Irving Aaronson retired on the MGM plan at age 65 in 1960, but succumbed to a heart attack only three years later. By that time both he and his Commanders had been forgotten and were held in low regard by jazz aficionados, save a few who regarded the Commanders' Victors as a sort of guilty pleasure. Nonetheless, many future leaders of swing bands went through the ranks of the Commanders, and all remembered Aaronson as a fatherly and endlessly patient leader who set an excellent example of professionalism and showmanship. Of these leaders, only Artie Shaw has been critical of the Commanders' novelty aspect and deliberate silliness. In the year 2001 the relatively few 78 rpm records of Aaronson's Commanders have enjoyed a renewed popularity among collectors, though no retrospective package on CD had surfaced by 2001. Suffice it is to say that the Cole Porter songs Aaronson's Commanders recorded in the late '20s have a definitive aspect that makes them appealing, and other records are enhanced by fine occasional solos, tight ensemble passages, and the wonderfully zany quality of Phil Saxe's vocal performances.

"Austin" Ambrose Allen
C&W Singer/Banjo/Guitar/Tenor Banjo
b. Sewanee, TN, USA, d. 1959.
Member: "Allen Brothers", consisting of Austin and his brother Lee William Allen, Singer/Guitar/Kazoo/Piano, b. Sewanee, Tennessee, USA, d. 1980’s) 

Carl Barriteau, Clarinet
Trinadad, d. August 24, 1998
Carl Alrich Stanley Barriteau (February 7, 1914, Trinidad - August 24, 1998, Sydney) was a jazz clarinetist.
Barriteau was raised in Maracaibo, Venezuela. He played tenor horn in Trinidad from 1926 to 1932, then played clarinet in a local police band from 1933 to 1936. Concomitantly, he also played in Port of Spain with the Jazz Hounds and the Williams Brothers Blue Rhythm Orchestra. He moved to London, where he played in Ken Johnson's West Indian Swing Band. Melody Maker named him "best clarinetist" for seven consecutive years. He led his own group on recordings for Decca Records in the 1940s.
Barriteau did USO tours for American troops from 1958 to 1966. He moved to Australia in 1970.

Moran Lee "Dock" Boggs
C&W Singer/Banjo
b. West Norton, VA, USA. d. Feb. 7, 1971 (his birthday).
~by John Bush
Dock Boggs was just one of the primeval hillbillies to record during the '20s, forgotten for decades until the folk revival of the '60s revived his career at the twilight of his life. Still, his dozen recordings from 1927 to 1929 are monuments of folk music, comprised of fatalistic hills ballads and blues like "Danville Girl," "Pretty Polly," and "Country Blues."

Born near Norton, VA, in 1898, Boggs was the youngest of ten children. (He gained his nickname at an early age, since he was named after the doctor who delivered him.) Boggs began working in the mines at the age of 12. In what remained of his spare time, he began playing banjo, picking the instrument in the style of blues guitar instead of the widespread clawhammer technique.
Boggs began picking up songs from family members and the radio. He married in 1918 and began subcontracting on a mine until his wife's illness forced him to move back to her home. He worked in the dangerous moonshining business and made a little money playing social dances. His big break finally came in 1927, when executives from the Brunswick label arrived in Norton to audition talent. He passed (beating out none other than A.P. Carter), and recorded eight sides in New York City for the label. Though they didn't quite flop, the records sold mostly around Boggs' hometown. He signed a booking agent, and recorded four more sides for W.E. Myer's local Lonesome Ace label.
The coming of the Great Depression in late 1929 put a hold on Boggs' recording career, as countless labels dried up. He continued to perform around the region until the early '30s, however, when his wife forced him to give up his music and go back into the mines. Boggs worked until 1954, when mechanical innovations forced him out of a job.
Almost a decade later, in 1963, folklorist Mike Seeger located Boggs in Norton and convinced him to resume his career. Just weeks after their meeting, Boggs played the American Folk Festival in Asheville, NC. He began recording again, and released his first LP, Legendary Singer & Banjo Player, later that year on Smithsonian/Folkways. Two more LPs followed during the '60s, although, like his original recordings, they too were out of print not long after his death in 1971.
The revival of interest in early folk music occasioned by a digital reissue of Harry Smith's Anthology of American Folk Music finally brought Boggs' music back to the shelves. In 1997, John Fahey's Revenant label released Complete Early Recordings (1927-1929), and one year later His Folkways Years (1963-1968) appeared.

Eric Borchard

Eric Borchard, Leader
b. Berlin, Germany
d. 1934

PLEASE EMAIL ME . I cannot find much info on him in english. Thanks!

Brownlee's Orchestra of New Orleans - 1920 -
Left to Right: Alonzo Crumbie, George Barth, Billy Braun,
Normanlee, Emmet Hardy, Bill Eastwood.
Norman Brownlee, Piano
b.Algiers, LA, USA. d.

Raymond "Coco" Colignon, Piano
b. Liege, Belgium, d. Feb. 10, 1987

Arthur Francis Collins, vocals
b: Philadelphia, PA, USA.
d: Aug. 3, 1933, Florida, USA.
~by Eugene Chadbourne 

Phonograph records existed for less than half of this artist's life, but he certainly made the most of the technology when it came along. 
Arthur Collins may have been the most widely recorded vocalist of the early 20th century, for the eager Edison engineers alone concocting some 200 solo sides as well as another 100 releases as part of the popular duo Collins & Harlan. Collins had the kind of physical heft which is said to be ideal for vocalists in the baritone or bass range, and, in fact, the combination with the equally portly Harlan quickly led to a nickname of "the Half-Ton Duo." Two years of prime career time was lost by Collins recovering from a 1929 backstage accident that happened when his blubber caused him to plummet through a trap door all the way down into the basement.

A listener with a collection of antique recordings by this artist stuffed under their shirt might look equally corpulent. The effect could also be created with reissue collections on both cassette and compact disc, of which there are many, some of dubious legal status due to the erosion of copyright from this period.
Over the course of so many recordings, Collins became well-known for a variety of styles, including sentimental ballads, ragtime, and novelty songs. In these early days of American song publishing, just about any subject might be considered novel; Collins particularly liked tributes to the south, regularly cutting ditties such as "There's a Lump of Sugar in Dixie," "I Miss the Mississippi Miss," and "When the Midnight Choo Choo Leaves for Alabam." One southern tradition that some listeners may find offensive is traditional minstrel material such as "Coon, Coon" or "There's a Dark Man Coming With a Bundle," to mention just a few of these sorts of titles that Collins recorded either in solo or in duo with Harlan. Whatever he sang, having him sing became a mark of quality in itself, evidenced by a popular expression of the era meant to denote superiority: "as sung by Collins & Harlan."
Wilbur C. Sweatman
b. Brunswick, MO. USA.
d. March 9, 1961
Biography ~by Frank Powers 
Wilbur Sweatman appears to be the first black musician to record under the name of jazz. He recorded with his "Jass Band" for Pathé in March 1917. This alone might insure his legacy but, at the time, Sweatman was already a show business veteran, a clarinetist and composer of nearly 20-years experience whose work anticipated many jazz conventions.
Wilbur C. Sweatman was born in Brunswick, MO, on February 7, 1882. His early training with his sister was on violin, but he later switched to clarinet. It has been suggested that Sweatman was largely self-taught, but that seems unlikely since he had a legitimate technique and would later direct orchestras, compose, and orchestrate music. Sweatman's early experience in the late 1890s was with circus bands. He soon afterward joined Mahara's Minstrels, where trumpeter Crickett Smith was also a member.
In 1901, Sweatman led the Forepaugh and Sells Circus Band, being the youngest orchestra leader on the road. 1902 found Sweatman in Minneapolis, where he organized an orchestra that featured some of the musicians from the circus band. About 1903 or 1904, Sweatman, while in Minneapolis, allegedly recorded at least one and maybe two cylinder records, "Maple Leaf Rag" and "Peaceful Henry," for the Metropolitan Music Store. Many experts have questioned this story, but jazz historian Len Kunstadt once reported having seen the shattered remains of a wax cylinder of "Peaceful Henry."
Sweatman arrived in Chicago in 1908 where, according to writer William Howland Kenney, he played "mixed programs of classical music, gypsy melodies and hot syncopated numbers." Kenney mentions that "Sweatman performed with William Dorsey on piano and George Reeves on drums at the Pekin Inn, the Monogram Theater and the Grand Theater, the South Side's largest vaudeville/movie theater." 

Kenney quotes an unidentified witness mentioning "Sweatman's queer style of hot clarinet." Sweatman's impact in Chicago is also stated by black composer, pianist, and entertainer Perry Bradford in his autobiography, where he states "Wilbur Sweatman had a three-piece jazz band, that played the vaudeville shows at Chicago's Grand Theatre, near 31st and South State streets in 1908, with Dave Peyton on piano. George Reeves was the drummer, while Wilbur Sweatman led the band with his high-screaming clarinet. Sweatman was the first man to play three clarinets at the same time, with three-part harmony, all over the Keith and Orpheum Circuits, from 1915 to 1930." His big feature with three clarinets was "The Rosary." Later, according to Kenney quoting from contemporary newspapers, Sweatman billed himself as "Originator and Much Imitated Ragtime and Jazz Clarinetist."
Wilbur Sweatman's Jazz Orchestra - 1918 -Left to Right: Wilbur Sweatman, unknown, unknown,Dan Parrish?, Major Jackson?, Henry Zeno?
To some, Sweatman may be best remembered by some for his ragtime compositions. The earliest of these is "Down Home Rag," published by Rossiter in Chicago in 1911. His primacy as a jazz innovator is suggested by the fact that he scored this rag in four-four time and used the jazz convention of the dotted eighth and 16th note in preference to two-four time and 16th notes. Otherwise this composition is in the folk-rag category. In New York in 1914, Sweatman published "Old Folks Rag," which uses the same conventions of notation; as did "Boogie Rag," published later which also employs some blues elements and jazz effects that were then just developing.
Sweatman entered vaudeville in 1911. 

His success prompted a move to New York in 1913, the hub of vaudeville and theater work. Sweatman toured North America for the next 20 years, introducing predominantly white audiences to African-American music. His role in this cross-cultural dissemination of ragtime into jazz at such an early date has never been fully appreciated or credited. During his first season in New York, Sweatman appeared for three weeks at Hammerstein's Victoria, the mecca of vaudeville at that time.
In 1914, he led the orchestra at the newly opened Lafayette Theater in Harlem. This was a world dominated by such distinguished African-American musicians as James Reese Europe, Ford Dabney, Will Marion Cook, and others. Sweatman's two 1916 Emerson recording sessions predate his jazz work and might be categorized as either semi-legitimate or ragtime, as in the case of the two versions of "Down Home Rag" he produced during these sessions.
In 1917, Sweatman recorded five sides for Pathé. In these performances Sweatman appears to be working under the spell of the Six Brown Brothers, due to the accompaniment of five saxophones and the lack of a rhythm section. Sweatman's playing here is both articulate and controlled. But with the emergence of the jazz craze with its percussion effects; trombone glissandi; and growling, cackling, and wailing clarinets, the eminently qualified Sweatman must have realized that through modifying his style he could enter the fray. This would earn Sweatman a Columbia recording contract.
Wilbur Sweatman would record some two dozen titles for Columbia from March 1918 until June 1920. These sides competed with Louisiana Five, Original Dixieland Jazz Band, W.C. Handy's Orchestra, and Earl Fuller's Famous Jazz Band in the early jazz record market. Sweatman's willingness to compromise stylistically may have resulted in his dismissal by subsequent jazz critics and historians. Nevertheless, in a musical world unaware of the Creole New Orleans clarinet masters like Louis and Lorenzo Tio, Alphonse Picou, Jimmie Noone, and Barney Bigard, Sweatman was obviously regarded as a leading voice among jazz clarinetists. This is further amplified when it is noted that such an unlikely model as Ted Lewis was as esteemed. Ohio clarinetist Garvin Bushell remembered in his autobiography, "Wilbur Sweatman was a clarinetist with a lot of technique that could do things the rest of us couldn't do. He had a bad sound, but he was a great showman. He'd come out and do "Hungarian Rhapsody No. 2" and play "The Rosary" on three clarinets. Sweatman was my idol. I just listened to him talk and looked at him like he was God."
Songwriter Perry Bradford had a good relationship with Sweatman. Before 1920, Bradford was trying to get a recording company to issue a blues number using an African-American female vocalist. Early on, Wilbur Sweatman was involved with Bradford in this effort. Sweatman had the ear of the Columbia executives, and even rehearsed Bradford's female partner in an attempt to create a product that would appeal to the Columbia moguls. Ultimately, Sweatman would not prevail, but later Bradford was able to sell a Mamie Smith recording to OKeh Records, and the rest is history.
It would appear, after the initial novelty of jazz was wearing off, that Sweatman's fortunes were declining. Even so, it was Sweatman that opened the famous Connie's Inn nightclub in Harlem in 1923, and at this venue many rising musicians came under Sweatman's employ, for example pianist Claude Hopkins, Jimmy Lunceford, Cozy Cole, Coleman Hawkins, and a very young Duke Ellington. The Sweatman band was photographed on the stage of the Lafayette Theatre in March of 1923. Present in the photograph is pianist Ellington along with some of his later associates, namely drummer Sonny Greer and saxophonist Otto Hardwick. It has been alleged, with some credibility, that Ellington is present on a New York Gennett recording date in August 1924 which produced Sweatman's tune "Battleship Kate."

Wilbur Sweatman would record for other companies after leaving Columbia, including Edison, Grey Gull, and even Victor. However, by that time it was 1930, and Sweatman's star had long ago descended. Sweatman would record a final time for Vocalion in 1935, and would subsequently retire to music publishing and other business interests. Sweatman would continue to play engagements during the '40s, leading his own trio in residency at Paddell's. Although slowed down by injuries suffered in an incapacitating automobile accident, Wilbur Sweatman remained musically active into the early '60s.
Sweatman was also named executor of the Scott Joplin estate at the behest of Joplin's surviving spouse, Lottie Joplin. Unfortunately, a legal wrangle between Joplin's surviving sister and his daughter saw this priceless treasury, allegedly containing many unpublished works (along with Sweatman's own extensive archive and unfinished autobiography), disappear under mysterious circumstances. [Mark Berresford, a biographer of Wilbur Sweatman, assisted in the preparation of this profile.]
~ Frank Powers

Notable Events Occurring
On This Date Include:

Red McKenzie, vocals
died in New York, NY, USA.
Age: 48.
Red McKenzie

Shirley Clay, trumpet
died in NY, USA.

"Guitar Slim"
(né: Eddie Lee Jones), guitar
died in New York, NY, USA.
Age: 33.

Noah Lewis, harmonica
died in Ripley, TN, USA.
Age: 66.
Member: "Cannon's Jug Stompers" 
Noah Lewis - Wikipedia

Joe Brown, label co-owner (JOB)
died in Chicago, IL, USA.
Age: 71.

Peanuts Holland
died in Stockholm, Sweden.
Age: 68.

"Pie Plant Pete" (Claude J. Moye)
C&W Singer/Guitar/Harmonica
died. (b. July 9, 1906, Ridgeway, Illinois, USA)

Dale Evans, (Western) singer-songwriter, widow of 'cowboy' Roy Rogers
died in Apple Valley, California, USA. (congestive heart failure) 
Age: 88.
Dale wrote Roy's theme song "Happy Trails To You", and some lesser
known tunes. (She was b. Oct. 31, 1912, in Uvalde, Texas, USA).

Songs Recorded/Released
On This Date Include:


Art Hickman and his Orchestra - Cherry Cherokee
  • Dream Of Me
  • Goodbye, Pretty Butterflies
  • Siren Of A Southern Sea


Original Memphis Five - That Eccentric Rag


Nick Lucas
  • Because They All Love You

Ted Lewis and his Band - We're Back Together Again


Laura Smith - Hatefull Blues

Paul Ash and his Orchestra

University Six - The Cat
  • Nobody But My Baby (Is Getting My Love)
  • Oh Lizzie


J.C. Cobb And His Grains Of Corn

Paul Whiteman and his Orchestra - Poor Butterfly
  • The Japanese Sandman - (electrical)


Johnny Dodd's Hot Six - Pencil Papa

Johnny Dodds and his Orchestra

Johnny Dodd's Trio
Carolina Club Orchestra - Dream Train
  • Guess Who?
  • Step By Step I'm Marching Home To You

Paul Whiteman and his Orchestra


Poor Butterfly
~Lyrics by: John Golden
~Music by: Raymond Hubbell

Poor Butterfly, 'neath the blossoms waiting
Poor Butterfly, for she loved him so
The moments pass into hours
The hours pass into years, and as she smiles through her tears
She murmurs low, the moon and I know that he'll be faithful
I'm sure he'll come back by and by
But if he don't come back, I just must die, poor Butterfly
(Repeat, then modulate and repeat again)

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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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