Adrian Rollini, Bass Sax/Leader
b. New York, NY, USA.  

d. May 15, 1956, Homestead, FL, USA.

~Biography by Scott Yanow 

Adrian Rollini was the greatest bass saxophonist of all time, one of the first jazz vibraphonists, and a talented multi-instrumentalist who could make music on such novelty instruments as the "hot fountain pen" (a miniature clarinet with a saxophone mouthpiece) and a "goofus." The older brother of tenor saxophonist Arthur Rollini, he played piano and xylophone as a youth, performing Chopin at the Waldorf Astoria when he was four. After joining the California Ramblers in 1922, it was suggested that Rollini learn the potentially cumbersome bass sax; it only took him a week.

An important member of the California Ramblers, Rollini made many records with the studio group, and also with his "Goofus Five." A participant on Bix Beiderbecke and Frankie Trumbauer recordings in 1927, Rollini also cut sides with Red Nichols and Joe Venuti. He spent two years (from the latter part of 1927 through 1929) in London performing with Fred Elizalde.

After his return to New York, Rollini worked in the studios, leading many record dates from 1933-1940; in 1934, he opened his own club (Adrian's Tap Room), and began to emphasize his vibraphone playing. A decent but not outstanding vibraphonist, Rollini continued working with small groups in various hotels during the 1940s and into the '50s (recording a Mercury LP on vibes in the early '50s), finally settling in Florida.

Adrian Rollini From Wikipedia
Red Hot Jazz

David "Honeyboy" Edwards, guitar/harmonica
b. Shaw, MS, USA.
  ~by Bill Dahl
Living links to the immortal Robert Johnson are few. There's Robert Jr. Lockwood, of course -- and David "Honeyboy" Edwards. Until relatively recently, Edwards was something of an underappreciated figure, but no longer -- his slashing, Delta-drenched guitar and gruff vocals are as authentic as it gets.

Edwards had it tough growing up in Mississippi, but his blues prowess (his childhood pals included Tommy McClennan and Robert Petway) impressed Big Joe Williams enough to take him under his wing. Rambling around the south, Honeyboy experienced the great Charley Patton and played often with Robert Johnson. Musicologist Alan Lomax came to Clarksdale, MS, in 1942 and captured Edwards for Library of Congress-sponsored posterity.

Commercial prospects for the guitarist were scant, however -- a 1951 78 for Artist Record Co., "Build a Cave" (as Mr. Honey), and four 1953 sides for Chess that laid unissued until "Drop Down Mama" turned up 17 years later on an anthology constituted the bulk of his early recorded legacy, although Edwards was in Chicago from the mid-'50s on.
The guitarist met young harpist/blues aficionado Michael Frank in 1972. Four years later, they formed the Honeyboy Edwards Blues Band to break into Chicago's then-fledgling North side club scene; they also worked as a duo (and continue to do so on occasion). When Frank inaugurated his Earwig label, he enlisted Honeyboy and his longtime pals Sunnyland Slim, Big Walter Horton, Floyd Jones, and Kansas City Red to cut a rather informal album, Old Friends, as his second release in 1979. In 1992, Earwig assembled Delta Bluesman, a stunning combination of unexpurgated Library of Congress masters and recent performances that show Honeyboy Edwards has lost none of his blues fire.

 Sarah Ogan Gunning, Folk/Union vocals
b. KY, USA. d. 1983.
Sarah was born into a singing family. Her mother passed on a large collection of ballads, hymns, love songs, and stories to her 15 children. However, the biggest influence on her life and her music came from the fact that both her father and her first husband were coal miners, and both were involved in the United Mine Workers of America union. She was famous for writing original lyrics to well-known mountain tunes, and spirituals, all sung a cappella-style. Her own unique style is perhaps best exemplified in two of her releases, “I Hate the Capitalist System�, and “I am a Girl of Constant Sorrow�. During the 1930s and '40s, she was resident in New York City, where she sang with such other Folksingers as Woody Guthrie, Pete Seeger, and Burl Ives. For a while, she fell into obscurity, only to re-surface during the Folksong craze of the 1960s, when folklorist Archie Green encouraged her to record her first album. She began performing again, at venues such as Carnegie Hall, the Smithsonian Folklife Festival, and the Newport Folk Festival. She died while appearing at a family songfest in Kentucky.
The Songs of Sarah Ogan Gunning

Jimmy Mundy, Tenor Sax/Arranger
b. Cincinnati, OH, USA. d. 1983.
Worked with Count Basis, Benny Goodman, and others.
Biography  ~by Scott Yanow
One of the finer arrangers of the swing era, Jimmy Mundy never became a big name to the general public, but musicians of the era certainly knew who he was. He played tenor in various local bands and when he was hired by Earl Hines in 1932, he originally played in the orchestra. However, it was his charts (including his original "Cavernism," "Everything Depends on You," and "Copenhagen") that gave him a strong reputation. In 1936, he became a staff arranger for Benny Goodman, writing arrangements for such pieces as "Bugle Call Rag," "Jumpin' at the Woodside," "Swingtime in the Rockies," "Solo Flight," and "Sing, Sing, Sing." He also wrote charts for Count Basie, Gene Krupa, Paul Whiteman, Dizzy Gillespie (1949), and Harry James, among many others, and remained active into the 1970s. Jimmy Mundy led relatively few sessions: a small-group date in 1937, four songs by his short-lived orchestra in 1939, a few existing broadcasts of his 1946 Los Angeles band, and he led two obscure Epic albums during 1958-1959.

Odette Myrtil
Odette Myrtil (June 28, 1898 – November 18, 1978) was an American actress, singer, and violinist of French birth. She began her career as a violinist on the vaudeville stage in Paris at the age of 14. She expanded out into acting and singing, and had her first major success at the age of 18 on the London stage in the 1916 musical revue The Bing Boys Are Here. She was a staple in Broadway musical theatre productions from 1924 to 1932, after which she returned only periodically to Broadway up through 1960. She also appeared on the stages of Chicago, London, Los Angeles, and Paris several times during her career.

From 1923 to 1972, Myrtil appeared as an actress in a total of 28 feature films; most of which were made from the mid-1930s through the mid-1950s. Not a leading lady on camera, she specialized in character roles and was often utilized for her gifts as a singer. She made only one television appearance during her career, in the Studio One in Hollywood 1953 episode The Paris Feeling. She also worked as a costume designer for 9 motion pictures from 1944 to 1950.

Life and career
Born Odette Belza in Paris, she was the daughter of two stage actors. She studied the violin at a boarding school in Brussels and began performing the violin professionally at the age of 13. In 1915, at the age of 16, she came to the United States to join the Ziegfeld Follies on Broadway as one of the Ziegfeld Girls. The following year she came to London where she was a major success in the West End show The Bing Boys Are Here. She spent the next several years appearing successfully on the London stage and in vaudeville productions in major European cities.

In 1923 Myrtil returned to New York City as a vaudeville entertainer at the Palace Theatre where she had her first major success in America. She became a staple of the theatre scene in New York City up into the early 1930s, often appearing in Broadway musicals which featured her abilities as both a singer and violinist. She had a particular triumph as Odette in Jerome Kern's 1931 musical The Cat and the Fiddle which was written specifically as a vehicle for her. Thereafter she only made a handful of appearances on Broadway, with her last show being the original production of Harold Arlen and Johnny Mercer's Saratoga in 1960. She spent a couple years in the early 1950s portraying Bloody Mary in the original run of Rodgers and Hammerstein's South Pacific, having succeeded Juanita Hall in the role.

After 1935, Myrtil's career decidedly shifted towards film, although she never left her live theatre roots. She had a fairly prolific career as a film actress, appearing in mainly mid-sized roles in a total of 25 films from 1936 to 1952. She had previously only appeared as a dancer in the 1923 film Squibs M.P. Her first speaking role was as Renée De Penable in Dodsworth (1936).

Some of her other film credits are Kitty Foyle (1940), Out of the Fog (1941), I Married an Angel (1942), Yankee Doodle Dandy (1942), The Palm Beach Story (1942), Uncertain Glory (1944), Devotion (1946), The Fighting Kentuckian (1949), and as Madame Darville in Alfred Hitchcock's Strangers on a Train (1951). She sang the title song on camera as herself in the 1954 film The Last Time I Saw Paris (1954) and again portrayed herself in her last film appearance in the film Hot Pants Holiday (1972).

Post-acting career
Myrtil resided in New Hope, Pennsylvania during most of her later life. From 1955 to 1958 she managed The Playhouse Inn, located next door to the Bucks County Playhouse. From 1961 to 1976 she operated the New Hope restaurant Chez Odette which had later become a different restaurant under newer ownership bearing her name, Odette's Restaurant. The restaurant is currently abandoned and suffered severe damage from flooding in the mid 2000s.

During her life, Myrtil was married twice: for eight years to vaudeville performer Robert Adams and later to film director and producer Stanley Logan. She died in nearby Doylestown, Pennsylvania in 1978, aged 80.


Odette Myrtil - Wikipedia

Richard Rodgers, Composer/piano
b. Arverne, Long Island, NY, USA. d. Dec. 30, 1979, New York, NY, USA.
né: Richard Charles Rodgers. First, -part of the Rodgers and Hart team, then, -Rodgers and Hammerstein
Richard Rodgers' contributions to the musical theatre of his day were extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, and his hits ranged from the silver screens of Hollywood to the bright lights of Broadway, London and beyond. He was the recipient of countless awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. He wrote more than 900 published songs, and forty Broadway musicals.
Richard Charles Rodgers was born in New York City on June 28, 1902. His earliest professional credits, beginning in 1920, included a series of musicals for Broadway, London and Hollywood written exclusively with lyricist Lorenz Hart. In the first decade of their collaboration, Rodgers & Hart averaged two new shows every season, beginning with POOR LITTLE RITZ GIRL, and also including THE GARRICK GAIETIES (of 1925 and 1926), DEAREST ENEMY, PEGGY-ANN, A CONNECTICUT YANKEE and CHEE-CHEE. After spending the years 1931 to 1935 in Hollywood (where they wrote the scores for several feature films including LOVE ME TONIGHT starring Maurice Chevalier, HALLELUJAH, I'M A BUM starring Al Jolson and THE PHANTOM PRESIDENT starring George M. Cohan), they returned to New York to compose the score for Billy Rose's circus extravaganza, JUMBO.

A golden period followed -- golden for Rodgers & Hart, and golden for the American musical: ON YOUR TOES (1936), BABES IN ARMS (1937), I'D RATHER BE RIGHT (1937), I MARRIED AN ANGEL (1938), THE BOYS FROM SYRACUSE (1938), TOO MANY GIRLS (1939), HIGHER AND HIGHER (1940), PAL JOEY (1940), and BY JUPITER (1942). The Rodgers & Hart partnership came to an end with the death of Lorenz Hart in 1943, at the age of 48.

Earlier that year Rodgers had joined forces with lyricist and author Oscar Hammerstein II, whose work in the field of operetta throughout the '20s and '30s had been as innovative as Rodgers' own accomplishments in the field of musical comedy. OKLAHOMA! (1943), the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by CAROUSEL (1945), ALLEGRO (1947), SOUTH PACIFIC (1949), THE KING AND I (1951), ME AND JULIET (1953), PIPE DREAM (1955), FLOWER DRUM SONG (1958) and THE SOUND OF MUSIC (1959). The team wrote one movie musical, STATE FAIR (1945), and one for television, CINDERELLA. (1957). Collectively, the Rodgers & Hammerstein musicals earned 35 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and 2 Emmy Awards. In 1998 Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century and in 1999 they were jointly commemorated on a U.S. postage stamp.

Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, NO STRINGS in 1962, earned him two Tony Awards for music and lyrics, and was followed by DO I HEAR A WALTZ? (1965, lyrics by Stephen Sondheim), TWO BY TWO (1970, lyrics by Martin Charnin), REX (1976, lyrics by Sheldon Harnick) and I REMEMBER MAMA (1979, lyrics by Martin Charnin and Raymond Jessel).

NO STRINGS was not the only project for which Rodgers worked solo: as composer/lyricist he wrote the score for a 1967 television adaptation of Bernard Shaw's ANDROCLES AND THE LION for NBC; contributed songs to a 1962 remake of STATE FAIR; and to the 1965 movie version of THE SOUND OF MUSIC. He composed one ballet score (GHOST TOWN, premiered in 1939), and two television documentary scores -- VICTORY AT SEA in 1952 and THE VALIANT YEARS in 1960 (the former earning him an Emmy, a Gold Record and a commendation from the U.S. Navy.)

Richard Rodgers died at home in New York City on December 30, 1979 at the age of 77. On March 27, 1990, he was honored posthumously with Broadway's highest accolade when the 46th Street Theatre, owned and operated by the Nederlander Organization, was renamed The Richard Rodgers Theatre, home to The Richard Rodgers Gallery, a permanent exhibit in the lobby areas presented by ASCAP which honors the composer's life and works.

Songwriters Hall of Fame
Richard Rodgers - Wikipedia
Arnold Shaw, Writer
b. New York, NY, USA. d. 1989.
Author of book: "Honkers and Shouters"

Joe Smith, Trumpet
b. Ripley, OH, USA. d. 1937.
Joe came from a musical family, his father Luke Smith Sr. had led a brass band, and of his six brothers, three were professionals including Russell Smith who played first trumpet with Fletcher Henderson. Smith had played locally before relocating to New York in 1920. In 1921, he moved to Chicago, IL, joining "The Black Swan Jazz Masters" (then led by Fletcher Henderson), and accompanying singer Ethel Waters. During 1922-23, he was a part of singer Mamie Smith's Jazz Hounds. After that, he worked with "Billy Paige's Broadway Syncopators", directed a band for Noble Sissle and Eubie Blake, and backed comedian Johnny Hudgins. During most of 1925-28, Smith was a regular member of Fletcher Henderson's big band. He left Henderson, and during 1929-'30, played with Allie Ross, then McKinney's Cotton Pickers, then back to Henderson, and the Cotton Pickers.
Biography #2
Joe Smith had one of the prettiest tones and most lyrical styles of any jazz soloist in the 1920's and he was Bessie Smith's favorite sideman. Most of Smith's family played trumpet including his father Luke Smith Sr. (who led a brass band) and his six brothers; three were professionals including Russell Smith who played first trumpet with Fletcher Henderson. After working locally, Smith toured throughout the Midwest and East Coast, visiting New York for the first time in 1920. He arrived in Chicago in 1921, joining the Black Swan Jazz Masters (under the direction of Fletcher Henderson) and accompanying Ethel Waters. After a stint with Mamie Smith's Jazz Hounds (1922-23), Smith worked with Billy Paige's Broadway Syncopators, directed a band for Noble Sissle and Eubie Blake, and backed comedian Johnny Hudgins. Smith was a regular member of Fletcher Henderson's band during most of 1925-28, making many recordings (although none as a leader) with Henderson and with a variety of blues singers (in addition to Bessie Smith). After leaving Henderson, Smith played with Allie Ross, McKinney's Cotton Pickers (1929-30), had second stints with both Henderson and the Cotton Pickers and worked a bit in Kansas City. Unfortunately he became ill with tuberculosis and died at the age of 35 from paresis.
Joe "Fox" Smith: Information from Answers.com

George "Fathead" Thomas
BIRTH 28 Jun 1902
Charleston, Kanawha County, West Virginia, USA
DEATH 26 Oct 1930 (aged 28)
North Branford, New Haven County, Connecticut, USA
Spring Hill Cemetery
Charleston, Kanawha County, West Virginia, USA
~by Eugene Chadbourne
It is hard to determine just how short the career of singer George "Fathead" Thomas was, since his date of birth never seems to have been established. Nonetheless, he was gone by the end of 1930, victim of a car accident in New Haven. He left behind a legacy as an innovator in scat singing, one of the few jazz singers of his era who did not chant along in unison with the faddish Louis Armstrong imitations of the day. The majestic R&B singer Jimmy Rushing -- who almost replaced Thomas in the popular McKinney's Cotton Pickers -- can be relied on for expert testimony on this subject: "George "Fathead" Thomas...was a good ballad singer and a scat man. A lot of singers tried to copy Louis Armstrong, but not very successfully. George Thomas was one of the notable exceptions. He was the first I heard sing 'I Want a Little Girl.' He did a marvelous job on 'Baby, Won't You Please Come Home' and 'If I Could Be with You,' too."
1924-1926: Birth of a Band, Vol. 1Thomas also contributed songs of his own to the repertoire of bands and performers he was associated with. "Bedroom Blues," either restful or provocative, was recorded by both Albert Ammons and Sippie Wallace. "Show Me Missouri Blues," associated with Kansas City jazz singer Julia Lee, fit into a trend of civic-minded '20s hits but could just as well be regarded as a tragic blues by the crowd that refers to Missouri as misery. Also proficient on at least three reed instruments, Thomas hailed from West Virginia and became one of McKinney's Cotton Pickers in 1927. He was a member of the group until his death but also freelanced with some of the competition, including Duke Ellington, with whom he recorded in 1926. The Ellington sides are available on early collections such as the brilliant 1924-1926: Birth of a Band, Vol. 1.

George "Fathead" Thomas | Biography & History | AllMusic
Find A Grave Memorial 161456720
Notable Events Occurring
On This Date Include:

Jaybird Coleman, harmonica
died in Tuskegee, AL, USA. 
Age: 54
Jaybird Coleman - Wikipedia


Edgar J. Hayes, piano
died in San Bernardino, CA, USA.
Age: 77

Henry Brown, piano
died in St. Louis, MO, USA.
Age: 72.
Recorded by: Adelphi Records


Jazz Vocal Quartet the Mills Brothers, Herbert Mills, Donald Mills, John Mills, Harry Mills, 1932.
Harry Mills, leader/vocals
died in Los Angeles, CA, USA.
Age: 68.
Played with Mills Bros 

Songs Recorded/Released
On This Date Include:


"West End Blues" - Louis Armstrong & His Hot Five (recorded for OKeh 8597).

West End Blues - Wikipedia


"Bashful Baby", - Abe Lyman and His Californians Orch. 


"I Wished On The Moon", - Little Jack Little Orch.

"I'm In the Mood For Love", - Little Jack Little Orch.

"Sweet and Slow", Ted Fio Rito and His Orch.


"The Man I Love", - Teddy Wilson Orch.


"Among My Souvenirs", - Eddy Howard Orch.


"Gotta Be This Or That", - Benny Goodman Orch.


From the film "Every Night At Eight" (1935) (Dorothy Fields / Jimmy McHugh)

Lovely interlude, most romantic mood

And your attitude is right, dear
Sweetheart, you have me under a spell
Now my dream is real, that is why
I feel Such a strong appeal tonight
Somehow, all my reason takes flight, dear...

I'm in the mood for love

Simply because you're near me
Funny, but when you're near me
I'm in the mood for love

Heaven is in your eyes

Bright as the stars we're under
Oh, is it any wonder?
I'm in the mood for love

Why stop to think of whether

This little dream might fade
We've put our hearts together
Now we are one, I'm not afraid
If there's a cloud above
If it should rain, we'll let it
But, for tonight, forget it
I'm in the mood for love

Why stop to think of whether

This little dream might fade
We've put our hearts together
Now we are one, I'm not afraid
If there's a cloud above
If it should rain, we'll let it
But, for tonight, forget it
I'm in the mood for love

I'm in the Mood for Love - Wikipedia


brought to you by... 
hostgator coupon
Special Thanks To:
And all who have provided content for this site.