Art Hickman, drums/leader/composer
d. Jan 15, 1930
Arthur G. Hickman (June 13, 1886 – January 16, 1930) was a drummer, pianist, and band leader whose orchestra is sometimes seen as an ancestor to Big band music. It fits into what are termed "sweet bands", something like that of Paul Whiteman. His orchestra is also credited, perhaps dubiously, with being among the first jazz bands. One who disputed this notion was Hickman himself. At first he even disputed that "jazz" was music at all, alternatively calling it a kind of bubbling water or just noise. Although born in Oakland, he lived in San Francisco, California for most of his life. His father had various jobs, but his mother had been in vaudeville. He had little to no musical training, but by 1913 he played piano and or drums for a San Francisco hotel. By 1914 he was leading a band which would sometimes be deemed a "jazz band", but he rejected the term as late as 1920 and possibly even later. He strongly associated jazz with African Americans, sometimes disparagingly and other times in a flattering way, which he was not. 
In 1917 he had one of his biggest successes with the song "Rose Room", which was named after the hotel room. By the 1920s he had one of the, if not the, best paid band in the United States. He also was one of the first dance bands to have a saxophone section. In 1926 he did the Ziegfeld Follies.
He had intended to do a history of jazz, and also had other projects, but by 1929 he was suffering from Banti's syndrome. In 1930 he died.
English musician Ben Black was among those who worked in his orchestra.
Eddie Beal, Piano/songwriter
b. Redlands, CA, USA. d. 1984.
Eddie began his career playing for local bandleaders Earl Dancer and later Charles Echols, In the mid 1930s Eddie, working with Buck Clayton, toured to Shanghai, China. In 1939, upon returning to California, he accompanied vocalists Maxine Sullivan, Billy Holiday and Ivie Anderson on recordings and in club appearances. In 1946, he recorded with a group led by the singer Claude Trenier. During 1974-75, Eddie toured with the Tommy Dorsey orchestra. He made very few appearances thereafter, dying in 1984. Biography
~by Eugene Chadbourne
The brothers Eddie and Charlie Beal were both skilled jazz pianists from the '30s and '40s, the former originally a drummer before he decided to forsake the stool for the bench. The brothers were part of the Los Angeles music scene of that era, but Eddie Beal really seasoned his jazz chops quite some distance away during a three-year stint with trumpeter Buck Clayton in Shanghai, China, of all places. He came back to California in 1936 to freelance and became known as an arranger. From 1941-1943 he was busy making arrangements for Uncle Sam, coming out of the service to work as a pianist for vocalist Ivie Anderson. This job with one of Duke Ellington's many featured vocalists lasted "for a minute," as they say in jazz lingo. Beal's own trio worked regularly beginning around this same period, becoming something like an old general in its persistence on the California jazz scene.
When Billie Holiday went west, the vocal star chose this trio as her backup unit. Beal played in the Spirits of Rhythm, was a vocal coach, and still had time to form his own publishing company. Of course, this last venture would make perfect business sense for anyone with his talent as a songwriter. Beal's tunes include "Softly," quietly recorded by Holiday, and "Bye and Bye," a musical greeting that wore well for the Turbans. There is a marvelous spot of Beal on film in a piano duo with the great Earl Hines, during the sleazy 1951 film noir entitled The Strip. Mickey Rooney plays a drummer in this film, but it is really Cozy Cole heard on the soundtrack. Beal is also part of the group heard on the soundtrack recording, which also includes vibraphonist Red Norvo and the orchestras of both Louis Armstrong and Jack Teagarden.
Eddie Beal - Wikipedia

Phil Bodner, saxophone
b. Waterbury, CT, USA.
~by Scott Yanow

Essentially a swing-based clarinetist, Phil Bodner has spent most of his career as a studio musician. Among his more notable jazz gigs have been with Benny Goodman (1955), the Gil Evans Orchestra with Miles Davis (1958), Oliver Nelson (1962), J.J. Johnson (1965-1968), and Bill Evans (1974). In addition to his group the Brass Ring, he has recorded just a few sets as a leader (for Stash and Jazz Mania), making one regret that he could not have spent a larger portion of his career playing jazz.

"Doc" Cheatham, Trumpet/leader
b. Nashville, TN. USA
d. June 2, 1997, Washington, D.C., USA.
Age 91 (Stroke). né Adolphus Anthony Cheatham.
Curiously, though one of Jazz's best-known figures, Cheatham didn't enjoy wide fame until he was in his 70s. In the 1920s, he was a sideman in several big bands and was still playing into the 1960s. In 1980, Cheatham's 'star' finally rose and he began appearing at music festivals and releasing new recordings, including 'The 87 Years of Doc Cheatham', and 'Doc Cheatham and Nicholas Payton'. Cheatham deserves more praise than we can give him here. Biography
~by Scott Yanow
Doc Cheatham was without question the greatest 90-year old trumpeter of all time; in fact, no brass player over the age of 80 had ever played with his power, range, confidence, and melodic creativity. Most trumpeters fade while in their 60s due to the physical difficulty of their instrument, but Cheatham did not truly find himself as a soloist until he was nearly 70.
Doc Cheatham's career reaches back to the early '20s, when he played in vaudeville theaters backing such traveling singers as Bessie Smith and Clara Smith. He moved to Chicago, recorded with Ma Rainey (on soprano sax), played with Albert Wynn, subbed for Louis Armstrong (his main idol), and had his own group in 1926. After stints with Wilbur DeParis and Chick Webb, he toured Europe with Sam Wooding. Due to his wide range and pretty tone, Cheatham worked as a non-soloing first trumpeter with McKinney's Cotton Pickers and Cab Calloway throughout the 1930s. He spent time with Teddy Wilson's big band, and was with the commercially successful Eddie Heywood Sextet (backing Billie Holiday on some recordings).
In the 1950s, Cheatham alternated between Dixieland (Wilbur DeParis, guest spots with Eddie Condon) and Latin bands (Perez Prado, Herbie Mann). He was with Benny Goodman during 1966-1967, but it was not until the mid-'70s that Cheatham felt truly comfortable as a soloist. Duet sets with pianist Sammy Price launched his new career, and until his death in 1997, he recorded fairly prolifically including dates for Sackville, New York Jazz, Parkwood, Stash, GHB, Columbia, and several European labels. Cheatham was also a charming singer whose half-spoken, half-sung vocals took nothing away from his chance-taking trumpet flights.

Jack Fulton 
Jack Fulton (June 13, 1903 – November 13, 1993) was an American composer, trombonist, and vocalist. At the age of 17, he started playing the trombone for small-town dances. He sang with the Mason-Dixon Orchestra. He also played the trombone and sang with the George Olsen Orchestra. He was part of the trio that sang on the 1925 number one hit, "Who?" The other vocalists were Bob Rice and Fran Frey.

In 1926, he joined the Paul Whiteman orchestra. He provided the vocals for many Whiteman recordings. He was part of a trio with Charles Gaylord and Austin Young on a recording of "Makin' Whoopee." They sang with The Rhythm Boys on their 1927 recording of "Changes" and accompany Bing Crosby and Bix Biederbecke during their solos. He appeared in King of Jazz as a part of the orchestra, briefly singing "A Bench in the Park". With the orchestra, he popularized the song "Body and Soul" in 1930. He introduced the song "How Deep Is the Ocean?" in 1932.

He wrote around 120 compositions, including "Wanted", "Until", "If You Are But a Dream", and "My Greatest Mistake" – his first hit (1940).
Jack Fulton
Jack Fulton on IMDb

Clarence Hutchenrider, Clarinet
b. Waco, TX, USA. d. 1991.
In late 20s with Ross Gorman band (ex Whiteman), then clarinet w/Paul Whiteman. Then with Austin Wylie band; '31 -'43 w/Casa Loma. In '70s-'80s played with Vince Giordano & the Nighthawks; David Ostwald's Gully Low Jazz Band. New York City "DJ" Rich Conaty intro'd him to Les Paul (at Fat Teusday's Club) where Clarence played Smoke Rings & Rosetta.
Biography ~by Scott Yanow 

Clarance Hutchenrider, 2nd from the left. Photo courtesy Stephen Hester.
Considered the top soloist with the influential Casa Loma Orchestra in the early 1930's, Clarence Hutchenrider was a well-respected jazz player who was content to mostly be a sideman throughout his prime years. Hutchenrider started playing clarinet and saxophone when he was 14 and led his own band in high school.
After freelancing locally and in the Midwest (including with Jack Gardner, Dick Richardson, Claiborne Bryson, Ross Gorman, Tommy Tucker, Merle Jacobs and Austin Wylie), he became a longtime member of the Casa Loma Orchestra (1931-43), appearing on virtually all of their most important records including "Casa Loma Stomp," "No Name Jive" and "Smoke Rings." His post-Casa Loma years were mostly spent in obscurity. Hutcherider worked for three years with Jimmy Lytell's group on ABC radio. A lung ailment forced him to retire for a bit although he was back playing in the 1950's, primarily in little-known Dixieland bands and for a long stretch with his own trio. In the 1970's and 80's he was often part of Vince Giardano's various revival groups. In the early 1960's Clarence Hutchenrider led his only album, a Dixielandoriented quartet date for the Aamco label.
Clarence Hutchenrider - Wikipedia

Irene Franklin
Irene Franklin (13 June 1876 in New York City, New York – 16 June 1941 in Englewood, New Jersey), was an American actress of stage and screen; vaudeville comedian and singer.
Franklin began her stage career at the age of six months when she was carried on stage in Hearts of Oak and her stage career went on from there. She appeared on Broadway at age six in The Prodigal Father, which ran for five years. She toured Australia in a vaudeville team and later toured the world before going into films.
She outlived two husbands, Burton Green who died in 1922 and Jerry Jarnigan who died in 1934.

Richard M. ("Myknee") Jones, Piano
b. Barton, LA, USA. d. Dec. 8, 1945.
~by Scott Yanow
Richard Myknee Jones was from a musical family in New Orleans and played a variety of instruments before making the piano his main instrument. He played in Armand Piron's Olympia Orchestra and led his own band called 
The Four Hot Hounds which included Sugar Johnny Smith and occasionally King Oliver.

During World War One he played with Papa Celestin. He left New Orleans in 1919 and moved to Chicago where he set up the Chicago branch of Clarence Williams publishing company and music store.

He played in bands in Chicago during the 1920s, but his main gig was as manager of Okeh records race records division. He led his own studio band called Richard M. Jones' Jazz Wizards and accompanied a great number of singers and bands on piano. He continued to be active in music until his death both as a musician and talent scout. Jones is best remembered today as the composer of such Jazz standards as Trouble In Mind and Riverside Blues. The composer of "Trouble in Mind," Richard M. Jones' main significance to jazz was as the leader of an interesting series of recording dates. He played alto horn and cornet with the Eureka Brass Band as early as 1902 and worked as a pianist in New Orleans during 1908-1917.

After playing with Oscar Celestin (1918), Jones moved to Chicago where he worked for Clarence Williams' publishing company. 
He recorded as a piano soloist in 1923, accompanied Blanche Calloway and Chippie Hill on record dates (1925-1926), and led his Jazz Wizards on sessions of his own during 1925-1929.
Jones' sidemen included Albert Nicholas, Johnny St. Cyr, Ikey Robinson, Roy Palmer, Omer Simeon, and some lesser-known musicians.
Richard M. Jones stayed in Chicago for the rest of his life, leading further sessions during 1935-1936 and 1944, and working as a talent scout for Mercury in the 1940s.

Richard M. Jones' Jazz Wizards
Trouble In Mind
~Written by Richard M. Jones
Trouble in mind I'm blue but I won't be blue always
Cause the sun's gonna shine in my backyard someday
I'm gonna lay my head on some lonesome railroad line and let that 2:19 pacify mind
Hello train hello
(Goin' down to the river gonna take me a rockin' chair)
And if the blues don't leave me I'll rock away from here
Trouble in mind I'm blue my old heart is beatin' slow
I ain't had so such trouble in my life before
Trouble trouble trouble
Like a girl she done quit me and it sure does leave my mind
When you see me laughin' it's laughin' to keep from cryin' 
Richard M. Jones - Wikipedia  
Richard M. Jones
Richard M. Jones' Jazz Wizards

Nina Mae McKinney
Nina Mae McKinney (June 12 (or 13), 1912 (or 1913) – May 3, 1967) was an American actress, singer and dancer who worked internationally during the 1930s and in the postwar period in theatre, film and television, after getting her start on Broadway and in Hollywood. Dubbed "The Black Garbo" in Europe because of her striking beauty, McKinney was one of the first African-American film stars in the United States, as well as one of the first African Americans to appear on British television.

"Wild Bill" Moore, tenor sax
b. Houston, Texas.
d. August 1983, USA.
Among the stars with whom he worked are "Big Joe" Turner, Paul 'hucklebuck' Williams, and Jack McVea. Biography
~by Michael Erlewine
Texas tenor saxman Wild Bill Moore was a big-toned (somewhat lavish) tenor player. Moore was born William M. Moore on June 13, 1918. While originally an alto player, Moore switched to tenor in the early '40s, influenced by the great Chu Berry. He was first noticed in Chicago in 1944, the year he made his first recording with Christine Chatman (Decca). During this period he played with several major names, including Red Allen.
He relocated to Los Angeles, where he really began to build a name for himself from about 1945 to 1947, recording with Jack McVea, Big Joe Turner, Duke Henderson, Shifty Henry, Dexter Gordon, and Wardell Gray. Late in 1947, Moore relocated to Detroit, working there with, among others, Paul Williams and King Porter. He remained in the Detroit area until the mid-'70s, made two albums on Jazzland as a leader, and worked in the music scene there, especially with Motown artists like Marvin Gaye. He returned to the Los Angeles area, working some with Big Joe Turner. He died in August of 1983.

Vincent Rose, leader/composer
d. 1944, USA
~by Joslyn Layne
American pop composer and bandleader Vincent Rose was active in music from the turn of the century into the early '40s, recording with his orchestra and writing hits (a few of which were used in stage musicals). Born in 1880 in Palermo, Italy, Rose had extensive musical training before coming to the U.S. in 1897. He got work as a pianist and violinist in Chicago orchestras, then moved to L.A. and worked as music director for a hotel chain. Rose formed his own orchestra in 1904 and continued working as a bandleader into the early '40s. He collaborated with several songwriters over the years, including Larry Stock, James Cavanaugh, Raymond Klages, and Buddy de Sylva.
Rose's first hits came in 1920 with "Whispering" and "Avalon"; the latter was used in the musical Bombo the following year. Other of his best-known tunes include "Linger Awhile" (1923), "Pardon Me, Pretty Baby" (1931), "The Umbrella Man" (1938), and "Blueberry Hill" (1940). Rose's orchestra recorded sides for various labels, including Victor (mid-'20s), Perfect (early '30s), Mellotone (mid-'30s), and more. This Songwriters Hall of Fame member had his last hit with 1942's "Ma-Ma-Maria"; he died two years later on May 20 in Rockville Center, NY.
Vincent Rose at the Songwriters Hall of Fame

Edwin Swayze, Trumpet
b. Marshall, TX, USA.
d. 1935.
~by Eugene Chadbourne
This artist, who literally dropped dead while on tour with Cab Calloway, left behind a catalogue of songs with hysterical titles as well as a pile of recordings with Calloway and Jelly Roll Morton. It was Edwin Swayzee, often coronated with the nickname of "King", who determined that "Father's Got His Glasses On" and "Good Sauce from the Gravy Bowl" were worthy song titles and subjects. Another interest dictated by trends was the jitterbug, rendering ditties such as "Call of the Jitterbug".
Swayzee had a big musical background in Little Rock, the same Arkansas metropolis from which came clever country songwriter Roger Miller and shrieking saxophonist Pharoah Sanders, not to mention the wealth of local talent with which Swayzee underwent initial training. In the early '20s this list included both Alex Hill and Alphonso Trent, not to mention what sounds like one of the greatest bands of all time, Eugene Crook's Synco Six.
Prior to moving to New York City, Swayzee hit the road with pianist and composer Jelly Roll Morton as well as Sammie Lewis' Barnville Dandies.
The trumpeter continued associating with Morton in New York, eventually going on a lengthy European tour with the Blackbirds show organized by Lew Leslie. Leaving this show, Swayzee stayed put in Europe with several ventures including Herb Flemming's International Rhythm Aces and the Plantation Band, leading the latter outfit himself during an extended summer stay at an Amsterdam hotel venue. The first few years of the '30s were spent with both Chick Webb and Sam Wooding. Swayzee's final blast with Calloway began in 1932 and also included a European tour.

Edwin Swayze - Wikipedia

Katherine Dunham with Garland Wilson, circa 1940s.
Katherine Dunham with Garland Wilson, circa 1940s.
Garland Wilson, piano
b. Martinsburg, WV, USA.
d. May 31, 1954, Paris, France
~by Scott Yanow
A fine stride pianist, Garland Wilson spent much of his career in Europe which led to him being underrated. After studying at Howard University, he came to New York in 1929 and played regularly in Harlem for the next three years, recording as a soloist starting in 1931. The following year he went to France as singer Nina Mae McKinney's accompanist, and he played regularly overseas in both Great Britain and France, recording as a leader and with Nat Gonella. Due to World War II, Wilson returned to the U.S. in 1939, where he worked in nightclubs until going back to Paris in 1951.

Garland Wilson - Wikipedia

Notable Events Occurring
On This Date Include:

"Blind Tom" Wiggins
(né: Thomas Green Bethune)
b. near Columbus, GA, USA, May 25, 1849), piano
died in Hoboken, NJ, USA.
Age: 59
Thomas "Blind Tom" Wiggins (May 25, 1849 – June 14, 1908) was an African American autistic savant and musical prodigy on the piano. He had numerous original compositions published and had a lengthy and largely successful performing career throughout the United States. During the 19th century, he was one of the most well-known American performing pianists.

The King of Swing, Benny Goodman
died in New York (Manhattan), NY, USA.

Songs Recorded/Released
On This Date Include:


Earl Fuller's Famous Jazz Band - Jazz de Luxe
  • Jazzin' Around


Benson Orchestra of Chicago

Harry Reser and his Orchestra
  • Oh Gee ! Oh Gosh!


Art Hickman and his Orchestra


Coon Sanders Nighthawks Orchestra I'm Gonna Charleston Back To Charleston


Richard M. Jones' Jazz Wizards - Dark Alley Blues

Benny Goodman - That's A Plenty
  • Clarinettis


Tommy Dorsey - It's Right Here For You
  • Tiger Rag

Jimmy Dorsey - Beebe
  • Praying The Blues


Boyd Senter and his Senterpedes
Cliff Edwards "Ukulele Ike" - Sing (A Happy Little Thing)

Dorsey Brothers Orchestra - By Heck


Abe Lyman and his Californians - Danger! Men Blasting - Vocal refrain by Rose Blane
  • The Shoemaker's Holiday

Fats Waller - London Suite - Picadilly

Paul Whiteman and his Orchestra - All Alone
  • Lady of the Evening
  • Say It With Music
  • (You Forgot To) Remember


~Words by Raymond B. Egan
~Music by Richard A. Whitin

Won't you stretch imagination for the moment and come with me
Let us hasten to a nation lying over the western sea
Hide behind the cherry blossoms here's a sight that will please your eyes
There's a baby with a lady of Japan singing lullabies
Night winds breath her sighs here's the Japanese

Just as silent as we came we'll leave the land of the painted fan
Wander lightly or you'll wake the little people of old Japan
May repose and pleasant dreaming be their share while the hours are small
Like an echo of the song I hear the Japanese Sandman
call new days near for all here's the Japanese

Sandman sneaking on with the dew just an old second hand man
He'll buy your old day from you
he will take every sorrow of the day that is through
and he'll give you tomorrow just to start a life anew
then you'll be a bit older in the dawn when you wake
and you'll be a bit bolder with the new day you make
here's the Japanese Sandman trade him silver for gold
just an old second hand man trading new days for old.

~Schoenberger, John/Schoenberger, Marvin

Whispering while you cuddle near me

Whispering so no one can hear me
Each little whisper seems to cheer me
I know it's true dear....there's no one but you

I'm a singin'

Whispering why you'll never leave me
Whispering why you'll never grieve me
Whisper and say that you believe me
Whispering that I love you

(instrumental break)

Whispering while you cuddle near me
Whispering so no one can hear me
Each little whisper seems to cheer me
Just whispering that I love you

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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