Booker Collins, Bass
b. Roswell, NM, USA
The role of a jazz bassist has evolved through the history of the music and could be generalized as an increase in input into the music above and beyond just timekeeping. It is true that perhaps some bassists get carried away, hiring other bassists to back them up while they play solos. Or perhaps that's what they all should be doing. Listeners who agree with the latter musical dogma, or simply enjoy a lively bassist, can count in Booker Collins as an early example of mucho rather than macho bass. By the mid-'30s, when he was keeping very good company indeed in the groups of the fine pianist Mary Lou Williams, a typical Collins performance would have a remarkable stature when contrasted with what other bassists were playing in similar groups. In fact, considering that the bassist in question hailed from Roswell, NM, it is no doubt acceptable to describe him as an alien among his contemporary rhythm section players.
Collins was indeed a westerner, emerging from the New Mexico Military Institute to play in Bat Brown's Band, an aptly named territorial band for a territory whose night skies were dotted with the creatures. Trombonist Bert Johnson was another playing partner of Collins, both of them going for a fattened midsection as if preparing for film roles as bouncers.
He was only 16 when he was cutting sides with Williams, part of a busy and sometimes even thriving Chicago recording scene in which jazz, rhythm & blues, and just plain blues players mingled and collaborated for independent label releases. In 1934, his break came when he got into the band of Andy Kirk and he stayed in this active group for the next decade, often playing alongside his old pal Williams in the rhythm section. Kirk was actually adding an instrument to his lineup as well as a player: The hiring represented the bandleader's decision to add double bass to the rhythm section, leaving the tuba in the closet to collect whatever tubas collect. Most bassists of Collins' generation doubled on the horn and he was no exception. Knowing what tubas collect firsthand, he was probably happy to leave it behind when the Kirk band hit the road.
The bassist's final job of note was with Chicago guitarist and drummer Floyd Smith's trio, a stint that lasted from 1946 until the early '50s, when this great bass man finally laid his big instrument down in terms of full-time playing; he made a few appearances at festival occasions in the ensuing decades and was also in Chicago recording studios in the late '50s cutting sides for independent labels. Perhaps figuring that it was insane to stay out of the music business, he joined a combo called the Shades of Rhythm to backup blues singer Mad Man Jones on the demanding "Come Here." Collins had been involved with this group, whose personnel shifted like the tide along the Chicago lakeside, since 1952 when he was part of a version that took the risk of cutting sides for the Chance label.
~ Eugene Chadbourne

Henry S. Creamer
African American lyricist/vaudevillian
b. Richmond, VA, USA
d. Oct. 14, 1930
~ From Wikipedia
Henry Creamer (June 21, 1879 – October 14, 1930) was an American popular song lyricist. He was born in Richmond, Virginia and died in New York. He co-wrote many popular songs in the years from 1900 to 1929, often collaborating with Turner Layton, with whom he also appeared in Vaudeville. Creamer was a co-founder with James Reese Europe of the Clef Club, an important early African American musicians & entertainers organization in New York City.
Some Famous Works:
After You've Gone"Alabama Stomp" w. Henry Creamer m. James P. Johnson (1926) 
"'Way Down Yonder In New Orleans" w. Henry Creamer m. Turner Layton (1922) 
"Dear Old Southland" w. Henry Creamer m. Turner Layton (1921) 
"Strut Miss Lizzie" w. Henry Creamer m. Turner Layton (1921)  
"After You've Gone" w. Henry Creamer m. Turner Layton (1918) 
"Ev'rybody's Crazy 'bout the Doggone Blues, But I'm Happy" by Henry Creamer and Turner Layton (1918) 
"The Bombo-Shay" by Henry Creamer (1917) 
"Sweet Emalina My Gal" w.m. Henry Creamer & Turner Layton (1917) 
"That's A Plenty" w. Henry Creamer m. Bert A. Williams (1909)

Harry Goodman, bass 
Brother of Benny Goodman
b. Chicago, IL, USA
d. 1997.

Mack Gordon, Lyricist
b. Warsaw, Poland
d. Feb. 28, 1959, New York, NY, USA.
né: Morris Gittler.
Gordon worked with Harry Revel 1931-'39; with Harry Warren '39-50.
His family emigrated to New York, NY, ca 1908. Mack first started acting in vaudeville and then turned lyricist. He teamed with the UK emigre pianist Harry Revel writing music for the 1931 edition of the Ziegfeld Follies, and the team was then signed by Paramount Pictures. He divorced his first wife - Rose - in 1936, and remarried Elizabeth Cook (1939-'48). co-owner of Arc Music Corp.

Dewey Jackson, Trumpet
b. St.Louis, MO, USA, d. 1994
Biography ~by Scott Yanow
It seems strange that Dewey Jackson made so few recordings because he was one of the biggest names in St. Louis jazz of the 1920's and was considered a legend for decades. Jackson played early on with the Odd Fellows Boys' Band (1912), Tommy Evans (1916-17) and George Reynolds' Keystone Band. After working on riverboats with Charles Creath, Jackson led his Golden Melody band (1920-23).
During 1924-41 the trumpeter was a fixture on the riverboats, either heading his own groups (including the St. Louis Peacock Charleston Orchestra) or working as a sideman with Fate Marable and Charlie Creath. The one exception was a four-month stretch in 1926 when Jackson was with Andrew Preer's Orchestra at New York's Cotton Club. He was only a part-time player in the 1940's, having a day job, but then worked fairly frequently in the 1950's including with Singleton Palmer and Don Ewell's Trio (1951). 

Jackson was active into the 1960's. Dewey Jackson recorded just four titles as a leader (in 1926 including a classic "She's Cryin' For Me"), in 1927 he recorded with Charlie Creath and in 1950 appeared on a Singleton Palmer record. Among Jackson's sidemen through the years were Pops Foster, Willie Humphrey, Don Stovall and Clark Terry (1937).

Jim Wynn
tenor & baritone saxes/clarinet/leader
b. El Paso, Texas, USA (raised in Los Angeles)
d. July 19, 1977.
His professional career began working with Charlie Echols, and he later enjoyed a long association with Johnny Otis. Wynn was a sideman on hundreds of West Coast recordings. From 1945 to 1959, he recorded sporadically with many labels including '4 Star/Gilt Edge' (perhaps his best-known side, "Ee-Bobaliba"), 'Supreme', 'Mercury', 'Modern', and 'Specialty'. He continued working as a sideman well into the 1970s, switching to baritone sax late in his career.

Notable Events Occurring
On This Date Include:
Ragtime pianist Ford T. Dabney
died in New York, NY, USA.
Age: 75.
 Ford T. Dabney
John Lee Hooker
died in California.
Age: 83.

Songs Recorded/Released
On This Date Include:


Club Royal Orchestra - Who'll Take My Place When I'm Gone?
  • Georgette


Bessie Smith
  • If You Don't Know Who Will? -Fletcher Henderson at the Piano


Art Landry and His Orchestra
  • I'm A Lonesome Little Mama (Looking For Somebody To Love)


Dewy Jackson's Peacock Orchestra - Capitol Blues
  • She's Crying For Me
  • What Do You Want Poor Me To Do?

Arthur Sims and his Creole Roof Orchestra
  • How Do You Like It Blues
  • Soapstick Blues

Arkansas Travelers
  • Breezin' Along With The Breeze
  • When The Red, Red Robin Comes Bob, Bob, Along

St. Louis Levee Band
  • Soap Suds


Red McKenzie and his Music Box
  • My Syncopated Melody Man
  • There'll Be Some Changes Made


Red Nichols and his Orchestra
  • Five Pennies
  • Harlem Twist


Troy Floyd and his Shadowland Orchestra - Dreamland Blues (Part 1)
Dreamland Blues (Part 2)

Ted Weems and his Orchestra in 1929
Ted Weems and his Orchestra
  • I Don't Want Your Kisses (If I Can't Have Your Love) - (From Metro-Goldwyn-Mayer picture "So This Is College") Vocal refrain by Parker Gibbs


There'll Be Some Changes Made

They say don't change the old for the new,
But I've found out this will never do
When you grow old you don't last long
You're here today and then tomorrow you're gone,
I loved a man(gal) for many years gone by,
I tho't his(her) love for me would never die,
He(She) made some changes that would never do
From now on I'm goin' to make some changs too.

For there's a change in the weather
There's a change in the sea
So from now on there'll be a change in me
My walk will be diff'rent my talk and my name
Nothin' about me is goin' to be the same,
I'm goin' to change my way of livin' if that ain't enough,
Then I'll change the way that I strut my stuff,
'cause nobody wants you when you're old and gray
Ther'll be some change made.

They say the old time things are the best,
That may be very good for all the rest
But I'm goin' to let the old things be
'Cause they are certainly not suited for me,
There was a time when I thought that way,
That's why I'm all alone here today
Since ev'ry one of these days seeks something new
From now on I'm goin' to seek some new things too.


For there's a change in the fashions,
Ask the fiminine folks
Even Jack Benny has been changing jokes,
I must make some changes from old to the new
I must do things just the same as others do,
I'm goin' to change my long, tall Mamma 
(Daddy) for a ittle short Fat,
Goin' to change the number where I live at.
I must have some lovin' or I'll fade away,
There'll be some changes made.
Special Thanks To:
Scott Yanow,  
And all who have provided content for this site
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