Showing posts with label hank williams. Show all posts
Showing posts with label hank williams. Show all posts

SEPTEMBER 17TH


BIRTHDAYS

McKinney's Cotton Pickers
1895
William "Bill" McKinney, Drums/Leader
b. Cynthiana, KY, USA
d. Oct. 14, 1969, Cynthiana, KY, USA.
Best recalled for his band -McKinney's Cotton Pickers. The band went on to better things under different Leaders, such as Don Redman who drilled the band to perfection, but always as McKinney's Cotton Pickers. Worked with: Benny Carter, James P. Johnson, Coleman Hawkins, Quentin Jackson, Hilton Jefferson, Claude Jones, Don Redman, Todd Rhodes, Tench Robinson, Rex Stewart and Fats Waller.
William McKinney is among the elite artists in black classical music to have an ensemble of immense historic importance named after him. Never mind that the image associated with McKinney's Cotton Pickers is not one that anyone is very happy about, the surname McKinney itself no doubt mingling down from some plantation owner. While this is the name forever linked with the cotton-picking band, much of the credit for quality music in the outfit's set list goes to Don Redman and Benny Carter, both acknowledged geniuses of the jazz arranging discipline. McKinney had the good sense to hire them, however, having stepped over from a combination of drummer and bandleader to management duties. He only stayed in the music business for a couple of decades, most of which was spent running bands, not playing in them.

McKinney was born in Kentucky near the end of the 19th century and served in the Army during the first World War. His earliest playing activities were as a circus drummer. Once he quit moving around to the extent that job called for, McKinney became associated with the music scene in Ohio, leading Springfield's snazzy-sounding Synco Septet. Perhaps wary of alliteration, the group changed its name to the Synco Jazz Band. This was the group that eventually evolved into McKinney's Cotton Pickers, undertaking tours that went way beyond the perimeters of typical territory bands. This band's territory was the entire United States; thus, there were periods when the group was based out of California, Kansas City, Minneapolis and so on.

Cuba Austin, a drummer and not an addition to the prior list of locales, took over McKinney's rhythmic assignment long before the sinking of "Synco" in the combo's name. In the early '30s there were several different bands touring as McKinney's Cotton Pickers--far from approving of such chaos regarding his franchise, McKinney was actually apparently chilling out during this period. In early 1935 he presented his own, supposedly legitimate version of the group at a Boston venue. Until he retired from music in the '40s he fluctuated between business managing and full-out management leadership of bands operating under his name. McKinney also ran the Cosy Cafe venue in Detroit in the late '30s. His final decade as a working man was spent in a Detroit auto factory.
~ Eugene Chadbourne, Rovi
More

1902
Adam Aston
Born: Adolf Loewinsohn
17 September 1902
Warsaw, Poland
Died: 10 January 1993 (aged 90), London, England

Other names: Adam Wiński, Adam Stanisław Lewinson, J. Kierski, Ben-Lew
Adam Aston (born Adolf Loewinsohn, 17 September 1902, Warsaw, Poland: died 10 January 1993 in London, England) was a Polish singer, actor, and pianist of Jewish origin. 

He sang in Polish, Hebrew and Yiddish and was one of the most popular artists in interwar Poland. He often worked with Henryk Wars. He also went under the names Adam Wiński, Adam Stanisław Lewinson, recorded also under names J. Kierski, Adam Winski and Ben-Lewi. He used the name Ben-Lewi when recording in Hebrew.

He debuted at the revue theater (music hall, cabaret) Morskie Oko in Warsaw. He made his first record in 1927; in 1930 he began to work with Henryk Wars at the Morskie Oko cabaret and adopted his stage name of Adam Aston.


He recorded gramophones for Syrena Rekord, Odeon, Parlophon, Columbia, and Lonora, singing as many as 900 songs between 1930-39.[1] He also appeared in two musical comedy films: Dwie Joasie and Manewry miłosne in 1935. He also sang the Polish version of Cheek to Cheek (Polish title: W siódmym niebie - "In Seventh Heaven").


In 1920, he fought in the Polish–Soviet War. After the outbreak of World War II he was evacuated to the east and performed in Lvov, which was then under Soviet occupation. In late 1941, he joined the Polish II Corps of General Anders as part of the Polska Parada cabaret. In 1944, he fought at the Battle of Monte Cassino in Italy. After the war he lived in Johannesburg, South Africa and in 1960 moved to the United Kingdom.
Adam Aston


1892
Thomas "Mutt or Papa Mutt" Carey
b. New Orleans, LA
d. Sept 3, 1948
An important New Orleans trumpeter whose best work was generally not captured on record, Mutt Carey still became an inspiration for revivalists. Born to a musical family and able in his early days to play drums, guitar, and alto, Carey switched permanently to cornet (and later trumpet) in 1912. He played in the Crescent Orchestra before joining Kid Ory's band for the first time in 1914.

Carey visited Chicago for the first time in 1917 with Lawrence Duhe's band and, after returning to New Orleans, he went to Los Angeles with Ory in 1919. They recorded two numbers as Spikes' Seven Pods of Pepper Orchestra in 1922 and accompanied a few singers. When Ory left for Chicago in 1925, Carey took over the group, which appeared in a few silent films and provided background music for a few Hollywood studios in the '20s. Carey often had a day job during the Depression, but in 1944, he rejoined Kid Ory's band and finally had further opportunities to record, both with the trombonist and (after leaving Ory in 1947) as a leader shortly before his death.
~ Scott Yanow


1923
"Hank" Williams, C&W vocals 
b.Georgiana, AL, USA. d. Jan. 1, 1953. 
né: Hiram Williams.

Hank Williams (/hæŋk wɪljəmz /; September 17, 1923 – January 1, 1953), born Hiram King Williams, was an American singer-songwriter and musician regarded as one of the most important country music artists of all time. 

Williams recorded 35 singles (five released posthumously) that would place in the Top 10 of the Billboard Country & Western Best Sellers chart, including 11 that ranked number one.

Born in Mount Olive, Butler County, Alabama, Williams moved to Georgiana, where he met Rufus Payne, a black street performer who gave him guitar lessons in exchange for meals or money. Payne had a major influence on Williams's later musical style. During this time, Williams informally changed his name to Hank, believing it to be a better name for country music. After moving to Montgomery, Williams began his career in 1937 when WSFA radio station producers hired him to perform and host a 15-minute program. He formed as backup the Drifting Cowboys band, which was managed by his mother, and dropped out of school to devote all of his time to his career.
When several of his band members were conscripted to military service during World War II, Williams had trouble with their replacements and started drinking heavily, causing WSFA to dismiss him. Williams eventually married Audrey Sheppard, who became his manager for nearly a decade. After recording "Never Again" and "Honky Tonkin'" with Sterling Records, he signed a contract with MGM Records. In 1948 he released "Move it on Over," which became a hit, and also joined the Louisiana Hayride radio program. In 1949, he released a cover of "Lovesick Blues," which carried him into the mainstream of music. After an initial rejection, Williams joined the Grand Ole Opry. He had 11 number one songs between 1948 and 1953, though he was unable to read or notate music to any significant degree. 

Among the hits he wrote were "Your Cheatin' Heart," "Hey, Good Lookin'," and "I'm So Lonesome I Could Cry."During his last years Williams's consumption of alcohol, morphine and other painkillers severely compromised his professional and personal life. He divorced his wife and was dismissed by the Grand Ole Opry due to frequent drunkenness. Williams died suddenly in the early morning hours of New Years Day in 1953 at the age of 29 from heart failure brought on by pills and alcohol. Despite his short life, Williams has had a major influence on country music. The songs he wrote and recorded have been covered by numerous artists, many of whom have also had hits with the tunes, in a range of pop, gospel, blues and rock styles.
1901
Floyd Campbell
drums/vocals
b: Sept. 17, 1901, Helena, AK, USA. 
d. Sept. 30, 1993
~by Eugene Chadbourne
Claiming to have recorded the first blues might not be as big a boast as saying one invented the wheel, but it could be considered in the same department. Once the claim by Chicago jazz musician Floyd Campbell is actually explained in more detail -- he claims to have recorded the first blues by a male singer, not the first blues of all time -- it could perhaps be even considered credible. The recording in question was a session for Okeh in 1929, at which he recorded several tracks including "Marcus St. Blues" and "The Cold Hand Blues." Campbell, who taped several long interviews for the Chicago Jazz Institute, says that classic female blues singers of the era such as Clara Smith and Bessie Smith, also confirmed that he had been the first man to record a blues song.

Campbell was a drummer and vocalist who achieved success on a local level as a jazz bandleader in the Chicago area up until the second World War. He began singing in school, but it was liquor, literally, that got him into the music business for good. His father owned a combination barbershop and pool hall in Helena, AR. Across the street was a sort of casual bar which employed a pianist and drummer to provide music. It didn't take long for the musicians to get wind of the fact that the young man across the street liked to sing, and so it became habitual to invite him over from time to time to knock out a few tunes with them.

The drummer was a fellow they called "Slick," and the chances of any further discographical research on this particular character are slim to zip (and slim just left town). Slick got too drunk to play himself one night, so the pianist asked Campbell to come over and sit in, just try to keep time, no tiny request for a novice drummer. "This happened a number of times," Campbell told the Jazz Institute, allowing him an opportunity to learn the drums while out in the field, as would be said in the army. He finally must have sounded good to the owner of the club, who offered him his own drum set and five dollars a night to play regularly. From then on, he was a professional, making the same salary Loft Jazz performers were lucky to pull down in New York City 50 years later, although none of them got a drum set for their efforts.

In the late '20s he relocated to St. Louis at the invitation of pianist Cranston Hamilton. Once again he found employment to the magic tune of five dollars a night, this time in a hotel band. Apparently at the time he performed some kind of novelty act that he described as a "humanity whistle," also claiming that it was different than the "palm whistle" gimmick other players were performing at the time. This was obviously some way of creating whistling sounds utilizing a part of the human anatomy, but since no further description has been given, readers are free to indulge in their own imagination. Whatever it was, it so impressed the hotshot local bandleader Charlie Creath that he hired Campbell away from his hotel gig. He both gigged and recorded with the Creath outfit, leading to the previously mentioned blues recordings of which he was so proud. He went to work with drummer Zutty Singleton and singer Faith Marable. He began leading his own band out of St. Louis in 1927, playing on the radio as well as regularly on riverboats. He collaborated with the great Louis Armstrong during this period.

If it wasn't for financial squabbles, this relationship might have been much more extended, as one of the riverboats that contracted Campbell were hot to have Satchmo in the band. The initial offer was 74 dollars per week for Satchmo, which shows a marked increase over five dollars a night, although it was still not to the liking of Armstrong, whose latest recordings such as "Heebie Jeebies" were beginning to cause a commotion.

Campbell offered Satchmo 100 dollars a week, top pay for a sideman back then, but it was still no go. The riverboat turned around and fired Campbell for not proposing to trim all the other players' salaries considerably, then throw the added money saved this way into the Satchmo pot until the outcome would be a total too high for the trumpeter to refuse. Campbell, however, felt this was immoral and that the 54 dollars a week the normal sidemen in the band were getting was low enough.

He went on to become involved in many battles with clubowners and other bookers as well various branches of the musicians' union during his tenure in the tough music business town of Chicago. He took over the Roberts-Campbell band initially, then began leading his Floyd Campbell Band for nearly a decade. His band included reed players Herman Barker, Oett Mallard, and Al Washington, trombonist Al Wynn, trumpeters Louis Ogletree and Louie Alahard, pianists Ruth Crowder and Billy Brown Marino, and drummers Oliver Coleman and Ellis Bartee. With the drastic changes in the music scene after the second World War, Campbell decided to toss the baton in the fireplace. He went to work for the post office, where he was honored after 25 years of service.

1906
"Blind" James Campbell, guitar
b. Nashville, TN, USA.

Among the last of a dying breed of Southern street musicians, bluesman Blind James Campbell and his Friendly Five were a staple of the Nashville musical landscape for decades. Campbell was born in Music City on September 17, 1906; although he played guitar from the age of 13, he did not pursue performing as a livelihood until the age of 30, when he was left permanently blind following an accident at the fertilizer plant where he worked. He then formed a group dubbed the Nashville Washboard Band, a loose-knit aggregation which consisted of himself on vocals and guitar, mandolin, lard can (or tub bass), and a washboard; they honed their skills not only on the streets but also at area parties, typically playing to white audiences but also sitting in at black roadhouses.

Campbell followed much the same path in the years and decades which followed, later informally rechristening the band the Friendly Five; in 1962 he was discovered by Arhoolie Records chief Chris Strachwitz, who recorded him with a backing group consisting of multi-instrumentalist Beauford Clay, trumpeter George Bell, second guitarist Bell Ray and tuba player Ralph Robinson. Unhappy with the quality of the recordings, Strachwitz returned to Nashville a year later and recorded Campbell again; the best selections were then assembled for release as the LP Blind James Campbell and His Nashville Street Band.
~ Jason Ankeny, Rovi

1902
Louis "Big Eye" Nelson, Trombone
b. New Orleans, LA, USA.
d. April, 5, 1990, New Orleans, LA, USA.
Played with: Sidney Desvigne, George Lewis, Punch Miller, Kid Rena, and Kid Thomas. Active in the New Orleans jazz scene of the 1920's, Nelson first played the alto sax before permanently switching to trombone. He played in the 'Original Tuxedo Orchestra', and for 15 years with Sidney Desvigne's big band. He was closely associated with 'Kid Thomas' Valentine (starting in 1944), and George Lewis.

In the 1960's he was still playing with the many musicians at the Preservation Hall in New Orleans. In addition to touring and recording with the "Legends of Jazz", Nelson, starting in 1964, began recording as a leader for the G.H.B., LaCroix, Nola and other small labels. An erratic trombonist, Louis Nelson would often play one great chorus, and then slip completely out of tune on the next chorus. While detractors saw little value in his playing, to his fans he could do no wrong. 
* His birthdate varies depending on the source : P

1917
Al "Dr. Horse" Pittman, vocals
b. Vinnia, GA, USA. 
Al 'Doctor Horse' Pittman

Have you heard of a horse who could talk? You have? Well, now you're about to hear of a horse who could sing and dance! And that horse was also a doctor, how about that? Al "Dr. Horse" Pittman (born in Vinnia, Orlando in 1917, died on April 28, 2004 at 85) was an elevator boy who dreamed about the career of professional dancer in New York.

In 1937 he joined a comedy-music group The Five Pork Chops led by Lucius "Doc Sausage", and drifted also into recording business. However, it took some 20 years until he cut his first solo 45s. The best-known works of this charmic artist are his two 45s recorded in 1958 for Bobby Robinson’s Fire label and a straight-blues LP made in 1962 with Sammy Price.

1918
Hubert Rostaing, Tenor Sax
b. Lyons, France
d. June 10, 1990 Paris, France.

Notable Events Occurring
On This Date Include:

1931.
RCA Victor began demonstrating a very early version of their Long-Playing (LP), 33~1/3 RPM phonograph record. 17 Years later, RCA introduced the very short-lived 45RPM phonograph record, which was soon obsolesced by Columbia Records own introduction of "their" 33~1/3 RPM phonograph record.

1951.
Jimmy Yancey, piano
died in Chicago, IL, USA.
Age: 53
James Edwards Yancey was an American boogie-woogie pianist, composer, and lyricist. One reviewer described him as "one of the pioneers of this raucous, rapid-fire, eight-to-the-bar piano style". Wikipedia
Born: February 20, 1894, Chicago, IL
Died: September 17, 1951, Chicago, IL

1959
Omer Simeon died in New York.
Omer Victor Simeon was an American jazz clarinetist. He also played soprano, alto, and baritone saxophone and bass clarinet. Wikipedia
Born: July 21, 1902, New Orleans, LA
Died: September 17, 1959, New York, NY
Albums: Clarinette à la créole (Mono Version)
Music group: Red Hot Peppers

1977.
Lou Hooper, piano
died in Charlottetown, Newfoundland, Canada.
Age: 83.
Kenny "Rudy" Trietsch, leader
(Hoosier Hot Shots)
died in Los Angeles, CA, USA.
Age: 84.

2002.
Jazz pianist Michael "Dodo" Marmarosa
died of a heart attack at age 76.


Songs Recorded/Released
On This Date Include:

Arthur Pryor's Band
  • By The Watermelon Vine
1908

Arthur Pryor's Band
  • Polka Po Wykupie
  • That Rag
1917 

Joseph Smith and his Orchestra
  • That's It
  • Umbrellas To Mend
1919


Raderman's Jazz Orchestra - Avalon


Maggie Jones - I'm a Back Bitin' Mama

Original Memphis Five
The California Ramblers
1926

Elgar's Creole Orchestra
Elgar's Creole Orchestra - When Jenny Does Her Low-Down Dance


Five Harmaniacs - Coney Island Washboard
King Oliver's Dixie Syncopators - Dead Man Blues
King Oliver's Dixie Syncopators - Someday Sweetheart

King Oliver's Jazz Band - Snag It

The Broadway Bell-Hops
  • Don't Be Angry With Me
  • Who Could Be More Wonderful Than You?
Tram - Bix and Lang
Wringin' and Twistin'

Savannah Syncopators
Someday Sweetheart
1927

Anglo-Persians (Katzman Orch.). - A Siren Dream
Frankie Trumbauer and his Orchestra

Regent Club Orchestra (Haring Orch.)
  • King For a Day
Paul Whiteman and his Orchestra
1929


Blue Steele and his Orchestra - Shadows of Love

Memphis Jug Band - What's The Matter?
1930
Abe Lyman and his Orchestra

Bubber Miley and the Mileage Makers - The Penalty of Love

1936

Guy Lombardo Royal Canadians
1937

Buster Bailey and his Rhythm Busters - Afternoon In Africa
1939

Harry James and his Orchestra
  • Willow Weep for Me
Martha Raye with Dave Rose Orchestra
  • I'll Walk Alone
  • Body and Soul
Frank Sinatra with Harry James Orchestra
  • All or Nothing At All
LYRICS:

Lyrics and music by Al Jolson and Vincent Rose
I found my love at Avalon

Beside the bay
I left my love at Avalon
And sailed away
I dream of him at Avalon
From dusk until dawn
And so I think I'll travel on
To Av-va-lon

Yes I found my love at Avalon

Beside the bay
I left my love at Avalon
And sailed away
Oh I, dream of him at Avalon
From dusk until dawn
And so I think I'll travel on
To Av...va-lon...

~Benjamin F Spikes & John C Spikes

Someday, sweetheart,
You may be sorry
For what you've done
To my poor heart;
And you may regret
Those vows that you've broken,
And the things that you did to me
That made us drift apart.
Oh, you're happy now,
And you can't see how
Those weary blues
Will ever come to you;
But as you sow,
So shall you reap, dear;
And what you reap
Will gonna make you weep,
Someday, sweetheart!
Someday, sweetheart,
Oh you're gonna be sorry, oh yes1
For what you done
To my poor heart;
And you may regret
Those vows that you've broken, oh-oh-oh-oh!
And the things that you did to me
That made us drift apart.
Oh, you're happy now,
And you can't see how
Those weary blues
Ever gonna come to you;
But as you sow-ho-ho,
So shall you reap,
And what you reap
Is gonna make you weep,
Someday!
Come on baby,
Have a heart!
Don't you tell me
That we have to part.
You know I've loved you
From the start,
You'll rue the day,
And blue is the day
You break my heart.

TubaGirlFin
brought to you by...
~confetta

SEPTEMBER 3RD

Happy Birthday 
Frank Joseph Christian

BIRTHDAYS 

1915
Kitty Carlisle (Hart), vocals
née: Catharine Conn.
Recalled mostly for her work in Broadway Musicals. Later married producer Moss Hart.
Through quirks of modern celebrity, singer Kitty Carlisle is probably most familiar to Americans as a panelist on the game show To Tell the Truth. She was a regular on the program in its original incarnation in the 1950s and '60s with host Bud Collyer, in the '70s with Garry Moore and later Joe Garagiola, in the '80s with Robin Ward, and in the early 1990s with Alex Trebek. Ancient and ghostly but still sharp, she even appeared on the John O'Hurley-hosted version in 2002, when she was 92.

Carlisle was raised in a well-to-do family. Her home is decorated with paintings by longtime friends Irving Berlin, Noel Coward, and George Gershwin. Her grandfather fought in the Civil War (for the Confederates), and Kitty Dukakis was named after Carlisle (their mothers were friends). As a young girl, Carlisle studied drama in Europe. Her first professional job was in a touring company of Rio Rita, where she played several different roles in more than 1,000 performances. 


She was a regular on Broadway from the 1930s to the 1980s, and at the Metropolitan Opera, she sang as Count Orlovsky in Die Fledermaus and in the title role in Carmen. She made occasional appearances in film, singing a selection from Verdi's Il Travatore in the Marx Brothers' A Night At the Opera. She also sang in Woody Allen's Radio Days, and had a small role in Six Degrees of Separation.
In her later years, she served two decades as chair of the New York State Council of the Arts, under four governors.

1897
Frank Joseph Christian
Cornet/tuba/violin/clarinet/Leader
b. New Orleans, LA, USA, 
d. Nov. 27, 1973. 
Brother of trombonist Emile Christian.
Frank Joseph Christian (September 3, 1887 - November 27, 1973) was an early jazz trumpeter. Frank Joseph Christian was born in the Bywater neighborhood of downtown New Orleans, Louisiana. In an interview for Tulane's Jazz Archives, he described his family ancestry as "cayudle", a Creole French term for a mutt or mongrel. His brothers Charles (1886 - 1964) and Emile Christian also worked as professional musicians. Frank showed musical versatility at a young age, and was playing trumpet, clarinet, violin, and tuba professionally by his teens. He started working with bandleader Papa Jack Laine about 1908 and became a mainstay in Laine's bands. He also worked in the bands of Tom Brown, Johnny Fischer, and led his own band.
In 1916 Frank Christian was the first choice of Alcide Nunez, Eddie Edwards, and Johnny Stein to play in a band they had been hired to bring north to Chicago. Christian initially agreed and rehearsed with the band before it left for the north, but then backed down as he had a full schedular of job offers in New Orleans and thought this less risky than leaving town. Christian was replaced by Nick LaRocca, and thus Frank Christian missed his chance to be in the Original Dixieland Jass Band which made the first jazz recordings in 1917. After hearing of the commercial success of the O.D.J.B. and other New Orleans musicians who went north, Christian went to play in Chicago with Fischer and Anton Lada. He then went to New York City in response to an offer to start a New Orleans style band to play at a Manhattan dance club called The Alamo.

Jimmy Durante's Jazz Band - According to Rust: Frank Christian, c; Frank Lhotak, tb; Achille Baquet, cl; Jimmyr Durante, p; John Hounta Stein, d.

When Christian arrived in New York, Nick LaRocca of the Original Dixieland Jass Band was concerned about competition and offered Christian $200 and a return railway ticket to go back to New Orleans; Christian turned the offer down. He formed the Original New Orleans Jazz Band with whom he recorded on cornet in 1918 and 1919. He was originally the leader of the band, but later it was agreed to turn leadership over to the band's extroverted pianist, Jimmie Durante. After Durante broke up his band Frank Christian toured on Vaudeville with Gilda Gray and played in various theater and dance bands through the 1920s. He returned home to work his later years in New Orleans, where he died.
Frank Christian (trumpeter) - Wikipedia


1891
Laddie Cliff
Born: September 3, 1891
Oxford, Oxfordshire, United Kingdom
Died: December 8, 1937 (aged 46)
London, United Kingdom
Other names: Clifford Albyn Perry
Occupation: Actor, writer, Singer
Years active: 1922–1937 (film)
Laddie Cliff (1891–1937) was a British writer, choreographer, dancer, actor, producer and director of comedy and musical theatre and film. He was noted for his versatility. His many London West End theatre appearances and films included a long association with fellow thespian Stanley Lupino. He was married to the actress Phyllis Monkman. He died in 1937 after a period of ill health.

Life and Theatrical Credits

US Vaudeville work

Laddie Cliff's US debut at New York's Colonial Theatre on Thursday 2 January 1908 was reviewed on the 4th:
"...he was suffering from hoarseness and had to cut out some of his songs. He did enough, however, to prove that he is an exceptionally clever youngster. He managed to talk and act two comic songs in a distinctly pleasing way, and as for his dancing, it completely brought down the house. He has a terpsichorean method entirely original, and almost every eccentric move he made brought a hearty laugh . . . he is certain to find plenty of appreciation in America."

The London stage


Cliff's acclaimed "extraordinary dancing" as a bespectacled comic in the London musical Three Little Widows resulted in his being engaged to choreograph André Charlot's The Wild Geese and put him on the road to stardom. He subsequently appeared in the revue Pins and Needles (1921).
As a performer, Cliff was the first to sing "Swanee" on the London stage, in Albert de Courville's London Hippodrome revue Jig-Saw! (1920), and appears on the original sheet music of the song.
Cliff subsequently became a producer and director. He choreographed George Gershwin's Primrose at the Winter Garden Theatre in 1924, working alongside George Grossmith who co-wrote the book, produced and staged the show. 

As one of the most popular performers on the London stage, his other many West End hits included

  • The Co-Optimists (1921)
  • Tip-Toes (1926) - the London production of the Gershwin musical.
  • Lady Luck (1927)
  • So This Is Love (1928)
  • Love Lies (1929)
  • The Millionaire Kid (1931)
  • Sporting Love (1934)
  • Over She Goes (1936) (a role he recreated in the film version)

Laddie Cliff had to leave the cast of Crazy Days (1937) owing to illness and was replaced by Leo Franklyn. He died later that year.
Selected filmography
  • The Card (1922)
  • The Co-Optimists (1929)
  • Sleeping Car (1933)
  • Happy (1933)
  • Over She Goes (1937)
  • Sporting Love (1937)
His acclaimed "extraordinary dancing" as a bespectacled comic in the London musical Three Little Widows resulted in his being engaged to choreograph Andre Charlot's The Wild Geese and put him on the road to stardom. He subsequently appeared in the revue Pins and Needles (1921).

Laddie Cliff

1891
Doc Cooke
b. Louisville, KY, USA
d. Dec. 25, 1958
Unlike most early Jazz musicians who called themselves Doc or Professor, Charles L. Cooke really had a doctorate degree in music from the Chicago College of Music. 

Cooke is remembered today for his stint as a conductor and musical director of th
e Orchestra at Paddy Harmon's Dreamland Ballroom from 1922 to 1927 in Chicago. His Dreamland Orchestra employed many of Chicago's top musicians, including Freddie Keppard, Jimmie Noone, Johnny St. Cyr and Luis Russell. In 1927 his engagement at the Dreamland ended and he took his orchestra to Chicago's Municipal Pier and then to the White City Ballroom.

In 1930 he moved to New York and was staff arranger at R.K.O. and Radio City Music Hall. He remained there until the early 1940s and then retired. Charles Cooke was usually billed under the name of Doc Cook.

Metro-Goldwyn-Mayer Composer Fred Fisher : News Photo
1875
Fred Fisher, Composer
b. Cologne, Germany
d. Jan. 14, 1942, New York, NY, USA.

Fred Fisher (September 3, 1875 – January 14, 1942) was a German-born American songwriter and Tin Pan Alley music publisher. 

Fisher was born as Alfred Breitenbach in Cologne. His parents were Max and Theodora Breitenbach. 

After visiting the United States in 1892, he immigrated in 1900, where he adopted the name Fred Fischer. 


He founded the Fred Fischer Music Publishing Company in 1907. During World War I he changed his surname to Fisher to make it seem less Germanic.


In 1914, Fred Fisher married Ana Fisher (née Davidovitch, later anglicized as Davis; born 1896). Their children – Daniel ("Danny"; 1920–2001), Marvin (1916–1993), and Doris (1915–2003) – also wrote songs professionally. Fisher died in Manhattan, New York and was interred at Maimonides Cemetery in Brooklyn.


In 1970, Fred Fisher was inducted into the Songwriters Hall of Fame. The Ripley's "Believe It or Not" column credited him with writing more Irish songs than anyone else.
Fred Fisher
Songwriters Hall of Fame

1914
Tom Glazer, vocals
Member: The Do-Re-Mi Children's Chorus
Thomas Zachariah "Tom" Glazer (September 2, 1914 - February 21, 2003) was an American folk singer and songwriter known primarily as a composer of ballads, including: "Because All Men Are Brothers", recorded by The Weavers and Peter, Paul and Mary, "Talking Inflation Blues", recorded by Bob Dylan, and "A Dollar Ain't A Dollar Anymore". He wrote the lyrics to the songs "Melody of Love" (1954), and "Skokian" (1954).
Clyde L. Hurley, Jr., trumpet
b. Fort Worth, TX, USA. 
d. 1963
Clyde Hurley was a trumpeter during the big band era. He was born on September 3, 1916 in Fort Worth, Texas. Scott Yanow describes Hurley as "a(n excellent) trumpeter with a fat tone and a hard-driving style." He died on August 15, 1963 in Fort Worth. Self taught, he learned to play the trumpet by playing along with Louis Armstrong records. He began his career working with territory bands. 

In 1937, Hurley joined Ben Pollack’s band. After a while with Pollack, Hurley became a studio musician in Los Angeles. Hurley was playing with Paul Whiteman at the Glen Island Casino in New York when he was asked to join Glenn Miller's band. He signed with Miller in 1938. During the time he was with Miller, Hurley was one of the key soloists. He appeared on the bands studio recordings and live performances in such venues as Carnegie Hall.  Hurley played the trumpet solo on Glenn Miller’s "In The Mood" and "Tuxedo Junction." Hurley left Miller in 1940 to work withTommy Dorsey and then joined Artie Shaw in 1941.

After his stint with Shaw, he did freelance work for the movie studios. He worked for MGM from 1944 to 1949 and for NBC from 1950 to 1955. During the late 1950s, Hurley played in Dixieland groups, recording with Matty Matlock’s Rampart Street Paraders. In 1954, he recorded live with Ralph Suttonand Edmond Hall at the Club Hangover. His studio work in the 1950s included sessions with Paul Weston. He played solo on "Memories of You" on Weston's "Solo Flight" album.
1895
Noah Lewis
vocals/harmonica
b. Henning, TN, USA, d. eb. 7, 1961
(gangrene following frostbite).
A key figure on the Memphis jug band circuit of the 1920s, singer and harpist Noah Lewis was born September 3, 1895 in Henning, Tennessee. Upon relocating to Memphis, he teamed with Gus Cannon, becoming an essential component of Cannon's Jug Stompers; the group made their debut recordings for the Paramount label in 1927, with several more sessions to follow prior to their final date in late 1930. 

On a series of sides cut in the first week of October 1929, Lewis made his debut as a name artist, cutting three blistering harmonica solos as well as "Going to Germany," which spotlighted his plaintive vocal style. 

Later recording with Yank Rachell and John Estes, as the Depression wore on Lewis slipped into obscurity, living a life of extreme poverty; his death on February 7, 1961 was a result of gangrene brought on by frostbite.
~ Jason Ankeny

1918
Jimmy Riddle
Musician
James Lawrence Riddle was an American country musician and multi-instrumentalist best known for his appearances on the country music and comedy television show Hee Haw. He was primarily known for the vocal art of eefing. Wikipedia
Born: September 3, 1918, Dyersburg, TN
Died: December 10, 1982, Nashville, 
Memphis Slim,  piano/vocals/composer 
b. Memphis, TN, USA. 
d. Feb. 24, 1988, Paris, France. 
né: John Peter Chatman. 
Memphis Slim (3 September 1915 in Memphis, Tennessee – 24 February 1988 in Paris, France) was a blues pianist and singer. Life and career His birth name was John Len Chatman, although he claimed to be have been born Peter Chatman. It is commonly believed, though, that he took the name to honor of his father, Peter Chatman Sr., when he first recorded for Okeh Records in 1940).

Although he performed under the name Memphis Slim for most of his career, he continued to publish songs under the name Peter Chatman. A prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, Memphis Slim ranks with the greatest blues pianists of all time. He Big Bill Broonzy advised him early in his career to develop a style of his own to heart instead of imitating his idol Roosevelt Sykes.  Memphis Slim took his name from Memphis, where he was born and raised. 

Memphis Slim got his start playing the blues at the Midway Café, at 357 Beale Street (southeast corner of Fourth and Beale Street's) in Memphis in 1931. After his early career in Memphis, where he emulated barrelhouse piano players like Roosevelt Sykes and Speckled Red, he moved to Chicago, Illinois and recorded for Okeh Records (as Peter Chatman & His Washboard Band) in 1940. The same year he also recorded for Bluebird Records as Memphis Slim. He played piano as Big Bill Broonzy's partner until 1944. Broonzy, also a sophisticated performer, urged him to develop his own style. This polish gave Memphis Slim opportunities not only in the juke joints he had been playing, but also in the "uptown" nightclubs.

After World War II Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label recorded the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxophonists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues).

"The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he recorded the first version of the down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, Matt Murphy, who performed "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A." He also worked with bassman Willie Dixon.In all, he recorded more than 20 albums under his own name, and appeared on many more recordings as a sideman.

Slim left the United States for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he moved permanently to Paris, where he had more recording and touring possibilities seemed limitless and he was treated with greater respect than in the United States. He remained there until his death in 1988. In the last years of his life, he teamed up with respected Jazz Drummer George Collier (George Slepyan). 

The two toured Europe together and became great friends. George died in Paris in August 1987. Slim appeared very little after George's death. Two years before his death, Memphis Slim was named a Commander in the Ordre des Arts et des Lettres by the Ministry of Culture of the Republic of France. Memphis Slim died on 24 February, 1988 in Paris at the age of 72. During his lifetime, he cut over 500 recordings and influenced blues pianists that followed him for decades.

Notable Events Occurring
On This Date Include:

1942.
Frank Sinatra bid adieu to the
Tommy Dorsey Band as he started
his solo singing career.

1948.
Harold "Doc" Bagby, organ
died in New York, NY, USA.

1960.
Thomas "Mutt" Carey, cornet
died in Elsinore, CA, USA.
Age: 57
Joseph Francis Lamb, piano
died in New York (Brooklyn), NY, USA.
1973.
Albert Nicholas, clarinet
died in BaseL, Switzerland
Age: 73.
1985.
Jo Jones
died in New York City.
 
Songs Recorded/Released
On This Date Include:

1914



Arthur Fields "Along Came Ruth" (Irving Berlin song) on Victor 17637, recorded Sept 2, 1914

1917



Original Dixieland Jass Band - At The Jass Band Ball

1918


Earl Fuller's Rector Novelty Orchestra - Russian Rag

1920



Art Hickman and his Orchestra - If A Wish Could Make It So (Introducing: "We've Got Something")

1921



Arden and Ohman - Oh Joy!

1925

Waring's Pennsylvanians
1926



Paul Whiteman and his Orchestra - In A Little Spanish Town ('Twas On A Night Like This)
LYRICS:

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