What is the recording that is played for a few seconds at the beginning of the Betty Boop cartoon of "The music goes 'round and around"? I know it extremely well but I can't think of the recording. Help! My brain is going!
I Lost My Gal From Memphis. Bubber Miley.May 16, 1930. Without You, Emaline. Bubber Miley.May 16, 1930. St. James Infirmary. King Oliver. Jan 28, 1930. When You're Smiling. King Oliver. Jan 28, 1930. How Long Has This Been Going On? OKeh Melodians.Nov 11, 1927. That's My Weakness Now.Nat Shilkret. Jun 7, 1928. Eleven Thirty Saturday Night. Fess Williams. Apr 18, 1930. Then Someone's In Love. McKinney's Cotton Pickers. Jan 31, 1930. My Gal Is Good For Nothing But Love. Duke Ellington. Apr 11, 1930. I Was Made To Love You. Duke Ellington. Apr 11, 1930. Get Out and Get Under the Moon. Frank Marvin accompanied by own ukelele. May 12, 1928..
WBIX # 212 will be uploaded on July 26, 2013.
This message has been edited by ahaim on Jun 30, 2013 5:13 AM
I LOVED this WBIX episode! I hadn't known about Frank Marvin's country-music background and his association with Gene Autry (though I've probably seen him lots of times in Autry's films without making the connection), but it's pretty obvious on some of his vocals here, especially "When You're Smiling" and "I Was Made to Love You." He was a lot better than most of the horrible white singers who got inflicted on otherwise great jazz and dance records in the late 1920's. Certainly not many white singers got to record with Black orchestras at the time, and even fewer did so without embarrassing themselves.
Judging from the personnel that are known, I suspect that the Bubber Miley band on the first two tracks was actually Luis Russell's orchestra, which did a lot of session work in New York in 1929 both under its own name and backing King Oliver, Louis Armstrong and other stars. That makes it likely that the third "unknown" trumpeter was Henry "Red" Allen, and the short open intro on "I Lost My Gal from Memphis" before Miley comes in on plunger-muted trumpet certainly sounds like Allen to me.
Also I'd happened to play the Sylvester Ahola "Rare and Personal" CD the day before I heard this episode, so the recordings of "How Long Has This Been Going On" and "Eleven-Thirty Saturday Night" on that disc were fresh in my mind when I heard these versions. This version of "How Long Has This Been Going On" is way better than the one on the Ahola disc; it's slower, less raucous and Marvin's vocal is far more pleasant and musical than Harry Hudson's. (That said, the song is pretty mediocre and probably sounds worse than it is when you inevitably compare it to the Gershwin masterpiece with the same title.) It was also amusing to hear the additional lyrics added to "Eleven-Thirty Saturday Night" to sell the song to the "race" audience, and it's a testament to the precision with which McKinney's Cotton Pickers played that they certainly don't sound Black on "Then Someone's in Love." (Most Black bands of this period more than made up in spirit, swing and drive what they lacked in precision, though some Black bandleaders like Alphonso Trent and Jimmie Lunceford drilled their players to play as precisely as those in white bands.)
Just one teeny error: Duke Ellington's bass player, Wellman Braud (who adds a lot to "My Gal Is Good for Nothing but Love," which swings a LOT harder than it would have with a tuba or brass bass) was a New Orleans Creole whose last name was originally spelled "Breaux." Therefore it should be pronounced "Bro."
For years I uploaded WBIX programs, and 99 % of the time I received no comments of substance, usually, minor remarks such as a name missing or suggestions of themes for future programs. As you came on the scene, Mark, I am under a microscope, and I tell you, it feels good. I was getting sloppy, now I am on my toes and more careful about what I present and what I say. I am grateful for all your feedback.
Breaux is a good old rural name from out in the Cajun country: Breaux Bridge is an interesting small town near Lafayette, La. It's been known for some time as "The Crawfish Capital of the World". Wikipedia says (though I never heard this when I was there) that "It is also known for its unusual listing of nicknames in its telephone directory." Does anybody know any examples?
Apart from sharing its name with Wellman B., Breaux Bridge's best jazz connection is a modern one: Branford Marsalis was born there.
..Red Nichols's 1929 version of Irving Berlin's "Say It With Music"? It features Scrappy Lambert intoning in front of an amazingly mournful trombone choir. They had tried out the arrangement several weeks before (when Teagarden, Goodman and Jimmy Dorsey were present), but it was rejected at that point. By the time it was remade, Teagarden was gone, but Glenn Miller was still buzzing away in the furry, funereal background. Jazz On Line has it here:
Red goes back to the Music Box Revue of 1921 for this interesting Berlin song. The arrangement is by Glenn Miller. A wild guess. Red was looking for a new sound. Enough of the small group chamber jazz, onward to bigger and better (?) things with Miller experimenting with his arrangements. In the notes for the Jazz Oracle Nichols 9 CD set, Sudhalter writes, "The blend on Say It With Music is a bit approximate with one of the trombones not blending with the other two." Two of the trombonists are known, Glenn Miller and Herb Taylor. The identity of the third trombonist is not known. This was recorded on Sep 9, 1929. A few months later, on Jan 24, 1930, Red had tried something similar, somber and slow, at the beginning of Sometimes I'm Happy."
Thanks for this very unusual (to say the least) record. A lot of times jazz musicians who worked in bands for which Glenn Miller arranged -- Ben Pollack's, Ray Noble's and Miller's own -- complained that his arrangements were too strict and didn't leave them enough freedom to express themselves. This surprisingly lugubrious record is a case in point. (No wonder Jack Teagarden bypassed the remake session.) I hadn't heard it before and wasn't able to listen to the "Sometimes I'm Happy" performance Albert posted a link to since my YouTube connection decided to give me only a second or two of it at a time, and then silence. That's why I usually don't bother with YouTube posts! I have a Nichols performance of "Sometimes I'm Happy" in my collection, but it's a considerably livelier and more spirited rendition from the 1920's.
The whole thing is indeed a sombre trudge through the melody, with "sometimes I'm blue" predominating. It makes me wonder (though it's a strange thought) if an attempt was being made to appeal to sufferers from the newly established Depression -- "folks are miserable, let's give them miserable (but determined) music they can empathise with." For this session it was Charlie Teagarden who dropped out of the line-up, and Glenn Miller too...
Maybe the Miller legend is true, that he was seeking that "special sound" by this time. His hotter arrangements weren't so draggy, (cf. his scoring for "Beale Street Blues" with Benny Goodman and Jack Teagarden on the vocal), but listening to that trombone harmony, I was really reminded of "Moonlight Serenade," which relies on harmonies in the reed section for its charm. Maybe the band was looking for something different and Miller took his chance to try out some ideas on this one. He might even have been thinking of the trombone quartet in Whiteman's "Sweet Sue."
I can see having this arrangement in the book on dance dates to let the dancers a rest and give the sweethearts a chance to snuggle up close and "slow dance." As a recording, it's atypical for a Nichols group.
Maybe this tune could have used a bridge into a faster tempo somewhere along the way, as in Whiteman's recording?
Does B.B. really play on Jubilee, a "modern" composition with virtually no improvising? By the same token, we know that he is absent from Hoagie's Just One Night... In neither case does the trumpet/cornet sound like him.
Jan 9, 1928 was the first recording session by Bix and Tram since they joined Whiteman. Two numbers were recorded, There'll Come a Time and Jubilee, a composition by Willard Robison. This was no longer the Bix and Tram group of Goldkette-New Yorkers days. Bix and Tram were now members of the Paul Whiteman orchestra and when recording on their own, they had to use Whiteman musicians. Thus, the band that recorded Jubilee was a bit "new" to Bix and Tram. They had Jimmy Dorsey, Chet Hazlett and Rube Crozier on reeds, Rank on Trombone, Lennie Hayton on piano, Carl Kress on guitar, Min Leibrook on bass sax and Hal McDonald on drums. This is a rather advanced composition by Willard Robison who also wrote the arrangement. As you point out, the musicians stick to the written score and there are no improvisations or written solos. It is a different Bix and Tram recording than the ones they made in 1927. The whole sensibility of the recording is new. I hear Bix in the ensemble and in particular on his own at 0:46 and 1:06.
I am glad that you brought up. It made me listen more carefully to this recording, a rather advanced and complicated arrangement that needs complete attention on the part of the listener.
This message has been edited by ahaim on Jun 26, 2013 11:55 AM
Not only is Robison's name misspelled, but take a look at the maestro of the orchestra, Franklie Trumbauer! Tram was a true-blue guy, but not serious enough about sincerity to change his first name!
I'm with you on Bix's playing that little bit at 1:06 ff. Both horns are distinguishable at 2:19, and to me it sounds like the two horn players take turns on the two little variant phrases at 2:46-48 until the trombone comes in on the third echo phrase. It certainly could be Bix at 2:36-39 as well.
This is a very interesting piece with some outstanding horn parts. Those writers who claimed that Bix couldn't navigate a complex score would have to admit that however he came by it, he played flawlessly on this one, right by the book.
This side and the flip side, "There'll Come a Time" are remarkably tight numbers, considering that this was a group who hadn't performed together for very long. These guys were pros!
My mother was a great fan of Maurice Chevalier and when I was a child in Paris in the early 1930s, she played several of his records. Here is one of my favorite.
I know now that Chevalier was accompanied by an orchestra under the direction of Leonard Joy. There is no much biographical information about Leonard Joy. I would like to learn more about him. But right now, my to-do list is enormous, and I don't have time to research him thoroughly. Just three items.
- From the Encyclopedic Discography of Victor Recordings:
I Found a Leonard W. Joy in the US Census Listings.
1900 - Leonard W. Joy, born in New Hampshire in Aug 1894; living in Claremont Village, Sullivan County, NH with mother Ida B. age 26, born in Vermont; Frank E. father, age 29, born in Mass, bookeeper; the family lives in the household of maternal grandparents.
1910 - Frank and family live in their own place; everything is the same, only everyone is 10 years older and Frank is now a newspaer reporter.
This message has been edited by ahaim on Jun 23, 2013 6:39 AM
"Ice Cold Coca Cola makes any pause.. the pause that refreshes.. and Coca Cola is everywhere."
In modern times, musical jingles have played a key role in the advertising of Coca Cola. Some of those jingles have become classics in modern advertising. While music is important in todays Coca Cola advertising, it was also important for selling Coke on radio during the golden age.
On a Wednesday evening in 1930 (exact date unknown) at 10:30 PM, the radio listeners heard the first broadcast of THE COCA COLA HOUR on NBCs Red Network. The program had an unusual combination of sports and music. Graham McNamee and Grantland Rice interviewed famous sports stars of the era, and Leonard W. Joy with his 31-piece string symphony handled the music. The program also had the rare distinction (by 1930 standards) to air from coast-to-coast.
Joy wrote the theme music for the program. It didnt have a specific name, so the music was simply called "The Coca Cola Signature." In radio terminology, "signature" meant theme song. It consisted of only a few bars and it never finished. The music faded out when the program began. Joy created the signature to serve as the programs theme music, but little did he know The Coca Cola Signature continued to be heard on radio into the 1950s.
The Coca Cola Signature served as the theme music on all radio programs sponsored by Coca Cola for the remainder of radios golden age. Not only that, the music also served another purpose--- it was in some cases, Coca Colas commercial.
As a breath of fresh air to those radio listeners who hated radio commercials, Coca Cola didnt have lengthy commercials, excitable announcers, or silly gimmicks. The commercials were brief, to the point, and presented in a professional manner. In some commercials, all was heard was The Coca Cola Signature, the opening of a bottle of Coke, and the announcer saying the program was presented by Coca Cola. That was it. Although the commercials didnt have much context, they were effective in convincing the radio listeners to open a bottle of Coke and feel refreshed.
For a piece of music that was designed to open and close THE COCA COLA HOUR, The Coca Cola Signature did its part in selling Coca Cola for over 2 decades. Its unassuming music provided the inspiration that music sells Coca Cola--- and it has to this very day.
In the late nineteenth century the definition of a Gentleman was "A man who owns a saxophone but never plays it".
In this 1930 broadcast the announcer proudly informs the listeners "It's an all string orchestra, not even a saxophone".
Now in his early thirties, Leonard Joy was born in Claremont, N. H. ... Organized and played in threepiece orchestra country square dances there... Went to Dartmouthwhere in addition to being active in musical organizations, played basketball and baseball . . . Served in Air Corps during war . . . Moved to Florida and played about in orchestras there . . . Began career in New York writing musical scores for burlesque at $100 a piece . . . Soon after recording for Victor and has been doing so ever since . . . In 1928, organized and directed unique all-string orchestra on Grantland Rice NEC program . . . Was made one of two musical directors of RCA Victor, a position he still holds . . . Now conducts orchestra on Friday night chocolate program on NBC . . . Lives with wife and year and a half old son in Glen Ridge, N. J.
Born Aug 12, 1894. Dartmouth class of 1916. While at Dartmouth he was associate editor of the Aegis and Jack o' Lantern. Middle name was Wakefield. His birth certificate gives his ethnicity as Canadian. His WWI Draft Registration Card, dated June 5, 1917, gives brown hair and blue eyes. living at 273 W 73rd Street in New York City. In 1942 he lived in Essex NJ with his wife Katherine and was employed by RCA Victor at 155 E. 24th Street, New York City.
Siegel Wright Judd was born in Leoti, Kansas, 19 June 1895. He entered Dartmouth College in 1914 and graduated in 1918. While at Dartmouth, he and classmate Gene Markey, and Leonard Joy, Class of 1916, collaborated on many Dartmouth musicals, with Judd and Joy as composers and Markey writing the book and lyrics. After graduating from Dartmouth. Judd received a law degree from the University of Michigan and practiced law in Grand Rapids. Judd was married to Dorothy Leonard and had two children. In 1931, he formed the law firm of Warner, Norcross and Judd. He died 2 September 1982, in Grand Rapids.
Gene Markey was born in Jackson, Michigan, 11 December 1895. After graduating from Dartmouth, Markey wrote novels and screenplays, was a film producer in California, and later in life was well known in thoroughbred racing circles. He was married four times, to actresses Joan Bennet, Myrna Loy and Hedi Lamar, and in 1952 to the owner of Calumet Farm, Lucille Parker Wright. Once, when there was a dispute over the winning horse in the Kentucky Derby, Markey was represented by Judd in the lawsuit, which resulted in a win for Calumet Farm. Markey died 1 May 1980 in Miami, Florida.
This message has been edited by ahaim on Jun 24, 2013 11:04 AM
Nice of Leonard Joy to remember how nervous the musicians were at Eddie Cantor's Victor session on Black Friday. It probably didn't calm them any as he recorded "Eddie Cantor's Tips on the Stock Market":
"Nowadays when a man walks into a hotel and requests a room on the nineteenth floor, the clerk asks him: 'For sleeping or for jumping?'"
All Bixophiles owe Avakian an enormous debt of gratitude. For years the four LP's of Bix reissues Avakian produced in the 1950's and 1960, the three volumes of "The Bix Beiderbecke Story" on Columbia and "The Bix Beiderbecke Legend" on RCA Victor (the last containing the first issue of the 1924 test pressing of "I Didn't Know" by Jean Goldkette with Bix), were virtually the only Bix material readily available. These LP's made many people into Bix fans, including me when I first collected them in the early 1970's.
The "Blog Supreme" interview with George Avakian contains a mistake which, since it occurs in parentheses in the text, I assume to be the author's, Felix Contreras, rather than Avakian's. It lists the 1936 "Bix Beiderbecke Memorial Album" on Victor, produced and annotated by Warren Scholl, as containing five 78 rpm records. In fact it contained six, making 12 songs in all. They were:
"Barnacle Bill, the Sailor" from the first Hoagy Carmichael session, May 21, 1930 (take 1)
"Bessie Couldn't Help It" from the second Hoagy Carmichael session, September 15, 1930 (take 2)
"Deep Down South" from the Bix Beiderbecke and His Orchestra session, September 9, 1930 (take 2)
The piano that legendary jazz musician and composer Bix Beiderbecke purchased for his apartment in Sunnyside, Queens, New York just prior to his death in August, 1931, has been located and acquired by Dr. Albert Haim. The piano, which is in excellent condition, is the only one that Bix purchased himself. Dr. Haim, professor emeritus at the State University of New York at Stony Brook, is the founder of an internet site, http://bixbeiderbecke.com and is an advisor to the Board of a proposed Bix Museum to be located at the River Music Experience in downtown Davenport, Iowa.
Dr. Haims quest for the piano, a 1931 Wurlitzer Baby Grand, began early in 2012 with the help of Christopher Barry, an Assignment Editor for ABC news radio, and a jazz historian. The search covered the route of the piano through five different owners. It was purchased by Dr. Haim from its last owner in November 2012 and is currently in storage in Long Island New York. It will be shipped to Davenport at the end of July and will be part of the 42nd annual Bix Jazz Festival, August 1 - 4.
Dr. Haim has indicated that it is his intent to loan the piano to the proposed Bix Museum at the River Music Experience. Plans are underway to raise the necessary funds for a boutique Bix Museum to be located off the Main Street entrance of the RME. Complete plans for the Museum will be announced at a later date.
A comprehensive article by Dr. Haim and Christopher Barry about Bixs piano has been accepted for publication in the Journal of Jazz Studies and will appear in the Fall 2013 issue.
I will present a seminar at the Bix Festival, Aug 1-4, 2013 in Davenport, where I will provide detailed information about Alice and Bix and about Bix's piano.
A few years ago at the New Orleans Jazz Collection Museum in the old U.S. Mint building, I saw an old upright piano that was purported to have been Beiderbecke's. I assumed it was the piano that was borrowed from Pat Ciricillo and was in the apartment at 46th and Queens Boulevard. Is this the piano you acquired or is it another one? If it's another, what is that piano in New Orleans?
Another piano: The piano I acquired is a Wurlitzer Baby Grand.
Pat Ciricillo's piano was always in the 44th Street Hotel. It was never in Sunnyside. It is now in the New Orleans Jazz Museum. I have some information about Pat's piano in my article about Bix's piano compositions.
How did Pat's piano find its way to New Orleans? From IAJRC Journal, Vol 43, No 1, March 2010.
Early in the 1970's Pat Ciricillo offered to sell his piano to record collector and Bixophile Joe Giordano for $50. Joe was interested, but had no room for the piano in his apartment in New York City. In 1978 Pat and his wife decided to move to Florida. They sold their house in Scarsdale; the closing on the house and Pat's funeral took place on the same day, May 13, 1978, Pat having died at that time from a massive heart attack. Frank and Connie Smith purchased the house and several items, including the piano. They paid $40 for the piano and $75 for a lawn mower! In the 1980's, Frank and Connie Smith offered to donate the piano to the Smithsonian, but the authorities in charge refused to accept the gift. In 1987, they donated the piano to the LouisianaStateMuseum where it is on display presently. Albert
Albert, you tracked down this piano in exemplary Dragnet style ("Just the facts, Ma'am!"), not only finding the instrument but establishing its chain of provenance.
Just one question: How did Bix fit this baby grand in his tiny apartment? I assume this is the place that ("Bixing" legend has it) was so small that Babe Ruth had to remove the door from its hinges to get in? Actually, that scans: Tiny room. Big piano. Door only slightly openable.
Couldn't be happier for you -- not only do you thoroughly revere and appreciate the piano, you'll have it available for others to do so, as I've seen the Beiderbecke family do with their inherited Bix relics (kindly sharing photos on-line, donating items to Putnam museum for viewing, etc.). This is something truly special.
I'm so glad some covetous "collector" didn't get their hands on that piano to hide away and keep off-limits.
No no, everyone, there's no one I'm hinting about or pointing at, honest -- it's just out there in the world there ARE collectors of specific icons of historical note who just might keep such a thing stashed away as their own special acquisition. Albert being a true Bixophile knows this piano will be something to share and enjoy in the proper archive.
I'm pleased to know that those with an interest in earlier music are much more generous than, let's say, many collectors of silent and early talking films in sharing their acquisitions. It might be, to some, an apples and oranges comparison, but I don't think so. Bix's last piano is just as rare as one copy of a film. Thankfully, it's not inflammable, as nitrate film is.
It was indeed serendipity for Chris Barry to identify Alice, but you took advantage of that piece of fortune with some good sleuthing and generosity in offering the piano to the Bix Collection so that we call all see and hear it.
Well, not MY good and faithful servant, obviously ,but Bix's, in so many ways.
Thank you, Albert, for your sleuthing, acquisition, expenditure and especially, your generous permanent loan of such an important artifact of Bixie's. Wow!
To have this piano displayed (in the near future) with all the other Bix artifacts in downtown Davenport will be an astronomical addition.
I can't wait to see it on display during the Bix fest this year!
My hat is off to you once again.
Kudos also to Chris Barry!
Alternate Bix takes and test pressings have been issued in one form or another over the years and been made available to record collectors around the Globe.
But I am having great difficulty in acquiring a copy of take A of "Futuristic Rhythm" discovered in 2004. This was Bix's first appearance back with Tram's Band in March 1929 in the OKeh studio after various unhappy incidents during the previous few months.
On the issued take B, Bix sounds a trifle uncertain and not quite the Bix of a year earlier, but J. P. Lion, in his Bix biography, writes "Bix sounds more confident on take A".
I'm sure there are other Forum readers who would like to hear the two versions side by side for comparison.
Thanks Albert. Having discovered Bix's music in 1954, to wait 59 years to hear for the first time a full Bix 16 + 8 solo was something of an experience for me.
And I agree with J. P. Lion . . . Bix's solo on take A is the more relaxed of the two versions.
It was my understanding that this version of "Futuristic Rhythm" -- along with an alternate take of "Raisin' the Roof," the original companion piece -- were two of the three "new" Bix discoveries on volume 5 of "Bix Restored." I burned a CD on my computer of both takes adjacent to each other and agree that Bix and Tram both played better solos on the "new" version. But the other take was probably picked for the original release because the ensembles were cleaner.
I like Take A much better, too. The second eight-bar solo doesn't have any fancy playing, which displeases some people, but Bix is showing his sense of humor in a wry take on the whole song (which is itself a sort of humorous look at "modern" music in which "a missed chord is not a discord") and the notes he plays are just right and flow seamlessly into the ensemble ending.
I hear another important difference between the two sets. In the first set (sessions from April), the band sounds very much like what we are accustomed to hear from the Molers/Five Pennies recordings. However, the accompanying orchestra in the second set (sessions from September) does not sound to me at all like Molers/Five Pennies.
Is it possible that discographies are in error, and the accompanying band is not Miff Moles band? Opinions, please. Thank you.
This message has been edited by ahaim on Jun 16, 2013 3:43 PM
John is right. That band could just as well have been any group, even fairly accomplished high schoolers. Their role is strictly accompaniment. I guess the Molers could have sounded like that, with a few string players along, but their body of work swings and these guys most certainly do not!
On Sep 1, 1927, the same day that Sophie recorded "Blue River" and "There's A Cradle in Carolina," Miff Mole's Molers recorded in the same studio "My Gal Sal," "Honolulu Blues" and "The New Twister." The musicians in the band were Red Nichols, Pee Wee Russell, Fud Livngstone, Adrian Rollini, Arthur Schutt, Dick McDonough, Eddie Lang and Vic Berton. If the band that accompanied Sophie on Sep1 was the Molers, it stands to reason that, at least, some of these musicians would be in the band. But I don't hear the sound of Miff or Red or Pee Wee or Eddie or Adrian in Sophie's recordings.
Harlan Leonard and His Rockets, a Kansas City band playing in much the same style as Count Basie, Andy Kirk and Jay McShann, did a version of "My Gal Sal" for Bluebird Records on January 11. 1940. It's a nice laid-back Kansas City swinger that updates the song without violating its spirit. It's available as a paid download on amazon.com
In Jazz Records, Brian Rust lists this as being rejected, but in fact it was issued as a private record by Victor (the Victor label says "For Private Use Only"). Rust lists the take as 1, but my copy is take 2. Being a private recording, there is no catalogue number. The band strikes me as having a rather "laid back" sound that one would normally associate with a "territory" band, though this side and the reverse (a very mundane "Roses of Picardy") were recorded at Victor's main Camden, New Jersey studio (which admittedly does not rule out a territory band!). The date of the session is October 2, 1933. No-one seems to know anything about this band. The soloists are rather good. Any ideas? I guess this is its first public performance!
I'd never heard of Johnny Rock and His Orchestra before, but this is a great record! The sound quality is powerful and luminous (a testament to what a good room the Trinity Church studio in Camden was for a big band), the ensemble work is precise but still swings, and the solos, though not brilliant, are perfectly competent "band" solos that fit well into the context of the song and add to the record's appeal. I set this up on my computer to play along with five other versions of "My Gal Sal": Tom Gerun's (which begins almost as a country record, with a scratchy violin lead, before moving into a surprisingly good Dixieland climax, not what you'd expect to hear from this band); Red Nichols' (oddly stodgy in its ensemble passages, though with some of Nichols' best and most Bixian solo work on records), Harlan Leonard's (mentioned in a previous post), Humphrey Lyttleton's (a nice live 1955 Dixieland performance from the second volume of "Best of British Jazz from the BBC Jazz Club" on the BBC's own CD label) and David Carroll's (a non-jazz easy-listening version from the 1950's Mercury sampler LP "Music to Live By").
Thanks for making this available as a Dropbox download instead of a YouTube post. Any chance of a label scan?
"Another curiosity was a 1927 musical called Lucky, by Otto Harbach, Bert Kalmar, and Harry Ruby, with a score by Jerome Kern. Ruby Keeler and Walter Catlett starred in it, and the program lists a song sung by Miss Keeler with the eyebrow-raising title The Man in the Moon Is a Coon. [Wrong title; this a song by George Cohan; the correct title is "If the Man in the Moon Was A Coon." composed by Fred Fischer, inducted in the Songwriters Hall of Fame in 1970. He also composed "Dardanella"; connection to Bix!] In later years Keeler denied singing this politically incorrect number."
This was a busy time for Whiteman. A month before the opening of Lucky, he had opened the Whiteman Club in the location of the Cinderella Ballroom. During this time, Whiteman made an electric recording of "Rhapsody in Blue," was sued by The Society for the Prevention of Cruelty to Children for having a child dancer/banjoist, Edwin "Snowball" Harris, appearing in Lucky and in the Whiteman Club and made several other recordings. Things were rough for Whiteman. Lucky closed on May 21, 1927 after only 71 performances, and three days later the Whiteman Club also closed.
Whiteman recorded two of the numbers from Lucky.
- The Same Old Moon (Harbach, Kalmar and Ruby), Apr 26, 1927. Takes 1, 3 and 4 were destroyed. Take 2 was mastered and issued in Canada, Vic 20616. - That Little Something (Jerome Kern),Apr 26, 1927. Takes 1, 2 and 4 were destroyed. Take 3 was mastered and issued in Canada, Vic 20616.
The Great Gatsby is one of the most hotly anticipated films of the year. It's no surprise then that eagle-eyed fans spotted an error the second the trailer was released. In a brightly lit Broadway sign the extremely famous 1920s show the 'Ziegfeld Follies' is misspelt as 'Zeigfeld Follies'. Its a tiny error but as they say, the devil is in the detail.
Photo by Village Roadshow May 7, 2013
This message has been edited by ahaim on Jun 10, 2013 10:18 AM
From all the previous discussion (last week, was it, or even before?) between those of you who have seen the movie, and then this example of stupid jerks who can't even do their historical research correctly for a movie, I think if someone came to our house with this Gatsby movie free on a DVD, I STILL wouldn't watch it!
This 2013 version of the Great Gatsby seems reprehensibly awful. But again, that's Hollywood -- and please folks, don't anyone come rushing up with explanations about how great these actors REALLY are, and how the directors are REALLY talented, and how we shouldn't criticize "the Business" because a bunch of coke-addled nincompoops in Los Angeles honestly believe they're doing a great job. They're not. Being barely literate is the least of their problems.
The last time I paid money to go watch a newly released movie on the big screen was when my friend Paula and I went to see the new, independent film version of Jane Eyre a couple of years ago. It was quite enjoyable -- well, let's just say the indie director was educated enough to get the historical details straight, pretty much followed the novel, and so didn't ruin it for the audience (a late afternoon matinee consisting almost entirely of middle-aged ladies like us). I haven't wanted to see a big release movie since then.
I don't know, I guess I'm an intolerant, crabby old grouch, but how much work and effort does it take to do historical research for a film when there's so much available on-line? I surely can't expect those people to read BOOKS in a LIBRARY, God forbid, so how much trouble would it have been to look up some of the cultural background on the 1920's and on F. Scott Fitzgerald by surfing websites on their laptop computers? What did these people do, punch in some quick peeks on their hand-held Blackberry and decree that extensive enough research? Obviously. And hip-hop or rap or whatever it was on the soundtrack. . . .
As I said earlier, the small amount of hip-hop on the soundtrack was the least of this film's negative elements. It didn't add anything, but it was a minor aspect. The lack of period music (two songs that I noticed, "Let's Misbehave" and "Ain't Misbehavin,'" were effective insofar as they could be heard as background sound) and the inattention to realistic historical detail (e.g., cars appropriate to 1922) were more significant.
But the worst thing about the movie to me was letting all the overblown visuals overwhelm the human story. This plotline is as old as literature--a romantic obsession that consumes the principals--but for a drama like that to work, the audience has to identify with the characters, and for me, this factor was almost totally lacking. They were like Kabuki players or Greek actors wearing masks in a play: each character had only one or two expressions and little depth or range of emotions beyond what we could read in their nutshell descriptions in a CliffNotes guide to the novel.
Honest, Glenda. I just hate being taken for a ride with this Emperor's New Clothes stuff about the current popular movies and today's film industry. Every time diCrap picks his nose everyone falls on their face worshipping him and talking about how talented he is. I agree with you he and most other actors -- uh, if you can call them that -- only have two facial expressions.
I mean, geez, back in the 1990's when they made the Titanic movie, a collosal (sp?) overwrought expenditure, the reason they were so overbudget by billions is not only because of the admittedly pretty admirable special effects, but because all of the principal actors were all so coked up all the time it was hard to coax any sort of comprehensible performance out of them. 'Nuff said. Spoiled teenybopper celebrities wasting everyone's time and money because they can get away with it.
"You can get it in any color you want--as long as it's black," Henry Ford famously said, and it is true that cars did not come in a wide range of colors until the 1950s.
But look at the colors on the cars in this street scene: lavender, yellow, brown, orange, citron!
I realize that rich guys could get their cars painted any color they liked, but as a rule they seem to have liked black or cream. I think these jellybean-colored cars are more evidence of either reckless inattention to detail or an attack of misplaced Disneyficaton.
Just what I wanted, intelligent criticism of Gatsby!
Too bad all you guys are just plain wrong!
(Sorry, just kidding.) I think that wishing for historical accuracy is just another word for nostalgia. And I think nostalgia has no place in the creative world. Sorry guys. I really don't mean to offend anyone.
Bix was, to me, above all, a child of the modern world. HIS modern world. His creations were new and fresh and on the edge. Alas, I'm worried that encountering this forum, he'd be a fish out of water. Because much of what I read here has the mood of people, in Fitzgerald's words, wanting to be "borne back ceaselessly into the past". I think that's the opposite of what motivated Bix, and what got his creative juices flowing. I have no problem at all that the movie director of the latest Gatsby had no interest in getting the artifacts accurate. In Fitzgerald's day, jazz and popular music were part of the milieu. Nowadays, the music and everything else of the day are relics. They're not our milieu. I think it's false to tell a universal, timeless story in a maze of historical relics.
My problems with Gatsby have nothing to do with the soundtrack, which I thought was appropriate, the bad cars, the worse clothes, the cartoonish nature of the zooming in from outside the solar system and the resulting sea-sickness, all of which I thought were interesting and appropriate artistic choices. I think the only problems with the film have to do with the lack of depth to Gatsby himself. Maybe the writer or director or DiCaprio himself didn't really get the character.
Anyway, thanks for the interesting discussion. Please don't excommunicate me!
Naw, Alberta, I see your point, but the thing is, new and innovative is different than tacky cheapness when things are done "just for effect."
When something new really grabs us as an artistic innovation, it's something of depth and merit, not an emperor's-new-clothes kind of situation where everyone bleats along because the people involved are "famous" and are supposed to be "artistes" (uh, think of Andy Warhol in the 1960's and 70's. Maybe some of it interested people because of the freshness of a statement being made out of the obvious, but then after awhile, surely some people had to ponder, "C'mon, how stupid does he think people are?")
But Bix liking and being inventive with the "new" music, both classical and jazz -- my word, that stuff was never junk-- far from it; it was sublime! Think of the FIRST TIME people heard Debussy, Stravinsky, Ravel. Or how far the composers Zandonai and Montemezzi departed from the traditional verismo style of the earlier 1900's, when their operas appeared in 1913 and 1914 -- it's INCREDIBLY beautiful music and still grabs listeners today. Likewise with jazz -- once people like Fletcher Henderson and Duke Ellington and Bix got ahold of already exciting jazz music and added their innovations and interpreations and compositions, it all just took off and flew, and it's honest to God pure art, no question about it.
I do, believe it or not, have an open mind about new styles in art and music -- I jumped around in punk bars when I was in college during the 1980's and thought that cacophony was terribly exciting and rebellious, and my husband has me listening to ambient music, which really is lovely. It's not a stubborn shut-the-door-on-my-mind attitude, but when someone making a movie won't pay respect to how something is historically represented accurately, and uses cartoon affects as if entertaining kids with an attention span of two seconds, it's kinda insulting to an audience. I watch new stuff all the time, looking at HBO's Boardwalk Empire on YouTube now and so forth (and not nitpicking over it; THEY do their research pretty well). There's nothing wrong with admitting to enjoying a movie other people find fault with; it's all just opinion, but some of us are just expecting a movie to be about a literary character and the times they represent to be accurately portrayed, not revved up so a bunch of high school kids (and didn't a lot of you say your kids and grandkids hated this movie too?) might "identify" with it. But a lot of you did find other things you liked about the movie, so -- enjoy.
I just never could force myself to be a Leonardo fan. Like johnny Depthless, he's just around too much.
I was beginning to think I was the only one here who liked it!
I was beginning to think I was the only one contributing to this site who liked the new movie version of "The Great Gatsby." Yes, it has its flaws; the abrupt cuts between more or less authentic 1920's music and modern-day rock and rap are jarring, the abrupt cuts within scenes are even more jarring (director Baz Luhrmann seems to think the modern movie audience can't stand looking at ANYTHING for more than three seconds without demanding a different angle), and for those of us who have steeped ourselves in the music and culture of the 1920's to be this fanatically devoted to a great musician of the period who's been dead for 82 years the anachronisms are bound to be more annoying than they would be for the ordinary moviegoer. But Luhrmann's "Gatsby" is a surprisingly entertaining and even moving film that gets better as it goes along. It's certainly much better than the 1974 Jack Clayton version with Robert Redford and Mia Farrow, which took such pains to be faithful to the letter of F. Scott Fitzgerald's novel it totally lost track of its spirit and ended up embalming "Gatsby" rather than telling it. And if you think there's a "lack of depth" to Gatsby as a character, blame F. Scott Fitzgerald, who deliberately intended Gatsby to be enigmatic, more a symbol of his age than a living, breathing human being. I'm not generally a Leonardo DiCaprio fan but I think he did a wonderful job, capturing both the romantic and the sinister aspects of Gatsby and far out-pointing Redford, who was just too nice and too uncomplicatedly heroic for the part.
Recasting a book or play into another time period is tricky! "West Side Story" is generally considered a very successful re-interpretation of "Romeo and Juliet," because, I believe, the whole thing was recast as a mid-twentieth century story. The gangs had 1950s names, the clothes were 1950s teen wear, the script dialogue was different, and it was redone as a musical, not a tragedy. What was borrowed was the universal premises of star-crossed lovers and blood feuds. It seems to me if Maria/Juliet had been dancing in the street in Renaissance gowns and the Sharks and Jets dueling with swords, it would simply have been jarring, even silly. In other words, if you're going to update, go all the way!
One problem with most of the "modernized" Shakespeare works is his fine Elizabethan language, which comes off feeling even more arcane when spoken by an actor in jeans and t-shirt. To me, the argument for using the correct period costuming, music, and props is not to please period aficionados (Who goes to see "As You Like It" to hear Renaissance songs?"), although all that might appeal to a few, but to allow the setting, music, clothes, and surroundings to fit seamlessly into the background, to blend into the primary story. If we're thinking, whoa, that car wasn't made until 1925! or hey, that song wasn't recorded by Armstrong until 1927, we are distracted from the drama itself.
I'm just saying that the director needed to give a lot more attention to getting great acting out of his trio of stars rather than engineering a lot of "sound and fury, signifying nothing." Conversely, they could have rewritten the story into a setting in, say, 2005. That could work. And they could have kept Beyoncé.
A second caveat I could have with Alberta's statement is that Bix was all about cutting edge modern. He was and he wasn't. All but a few of the Bix and His Gang recordings were of songs recorded by the ODJB or harking back to times (e.g., "Royal Garden Blues") before he became a professional musician. Considering that recorded jazz only went back to 1917, he was taking the way-back machine about as far back as it could go! True, he didn't copy the songs note for note, but they weren't done in the early swing style of other recordings made after 1926 either.
OKeh recordings unissued in the US but issued in England.
Han Enderman writes,
"As you know, more OK recordings by Armstrong, Bix & Lang were not issued in the U.S. Interesting is why they were issued outside the U.S. (U.K., Australia). At the time, hot titles were released in the U.K. in the (numbered) New Rhythm Style Series. Par R 821 has Heebie Jeebies by The Three Boswell Sisters (No. 53), recorded 3 Oct 1930, and Choo Choo by Trumbauer (No. 54), from 8 Sep 1930. For R 840 they used Lang's What Kind Of Man Is You? (No. 55), 5 Oct 1929, coupled with Armstrong's Muggles (No. 56), 7 Dec 1928. Presumably R 840 was issued early 1931 (maybe Parlophone issued one "Rhythm" record each month?). It seems UK Parlophone was searching in the OKeh/Columbia archives for interesting hot titles, and some enlightened soul wanted to hear and issue those unissued recordings."
Han kindly sends scans of some record labels issued in the UK for recordings waxed in OKeh studios in the US. Thanks, Han!
Dec 7, 1928
Oct 5, 1929
Oct 5, 1929
Sep 8, 1930
Oct 3, 1930
Note that no vocal is specified for Eddie Lang's recording of What Kind o' Man Is You. Was it customary for Parlophone to not indicate the presence of a vocal in record labels?
Bix and Tram recordings for OK unissued in the US.
- Oct 5, 1928. The Japanese Sandman. Par (English) R-2176.
If there was a vocal on the recording then "with vocal refrain" was usually stated on the Parlophone label. As for naming vocalists, no that wasn't commonly done before the early 1930s, but there's nothing unusual in that fact. Singers with dance bands (as opposed to singers "with accompaniment") didn't really gain prominence until the mid-1930s, though there are a number of exceptions (for example, Al Bowlly was often named by HMV and Decca in the early 1930s).
For some reason, especially in the USA, dance band singers in the 1920s often appeared under a pseudonym on record labels. I guess there must have been contractual reasons for this. Even the ubiquitous Irving Kaufman was sometimes cloaked by a pseudonym, for instance, the slightly sinister sounding "Vincent Van Tuyl"! And Annette Hanshaw was once labelled as "Ethel Bingham" (when Brian Rust told her about this she exclaimed "Oh no, not Ethel Bingham!"). But for the most part, "with vocal refrain" was the norm in the 1920s. The situation changed in the 1930s and was completely turned on its head after WWII, with many dance band singers becoming huge stars in their own right, with the band often relegated to a supporting role.
By the way, there are many other instances of Okeh recordings only being issued in the UK and/or mainland Europe or Australia. Several recordings by the Goofus Five and Boyd Senter spring to mind, but there are others. I get the impression that Okeh would simply ship almost everything they recorded over to Europe - by way of metal mothers - and Parlophone/Odeon would then decide what they wanted to release and then have stampers and associated labels made up.
Some of these original Parlophone/Odeon metal mothers still turn up - more frequently so than their equivalent Okeh mothers - though I haven't seen one for a few years. I bought a dozen or so from someone in Germany, but sadly, no Bix. They were in their original card covers, with the dates given for each time they were used. Some of these mothers are plain copper and some are nickel. They are two stages closer to the original wax master than a standard shellac pressing and generally have exceptional sound quality and very quiet surfaces. Metal mothers featuring Bix tend go for stratospheric prices (when they do turn up, which is very rarely!).
"Irving Terribilsky" sounds terrible enough, but the pseudonym was actually "Ivan Terribilsky"! Mind you, it was only applied when Kaufman sang the song "Katinka". This "Russian Fox Trot-sky" (I kid you not - it's described as such on the sheet music cover!) was composed by Henry Tobias and Ben Russell, and contains the lines "She would Kazotsky with me ev'ry day, but she went nutsky for that hey hey oy vey, that hotsky music just led her astray and I lost Katinka that way!"
They don't write 'em like that any more!
Incidentally, Henry Tobias went on to eventually write "I've Written A Letter To Daddy", which was sung by a New England actress who resisted being renamed Bettina Dawes when she hit Hollywood. Now Whatever Happened to her?
This message has been edited by ahaim on Jun 12, 2013 1:26 PM
From what I understand, Irving had a wacky sense of humor: the pseudonym "Ivan Terribilsky" was apparently his own idea, as was "Pierre LaFond" on the Harmony recording of "Fifty Million Frenchmen Can't Be Wrong". A terrific side, by the way, with a full chorus on clarinet by IZZY FRIEDMAN! And here it is (from "Zorch's Inner Sanctum" web page):
(quoting Zorch): "The vocal on Frenchmen was credited to "Pierre LaFond," but it was our old friend Irving Kaufman. I rather like the opening quote of Gounod's Funeral March For a Marionette (the theme from Alfred Hitchcock Presents) at the beginning of Elephant."
Nick writes, "Have you noticed that after Irving Kaufman says "Oh! la la, ze Jazz clarinet" in Joe Candullo's "Fifty Million Frenchmen Can't Be Wrong" then the band basically turns the song into Tiger Rag! There are a couple of phrases in the trumpet player's solo that remind me of Bix's solo on The Wolverines version of Tiger Rag, as well as Red Nichols' and Chelsea Quealey's version of the famous solo (California Ramblers' / University Six). In particular, the opening phrase at the start the second part of his solo (after Kaufman's strange interjection!) is similar to the start of Bix's, Nichols' and Quealey's solo. Attached is the phrase, with Bix first, then Quealey, then Nichols, then the mystery trumpeter on the Candullo side."
Thanks, Nick. Excellent observation. Here is the mp3 file created by Nick.
I recall this was discussed here several years ago. I can't remember exactly when, but I do recall posting in response to a similar question from Albert Haim that I had counted the list given for IK in Allan Sutton's book 'Pseudonyms on American Records, 1892-1942' (2nd ed. 2005 - a new edition is now out, I believe) and that it came to around a hundred. His brother Jack had quite a few as well.
He writes, "I came across your Bix Beiderbecke website researching a couple photos I recently acquired. One is a studio portrait of a trumpet player from the 1920's and has a Chicago studio stamped in the lower right corner. I'm thinking it could be Bix." The correspondent solicits opinions.
I don't think it is Bix from his appearance and posture. Moreover, the unknown musician is holding a trumpet, not a cornet.
The correspondent would be grateful for opinions of forum contributors. Please, chime in. Thanks.
The person in the photo has a diffent nose, is stockier, and his head shape is also different than Bix's. The gent in the photo looks to be in his 30's or later. The big no fit" is he's posing with a trumpet not a cornet. At first glance I did a mild double take, but I'm afraid that isn't Bix though it would be great to uncover a new photo of him.
The last song in the program is I Wanna Be Loved By You by the Green Bothers Novelty Band, recorded on Sep 21, 1928, composed by Herbert Rothart, Harry Ruby and Bert Kalmar for the Broadway musical "Good Boy." The show ran in Hammerstein's Theatre from Sep 5, 1928 to Apr 13, 1929. Helen Kane recorded the song and had a big hit with it.
Please listen to the Green Brothers version of I Wanna Be Loved By You, the last song in the program at ca 58:00. I love the song and the interpretation. The roster of musicians is not listed in Rust. I think the trumpet player is Earl Oliver. Other opinions? Who is the excellent sax player at 1:00:19?
.... Matty Malneck and Gus Kahn. The premiere of the song took place on Oct 30, 1931 during the Allied Paint radio program. Here is the announcement in the Centralia Daily Chronicle of October 30, 1931.
It is a very nice song recorded by PW on Oct 1, 1931, vocal by the Romancers (their first), the replacement of the Sweet Trio. The Romancers were Bill Sickler, Jack Fulton and Craig Leitch. The arrangement is by Matty Malneck. Listen
It's a nice array, but thirteen rows down, there's a trumpeter (with the strict center-parted hair) who's not Bix, but another member of the Lake Forest Academy Orchestra. We hear about one or two of these guys (Cy Welge etc), but did any others have memories of how Bix played, and how he was? A trumpet player's views would have been especially interesting to hear.
Ah, the sorrows of not being on Facebook. Those album pictures would have been delightful in my Bix scrapbook (doesn't that sound teenybopper? But I do keep a scrapbook on Bix, one on Fletcher Henderson, Bessie Smith, Louis Armstrong, and other prominent black American jazz artists of the 1920's-30's, and specific scrapbooks on all aspects of 1920's culture).
However, the darn thing doesn't print out anything but blank pages, tant pis.
The Paul Whiteman Orchestra is listed as part of the cast. So is W. C. Fields. Two of the songs in the show were I'll Build A Stairway to Paradise and I Found A Four-Leaf Clover, recorded by Paul Whiteman on Sep 1, 1922. This was the first collaboration of Whiteman and Gershwin. Less than two years later they would make history at the Aeolian Hall with the premiere of Rhapsody in Blue.
The Paul Whiteman Orchestra and Paul Whiteman himself are listed as part of the cast. So is Fanny Brice.
According to http://www.playbill.com/reference/theatre_info/2176.html, "The 1923 Follies was considered one of the weakest by the critics, but, surprisingly, it ran for 333 performances. (Tallies of the performance totals for Follies editions vary.) Perhaps the fact that Paul Whiteman and His Orchestra were in the pit hyped its popularity.
The PW Orchestra recorded a few of the songs in the show.
Jazz at Lincoln Center Proudly Inducts Art Blakey, Lionel Hampton, and Clark Terry into the Nesuhi Ertegun Jazz Hall of Fame
On the occasion of Jazz Appreciation Month, Jazz at Lincoln Center (JALC) announces Art Blakey, Lionel Hampton, and Clark Terry as the 2013 inductees into the Nesuhi Ertegun Jazz Hall of Fame (NEJHF). After gaining the majority popular vote cast by jazz fans around the world between March 6 and March 31, JALC will induct the newest NEJHF class on June 4, 2013, in a private induction ceremony at Dizzy's Club Coca-Cola, at JALCs home, Frederick P. Rose Hall. Viewers can tune in via live webcast at jalc.org/live.
ABOUT THE INDUCTEES
Modern jazz drumming would not exist without Art Blakey. A masterful musician whose powerful grooves could first be heard driving the bands of Mary Lou Williams and Fletcher Henderson, then later ushering in the birth of bebop, and ultimately driving the rise of hard bop, Blakey remained an influential artist and a musical mentor throughout his career. From its origins in 1955, Blakeys now-legendary ensemble The Jazz Messengers proved a vital training ground for a veritable Whos Who of modern jazz. Indeed, artists as diverse as Wayne Shorter, Bobby Timmons, Freddie Hubbard, Stanley Clarke, Wynton Marsalis, and Kenny Garrett, and many more were counted among its ranks. No drummer swung harder and no drummer could build more momentum and excitement like Blakey could. It is our honor and pleasure to welcome Art Blakey as a 2013 inductee into the Nesuhi Ertegun Jazz Hall of Fame.
Art Blakey was a man of great integrity. He constructed an original drum style that encompassed the strongest points of big band drumming, the modern style developed by Max Roach, and the style of the future in which the drummer is the chief orchestrator of the band. Art was one of the pillars of jazz during the fallow period after the 1960s, when the survival of the music depended on a few true believers. He was the strongest of those who believed in the music. - Wynton Marsalis
A 1936 meeting with Benny Goodman helped rocket Lionel Hampton to international jazz fame. Joining one of jazzs most extraordinary ensembles, Hampton saw his star rise through his many performances with Goodman, most famously at Carnegie Hall in 1938. Additionally, Hampton came into his own as a leader through a variety of recording dates, ultimately inspiring him to launch his own orchestra, which scored a crucial popular hit in 1942 as Illinois Jacquets massive tenor sound swung through Flying Home. Throughout the ensuing decades, Hampton became a beloved master of swing and of rhythm and blues, and his bands helped nurture some of the days most extraordinary young talents, including Dizzy Gillespie, Charles Mingus, Wes Montgomery, and many more. Lionel Hampton pioneered jazz vibraphone and delivered some of the most lively, swinging, and memorable music of jazz. We are thrilled to induct him into the 2013 class of the Nesuhi Ertegun Jazz Hall of Fame.
Boundless energy and a love to play, Hamp was a man of endless creativity and the ability to play and solo. I remember a jam session with Lionel Hampton at the Iridium Jazz Club, it was filled with younger musicians and people of all ages. Hamp came in and was so inspired by the music, he started playing piano with two fingers at 1 oclock in the morning. The axiom of Why does someone do something? Because they can, thats what Hamp was about. He was touched by the hand of God. Drums, vibes, some of the greatest solos in jazz were played by him. Wynton Marsalis
An ebullient master of trumpet and flugelhorn, Clark Terry first rose to prominence in the St. Louis area, where he served as an early inspiration to a young Miles Davis. Later joining the groups of such luminaries as Charlie Barnet, Count Basie, and most notably Duke Ellington, Terry ultimately became one of jazzs most prolific and respected recording artists, performing on more than 900 sessions. Terry also broke through color barriers, becoming NBCs first African-American staff musician, and serving for 10 years as a band member on The Tonight Show. In addition to his extraordinary artistry, Terry is beloved for his innumerable contributions to music education. Following the inspiration of his friend, Dr. Billy Taylor, Terry embarked on a series of large-scale education initiatives, even in the midst of his hectic performance schedule. Clark Terry is truly one of jazzs living legends, and we are delighted to welcome him as a 2013 inductee into the Nesuhi Ertegun Jazz Hall of Fame.
Clark Terry is a phenomenal musician, a trumpeter without equal: self-taught, purely original technique. He has inspired so many trumpet players, from Miles Davis to Ryan Kisor. A master of trick trumpet techniques, playing trumpet with the left hand, playing two trumpets at once. Clark played in Count Basies band and Duke Ellingtons orchestra and created a unique style. He could play all the plunger mutes in an original fashion, and he was a scat singer without equal. With wit and humor, he was instrumental in keeping the music going in the down period of the 1970s and 1980s, forming a big band and traveling up and down the country inspiring the young musicians who wanted to play during that time. He always took his time to talk, teach, and give musicians inspiration. - Wynton Marsalis
Below are the criteria to earn a Nesuhi Ertegun Jazz Hall of Fame nomination. 1) Achieved innovation of a style or concept of playing. 2) Created an original concept with a body of music or body of arrangements. 3) Spoke/speaks across generations, unbound to his or her generations of style or concept. 4) Originated a definitive style. 5) Popularized a style without compromising the aesthetic quality of the music. 6) Occupies a significant position within the jazz lineage. 7) Influenced musicians across time.
The NEJHF honors legendary artists or members of the jazz community based on his or her singular dedication and outstanding contribution to jazz. To date, Jazz at Lincoln Center has inducted 41 members into the NEJHF and will continue to induct new members annually. These inductees are nominated by a committee of select musicians and scholars and voted in by an international public vote open to jazz fans around the world. This years nominating committee includes Ed Berger, Bill Charlap, Connie Crothers, Stanley Crouch, Jon Faddis, Vince Giordano, Wynton Marsalis, Dianne Reeves, Phil Schaap, Loren Schoenberg, and Spike Wilner.
Past NEJHF Inductees by year: Louis Armstrong (Inducted 2004) Sidney Bechet (Inducted 2004) Bix Beiderbecke (Inducted 2004) John Coltrane (Inducted 2004) Miles Davis (Inducted 2004) Duke Ellington (Inducted 2004) Dizzy Gillespie (Inducted 2004) Coleman Hawkins (Inducted 2004) Billie Holiday (Inducted 2004) Thelonious Monk (Inducted 2004) Jelly Roll Morton (Inducted 2004) Charlie Parker (Inducted 2004) Art Tatum (Inducted 2004) Lester Young (Inducted 2004)
Count Basie (Inducted 2005) Roy Eldridge (Inducted 2005) Ella Fitzgerald (Inducted 2005) Benny Goodman (Inducted 2005) Earl Hines (Inducted 2005) Johnny Hodges (Inducted 2005) Jo Jones (Inducted 2005) Charles Mingus (Inducted 2005) King Oliver (Inducted 2005) Max Roach (Inducted 2005) Sonny Rollins (Inducted 2005) Fats Waller (Inducted 2005)
Clifford Brown (Inducted 2007) Benny Carter (Inducted 2007) Charlie Christian (Inducted 2007) Django Reinhardt (Inducted 2007)
Ornette Coleman (Inducted 2008) Gil Evans (Inducted 2008) Bessie Smith (Inducted 2008) Mary Lou Williams (Inducted 2008)
Bill Evans (Inducted 2010) Bud Powell (Inducted 2010) Billy Strayhorn (Inducted 2010) Sarah Vaughan (Inducted 2010)
Art Blakey (Inducted 2013) Lionel Hampton (Inducted 2013) Clark Terry (Inducted 2013)
What happened to 2009, 2011 and 2012?
PS The 10 nominees this year, chosen by a panel of jazz experts (one of them was Vince Giordano), were Jimmie Blanton, James P. Johnson, Lionel Hampton, Teddy Wilson, Kenny Clarke, Art Blakey, Roy Haynes, Don Redman, Clark Terry and Ben Webster. Voters chose up to four artists and nominees receiving 75 percent of the vote or more were inducted.
I had no idea! I've loved Mildred Bailey's singing for years -- it would be hard to find a later woman jazz singer, Black or white, who wasn't influenced by her -- but Julia Keefe's article gave me a fascinating new perspective on her.
Most references give Feb 27, 1907. For example, Wikipedia, Whos Who of Jazz by John Chilton, answers.com. allmusic.com, Encyclopedia Britannica, etc.
Grove music online has two entries for Mildred: in one, her birth date is given as Feb 27, 1907, in the other Feb 27, 1903. The NPR music website gives 1903.
All of the above is wrong. Mildred Bailey was born in Feb 1900. The documented evidence comes for US Census data.
1900 US Census
Enumerated Jun 1, 1900.
It can be seen that Mildred's name is misspelled as Millard and that she is 3 months old.
The 1910 US Census for the same location gives the following.
It can be seen that Mildred (spelled correctly) is 10 years old and that her brother Alton (better known as Al Rinker, a member of the Whiteman Rhythm Boys) is 3 years old.
Clearly, Mildred Bailey (nee Rinker) was born on Feb 27, 1900, not 1907 as commonly reported. I will go to the public library tomorrow and try to find information about her marriage to Ted Bailey (and whatever else I can find)
I wonder what The Complete Columbia Recordings of Mildred Bailey (Mosaic) tells about her birth date. Anyone has the set?
This message has been edited by ahaim on Jun 5, 2013 4:00 PM This message has been edited by ahaim on Jun 5, 2013 12:35 PM
As part of a broader effort to harness the Internet to engage more jazz fans, Jazz at Lincoln Center is inviting the general public to vote online for the 2013 inductees to the Nesuhi Ertegun Jazz Hall of Fame.
In the past, the inductees have been chosen by a panel of 72 critics and musicians. Thirty-five musicians most of them giants like Louis Armstrong and Duke Ellington have been given a spot in the hall since it was established in 2004.
This year, however, Jazz at Lincoln Center is asking fans to vote for their favorite artists from a list of 10 nominees chosen by a panel of experts, among them the institutions managing and artistic director Wynton Marsalis, the critic Stanley Crouch, the radio host Phil Schaap and the bandleader Vince Giordano.
The votes will be cast on the nonprofit jazz organizations Web site, with each person who registers an e-mail address choosing up to four artists. Only nominees who receive at least three-quarters of the vote will be honored, up to a maximum of four inductees. If no one gets 75 percent of the vote, the top vote-getter will be inducted.
The voting will provide another method for Jazz at Lincoln Center to collect the names and e-mail addresses of jazz fans, who might later be informed of concerts or solicited for donations, officials said.
It is one of several steps the the executive director, Greg Scholl, has taken since last year to build an online community of jazz fans to support the organization, harnessing social media and the Web site. To that end, Mr. Scholl has begun to stream many Jazz at Lincoln Center concerts and allowed them to be viewed free online. He also has plans to make the groups vast library of past concerts available through the Web site.
The nominees this year are the drummer Art Blakey, the bassist Jimmie Blanton, the drummer Kenny Clarke, the vibraphonist Lionel Hampton, the drummer Roy Haynes, the pianist James P. Johnson, the bandleader Don Redman, the trumpeter Clark Terry, the tenor saxophonist Ben Webster and the pianist Teddy Wilson. Voting closes at noon on March 31 and the inductees will be announced on April 2.
Get a load of the Hawkins-Hampton duet with Benny Carter coming in towards the end of the duet! Interesting version. Echoes of Bix and Tram in the first 50 seconds?
Take a look at the Argentinian issue of this recording.
Weird! Lionel Hampton is said to play "arpa" which is "harp" in Spanish. The translation of "vibraphone" into Spanish is "vibráfono." Another weird thing: the composers are given as Lewis, Young, Conrad, Robison, although no vocal is included in the recording. To clarify this, see http://www.network54.com/Forum/27140/message/1211659171
I sent Norman a link to David's posting. Here is his response:
I read the posts with great interest. Please convey to David Tenner my congratulations on spotting this Tram emulation. He's absolutely right, IMHO. Yet the thing is, I've known that King Oliver record since I was a kid, but the 'penny never dropped' that it was a Tram emulation. Thank heavens, there is always something new to be discovered, something new to be learned!
My old web-page to which you linked, with the extracts from the Ben Bernie & Earl Burtnett west coast Brunswick Tram Emulators has long since evaporated; so I quickly re-made it, and made the audio samples sound bettter & upoaded it to my current website. If you wish to give a link to it on your site, it may be found at:
I was not the first to notice the resemblance. See Charles Fox in *Essential Jazz Records, vol. 1* who refers to "the often underrated Paque, who in Sweet like this sounds remarkably like Frankie Trumbauer, an illustration of how black and white styles were already overlapping." http://books.google.com/books?id=imfYS0V5aF4C&pg=PA179
I have been helping a young man from North High School, on a statewide history contest, he has won state in Des Moines, Iowa. He will leave on June 9th for National History Day competition at the University of Maryland. the title of his display is "Bix Beiderbecke: Influencing Jazz Music and Turning America's Pop Culture". Randy Sandke, has also helped him with some question I could not answer. Ansel will have his display at the Bix Festival. It is outstanding. He has a wonderful music teacher, Gene Gast. As most of you know Gene has Bix's horn given to him by Bernie, (when he was a young boy pulling weeds at Oakdale. Good Luck Ansel