Albert Nicholas, Clarinet
b. New Orleans, LA, USA.
d. 1973
Albert Nicholas (May 27, 1900, New Orleans, Louisiana - September 3, 1973, Basel, Switzerland) was an American jazz reed player.
Nicholas's primary instrument was the clarinet, which he studied with Lorenzo Tio in his hometown of New Orleans. Late in the 1910s he played with Buddy Petit, King Oliver, and Manuel Perez. 
He spent three years in the Merchant Marines and then joined up again with Oliver in Chicago from 1925 to 1927. After time in East Asia and Egypt, he returned to New York City in 1928 and played with Luis Russelluntil 1933, playing there with Red Allen, Charlie Holmes, and J.C. Higginbotham. Later he played with Louis Armstrong (with Russell) and Jelly Roll Morton (recorded 1929, 1939).
The Dixieland jazz revival of the late 1940s reinvigorated his career; he played with Art Hodes, Bunk Johnson, and Kid Ory, and had a regular gig with Ralph Sutton in 1948. In 1953 he moved to France; except for recording sessions in the U.S. in 1959-60, he remained there for the rest of his life.
Nicholas's uncle was Wooden Joe Nicholas.
Albert Nicholas - Wikipedia

Earl "Jock" Carruthers
Alto/Baritone/Bass Sax
b. Monroe, Mississippi, USA.
d. April 5, 1971, Kansas City, KS, USA.
Earl Malcolm "Jock" Caruthers Sr. was an American jazz saxophonist associated with the Kansas City jazz scene.

Caruthers studied at Fisk University in the 1920s, and began playing in Bennie Moten's ensemble in 1928. He worked in St. Louis, Missouri early in the next decade with Dewey Jackson and Fate Marable, then joined the band of Jimmie Lunceford in 1932. He ko recorded with Lunceford often and remained a member of his orchestra until Lunceford's death in 1947.

Following this Caruthers played with Joe Thomas and Ed Wilcox, and he worked locally in Kansas City through the 1960s.

Earl Caruthers died in Kansas City. He had three children Gloria Caruthers, Candace Caruthers Morrow and Earl Caruthers Jr.
Earl Carruthers

Harold Rome, composer
b. Hartford, CT, USA.
d. 1993 USA.
Worked on two films: 1951 'Call Me Mister' and 1958 'Wonderful Things'.
Harold Jacob Rome (May 27, 1908, Hartford, Connecticut – October 26, 1993, New York City, NY) was an American composer, lyricist, and writer for musical theater.
Born in Hartford, Connecticut, Rome played piano in local dance bands and was already writing music while studying architecture and law at Yale University. After graduation he worked as an architect inNew York City, but continued to pursue his musical interests, arranging music for local bands and writing material for revues at Green Mansions, a Jewish summer resort in the Adirondacks. Much of the music Rome was writing at this time was socially conscious and of little interest to Tin Pan Alley.
In 1937, he made his Broadway debut as co-writer, composer, and lyricist of the topical revue Pins and Needles. Pins and Needles was originally written for a small theatrical production directed by Samuel Roland. After a 2 week professional run, it was adapted for performances by members of the then-striking International Garment Workers' Union as an entertainment for its members. Because Roland was associated with left-wing causes, he was asked by ILGWU president David Dubinsky to withdraw. The show was a huge success, running for 1108 performances, and prompted George S. Kaufman andMoss Hart to invite Rome to collaborate on another topical revue, Sing Out the News, in 1938.
In the early 1940s, Rome wrote songs for several revues and shows, but it was not until after the end of World War II that he had his first major success with Call Me Mister. His first full-fledged musical was Wish You Were Here in 1952. Additional Broadway credits include Fanny (1954), Destry Rides Again (1959), I Can Get It for You Wholesale (1962), in which Barbra Streisand made her Broadway debut, and The Zulu and the Zayda (1965), which dealt with racial and religious intolerance. He also wrote the lyrics for La Grosse Valise (composer Gerard Calvi), which enjoyed a short run at the 54th Street Theater in 1965.
In 1970, he wrote a musical adaptation of Gone with the Wind entitled Scarlett for a Tokyo production with a Japanese cast. It later was staged in English with little success in London and Los Angeles. Rome's music and/or lyrics can be heard in such films as Rear Window, Anchors Aweigh, Thousands Cheer, and Babes on Broadway. In 1991, Rome was presented with a special Drama Desk Award for his "distinctive contribution to musical theater." 
Rome also was a gifted painter and a dedicated art collector. He died of a stroke in New York City at the age of 85.

Chester "Little Bear" Zardis, Bass
b. New Orleans, LA, USA.
d. Aug 14, 1990.
Chester Zardis (May 27, 1900, New Orleans - August 14, 1990, New Orleans) was an American jazz double-bassist. Zardis played bass from a young age, and studied under Billy Marrero of the Superior Orchestra. In his teens he was involved in a fistfight at a New Orleans theater, which resulted in his being sent to the Jones Waif Home. While there he began playing with another of the Home's residents, Louis Armstrong. He joined Buddy Petit's orchestra at age 16, and worked as a bassist innightclubs and a tubist in brass bands in New Orleans in the 1920s, playing with Kid Rena, A.J. Piron, Punch Miller, Kid Howard,Jack Carey, Fate Marable, and Duke Dejan's Dixie Rhythm Band.
He was given the nickname "Little Bear" by Fats Pichon, a bandleader with whom Zardis played on the riverboat S.S. Capital in the 1930s. During that decade he also played with Count Basie in New York City, and recorded with George Lewis and Bunk Johnson. During the Second World War Zardis served in the Army, then worked briefly as a sheriff in the Western United States. Upon his return to New Orleans he played with Andy Anderson, but quit music between 1954 and 1964.
When he returned to active performance, Zardis played often at Preservation Hall with Lewis and Percy Humphrey among many others. He continued to be a fixture of the New Orleans jazz scene up until his death in 1990, including several international tours.
Zardis was regularly featured in documentaries; he is himself the subject of three of them, Liberty Street Blues, Chester Zardis: Spirit of New Orleans, and Three Men of Jazz.

Notable Events Occurring
On This Date Include:

Songs Recorded/Released
On This Date Include:


Marion Harris - I'm Nobody's Baby


Abe Lyman's California Ambassador Hotel Orchestra - Sweet Little You


Bessie Smith - I Aint' Goin' To Play No Second Fiddle

Bessie Smith J.C. Holmes Blues


Roger Wolfe Kahn and his Orchestra - Cross Your Heart

Johnny Hamp's Kentucky Serenaders


Ben Pollack and His Park Central Orchestra
  • I'd Like To Be A Gypsy


Wingy Manone and his Orchestra - Black Coffee


Louis Armstrong and his Orchestra

Ain't Gonna Play No 2nd Fiddle
by Perry Bradford

Let me tell you daddy,
momma ain't gonna sit here and grieve
Pack up your stuff and get ready to leave

I stood your foolishness long enough,
so now I'm gonna call your bluff
Oh, I'm gonna call your hand,
so, now daddy here's my plan

Ain't gonna play no second fiddle 'cause,
I'm used to playin' lead

You must think that I am blind,
you've been cheatin' me all the time
Whoa yeah, you still flirt
And you'll notice I ain't hurt,
to see you with my chum
Do you think that I am dumb

You 'cause me to drink,
when I sit down and think
And notice that you never take heed
I went to your house the other night,
caught you and your good girl havin' a fight

Ain't gonna play no second fiddle 'cause
I'm used to playin lead

Caught you with your good-time tramp1,
so, now I'm gonna put out your lamp
Oh, poppa, I ain't sore
You ain't gonna mess up with me no more
I'm gonna flirt with another guy2,
then you're gonna hang your head an' cry2

Ain't gonna play no second fiddle 'cause
I'm used to playin' lead

He's a Good Man to Have Around
(M. Ager - J. Yellen; from Honky Tonk)

He's not goodlookin', not handsome at all.
I couldn't tell you how he made me fall,
Ain't nothin' to him, but still and all,
He's a good man to have around.

He's not a stepper, can't even waltz,
In conversation, he stammers and halts;
Poor little sweet man with all of his faults,
He's a good man to have around.

Oh, sometimes I fly off the lid;
"Go this minute!" I shout,
But if he did,
I would die without him!

He's not exactly my idea of
The perfect lover from heaven above,
But what's the difference? The man you love
Is a good man to have around.

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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