3 – JAZZ

"Jazz came to America 300 years ago in chains."

Paul Whiteman

Louis Armstrong once stated that if you had to ask what jazz was, you'd already missed the point. He also said that expecting a jazz musician to play a piece the same way twice was like tapping a nightingale on the shoulder and asking, "What was that again dickie bird?" - the point being that good jazz was an on-the-spot, spontaneous improvisational music which could not be achieved the exact same way twice.

Jazz was the inevitable outgrowth of the social and musical interactions between blacks and whites. One of the key factors in the birth of jazz was once again the emergence of the Creoles who carried with them the knowledge of European studied music and the rhythm and basic feel of traditional African music.

In the late 19th century, most of the basic elements of what would later be termed jazz existed in the music played by blacks in New Orleans and much of Louisiana. Jazz was born in New Orleans, the most cosmopolitan city in North America at the time, where there was a mania for marching bands. From the French derived military bands of Louisiana, jazz bands took the combination of trombone, cornet, tuba, clarinet and drums and added the most common black derived instrument - the banjo. One must take into consideration that jazz began essentially as an outdoor music form, gradually moving indoors to the saloons and occasionally, houses of prostitution. There, the piano and a full drum kit were added to create a stationary ensemble. Jazz had also been influenced by several earlier black music forms including the work song, the blues, gospel and ragtime.

Considering that jazz originated in the streets, often played from the cemetery as the final stage of a funeral procession, it is certainly not difficult to understand that it was based on a classical march form patterned after those played by The John Philip Sousa Band, fused with African rhythms and incorporating blue or bent notes and unending improvisation and embellishment.

The term jazz has often been traced back to an early negro slang word for copulation. Several music historians state that it is derivative of the slang word, "jazzbelle" or Jezebel meaning prostitute. However, some of the older musicians claimed that it was simply a corruption of "Chas" (Charles), named after some long forgotten originator of the music. Some said that it was nicknamed "jass" because of the jasmine perfume worn by the prostitutes in Storyville. Whatever its origins, the term was not really in common use until around 1910. On March 6, 1913, The San Francisco Bulletin published a featured article legitimizing the new music called jazz and white New Orleans trumpeter Tom Brown introduced the term in Chicago by 1915.

THE BASIC STRUCTURE OF NEW ORLEANS STYLE JAZZ

Jazz was not a style of composition but a style of performance. As it was heard in New Orleans at the end of World War One, jazz consisted of any melody executed by 2 or more musical voices improvising collectively in 2/4 or 4/4 time that was syncopated.

FRONT LINE

• CORNET or TRUMPET Calls the tunes with improvisation.
• TROMBONE Supports the melody with short effective phrases.
• CLARINET Improvises on the chords and intertwines between the cornet/trombone conversation.

RHYTHM SECTION

• PIANO Marks the strong beat, playing in octaves with the left hand and the weaker riffs with the right hand.
• TUBA or BASS Plays the same strong beats as the piano left hand.
• BANJO or GUITAR Plays 4/4 accompaniment.
• DRUMS Accentuates every other beat in syncopation.

THE BASIC STRUCTURE OF A JAZZ PIECE

1. The entire ensemble plays the melody through once.
2. An open section using the chords of the melody allows the front line to improvise freely.
3. The entire ensemble plays the melody through full throttle usually with 1 or 2 instruments improvising.

STORYVILLE

On Jan. 1, 1898, New Orleans' notorious Storyville district was created. Named after alderman Sidney Story, it had originally been an urban planning project designed specifically to eliminate wide spread prostitution. However, to Story's chagrin, numerous bordellos and gambling houses flourished. It actually became the only U.S. experiment in legalized prostitution and some say music was often used as a ploy to lure patrons off the street and into the colourful establishments.

It has often been debated whether Storyville really was the exact birthplace of jazz or just merely a romantic myth. Yet from all accounts, New Orleans proper seemed to be the mecca for black musicians in the early part of the century. Being a port city with its exceptional mixture of peoples, New Orleans provided any number of influences on the music.

Most experts do agree that jazz combos rarely entertained in the brothels since it is documented that establishments featured only solo pianists. Yet, jazz musicians did congregate in the many bars and dives although musical performances generally occurred at dances, parks, variety theatres and other social gatherings.

In the late 19th century, a naval base had been established in New Orleans but by the beginning of World War Two, America quickly developed a conscience and in 1917, Storyville was closed down by the Secretary Of The Navy. The music was banned, blamed for its bad influence on local morals. Consequently, black music on the whole was deemed offensive and much too suggestive for white ears.

THE COMMERCIALIZATION OF JAZZ

Several events and factors contributed to jazz becoming popular with mainstream America. In 1915, a white ensemble calling itself The Original Dixieland Band added the word jazz to its name and several other Chicago area bands followed suit. In June of 1917, The Original Dixieland Jazz Band's recording of "Livery Stable Blues" went to #4 nationally. Although the group was defunct by 1926, it had created an interest in jazz and had helped spread the word. Actually, in 1916, cornetist Freddie Keppard (1889 - 1933) was the first jazzman ever offered a recording contract by Victor. He turned it down, fearing his material might be stolen. During the teens, a new craze for ridiculous animal dances such as the turkey trot and the grizzly bear also helped promote jazz.

During World War One, blacks living in Harlem requested that the governor of New York give them their own regiment - The 15th Infantry Regiment. Their regimental band was led by James Reese Europe who had already begun to incorporate jazz elements into his music. When they arrived in France, their new jazz oriented music became a smash, especially Europe's signature piece, W. C. Handy's "The Memphis Blues." Unfortunately, on May 9, 1919, Europe bled to death after being stabbed by one of his drummers, ending the career of one of the great ragtime/jazz pioneers.

At the end of World War One, many black musicians migrated north to the bigger centres like Memphis and Kansas City. However, the eventual destination and mecca for jazz was Chicago. The many itinerant musicians were often labelled loafers by whites, yet they became heroes in the black community, representing freedom and independence. The great majority of whites were ignorant of the new black music styles. They either didn't want to know about it or if they did, they considered it vulgar. Originally, it was treated as a novelty of sorts, something white elitists went slumming to hear. Later, the jazz connoisseur was born. Music aficionados followed their favourite artists, visiting ghetto joints regularly to hear the new exciting sounds.

THE TWO MAJOR TYPES OF EARLY JAZZ

HOT JAZZ

• Basically, born in New Orleans and flourishing in Chicago.
• Loose in style - free form.
• 25% ensemble - 75% improvisational. Not notated.
• Non commercial.
• More aggressive and gruffer than commercialized jazz.

SWEET JAZZ

• Originating mostly out of New York City.
• The musicians were musically trained whites. Structured with limited improvisation.
• Notated orchestrated arrangements.
• Commercial.

THE GIANTS OF NEW ORLEANS STYLE JAZZ

CHARLES "BUDDY" BOLDEN

• Charles Joseph Bolden (Sept. 6, 1877 - Nov. 4, 1931)
• Cornetist born in New Orleans, Louisiana.
• A barber by trade, some say he ran a newspaper.
• The first musician celebrated for playing jazz.
• In the 1890's, organized his own band in Storyville.
• 1895-1905 - His 7 piece unit pioneered a distinctive mixture of lowdown blues, ragtime and dance rhythms which from all accounts seems to be one of the earliest strains of what later would come to be known as traditional New Orleans style jazz.
• Kid Ory once stated that Bolden had the loudest, fattest cornet sound in New Orleans. It was said that his playing could be heard several miles away.
• Nicknamed "King Bolden" and often called "The Father Of Jazz."
• Bolden could read music yet his band played from memory.
• Several pieces associated with Bolden were "Careless Love," "Idaho Rag" and "Make A Pallet On The Floor."
• A heavy drinker, he was afraid of anyone stealing his art.
• 1906 - Experienced the onset of dementia and was later arrested for insanity.
• Spring, 1907 - He was committed to The State Asylum in Jackson, Louisiana where he remained until his death in 1931.
• Sadly, he was never recorded.

KID ORY

• Edward Ory (Dec. 25, 1886 - Jan. 23, 1973)
• Trombonist/banjoist/composer/bandleader born in La Place, Louisiana.
• Self taught.
• 1907 - Came to New Orleans and joined Buddy Bolden's band.
• 1910 - Formed his own band.
• 1912-1919 - He led New Orleans' hottest band, at times including King Oliver, Jimmie Noone, Louis Armstrong and Sidney Bechet.
• Often called a "tailgate" trombonist, his huff and puff style was mainly supportive of other instruments.
• Ory was the composer of the classic "Muskrat Ramble."
• 1917 - He discovered 17 year old cornetist Louis Armstrong who replaced King Oliver in his band.
• 1919 - Moved to California for medical reasons.
• Formed a band with clarinetist Wade Whaley and cornetist Mutt Carey. In 1922, they made their first recordings for Sunshine, considered to be the first jazz records made by a black band.
• 1925 - Went to Chicago to record with Louis Armstrong and Jelly Roll Morton.
• 1933-1942 - Left music for chicken farming.
• Played with Barney Bigard's band.
• 1944 - Formed an orchestra to play on Orson Welles' radio series.
• Film appearances include "New Orleans"(1947), "Crossfire"(1947) and "The Benny Goodman Story"(1955).
• Performed at his own club in San Francisco until 1961.
• 1964 - Retired.
• Jan. 23, 1973 - Died in Honolulu, Hawaii.

KING OLIVER

• Joseph Oliver (May 11, 1885 - April 8, 1938)
• Trumpeter/cornetist/trombonist/composer/bandleader born in New Orleans, Louisiana.
• Blind in one eye since childhood.
• A powerful cornetist and showman, famous for his trademark bowler hat.
• 1914 - Joined forces with Kid Ory. It is said that Ory bestowed the title "King" on him.
• Oliver was the king of the New Orleans cornetists at the end of World War One.
• Louis Armstrong, who called him "Papa Joe" learned much of his craft from Oliver.
• 1918 - Took his band to Chicago, later summoning Armstrong to join him in 1922. They made music history by becoming one of the first black jazz bands to make successful commercial recordings.
• April, 1923 - King Oliver's Creole Jazz Band's first recording session for the Gennett Company in Richmond, Indiana. At the time, the band included trombonist Honore Dutrey, bassist Bill Johnson, clarinetist Johnny Dobbs (1892 - 1940) and his brother, drummer Baby Dobbs (1898 - 1959).
• Oliver composed the classic "West End Blues" later popularized by Louis Armstrong.
• 1924 - Armstrong left the band.
• 1927 - Oliver took his band to New York City where he foolishly turned down an offer to become the house band at The Cotton Club.
• His powers as a trumpeter faded due to a chronic gum condition.
• His career took a nosedive during the Depression and by the mid 1930's, he was running a fruit stand in Savannah, Georgia.
• April 8, 1938 - Died in Savannah, Georgia of a cerebral hemorrhage.
• Hits include "Sweet Lovin' Man"(June, 1923), "Dipper Mouth Blues" (Jan., 1924)#9, "High Society Rag"(Jan., 1924)#15, "Someday Sweetheart"(April, 1927)#15, "Four Or Five Times"(Dec., 1928)#17 and "St. James Infirmary"(Feb., 1930)#9.

JELLY ROLL MORTON

• Ferdinand Joseph La Menthe (or Lamott) Morton (Oct. 20, 1890 - July 10, 1941)
• Pianist/composer/bandleader/singer born in Gulfport, Louisiana.
• Although a Creole and proud of it, it was said that he often denied his blackness.
• In the early part of his life, he had been everything from a pimp to a con-man.
• A remarkable musician, he was the self-proclaimed "Father Of Jazz Pianists," often claiming that he actually invented jazz.
• Famous for the diamond embedded in one of his teeth.
• Composer of "The Pearls"(June, 1927) and the popular "King Porter Stomp" (1906), he was the first to put it all down on paper.
• 1906 - Began playing professionally in the houses of prostitution, blending blues, ragtime and minstrel styles.
• 1907 - Toured as a vaudeville comic, also promoting his music.
• 1909-1915 - Appeared at Tom Anderson's Annex in New Orleans.
• 1915-1923 - Based himself in California.
• 1923-1928 - In Chicago, he organized his famous Red Hot Peppers. Their recordings featuring a fusion of blues, ragtime and jazz were sheer perfection.
• He is considered to be the first important jazz arranger. He was the first true jazz composer.
• 1926 - Landed an exclusive recording contract with Victor.
• 1928-1935 - Based in New York City.
• Morton was a strict disciplinarian whose band played everything exactly the way he wanted it.
• By the 1930's, the man who at one time was considered the greatest jazz keyboardist of all time was labelled "old hat."
• 1936-1939 - He ran The Jungle Club in Washington, D.C.
• July 10, 1941 - Died in a Los Angeles, California sanitorium.
• Hits include "Grandpa's Spells"(1923), "Dr. Jazz"(Dec., 1926), "Cannonball Blues"(1926), "Black Bottom Stomp"(Jan., 1927)#13, "Original Jelly Roll Blues"(April, 1927)#17, "Grandpa's Spells" (May, 1927)#17 and "Wolverine Blues"(March, 1928)#19.
• Recommended track - "Dead Man Blues" (Sept., 1926), which colourfully paints a picture of a New Orleans funeral.

THE ORIGINAL DIXIELAND JAZZ BAND

• White jazz ensemble from New Orleans which to the chagrin of music historians became the first jazz act ever recorded.
• Consisting of Nick LaRocca (Dominick James LaRocca) (April 11, 1889 - Feb. 22, 1961) (bandleader/cornetist), Eddie Edwards (Edwin Branford Edwards) (May 22, 1891 - April 9, 1963) (trombonist), Larry Shields (Sept. 13, 1893 - Nov. 21, 1953) (clarinetist), Harry Ragas (1890 - 1918) (pianist) and Tony Spargo (Antonio Sbarbaro) (June 27, 1897 - Oct. 30, 1969) (drummer).
• Some of its members were originally in the band of drummer Papa Jack Laine (1873 - 1966) who is considered by many to be the first white jazz musician.
• LaRocca is credited as the composer of "Tiger Rag," "At The Jazz Band Ball" and "Livery Stable Blues" (aka: "Meatball Blues").
• Original drummer Johnny Stein had organized the group as Stein's Original Dixieland Band.
• 1915 - Changed their name to The Original Dixieland Jazz Band.
• 1916 - Moved to Chicago, Illinois.
• Stein was ousted before the band made its first appearance in New York City.
• June, 1917 - Their recording of "Livery Stable Blues" went to #4 nationally, selling more than 250,000 copies at 75 cents a piece. America went jazz crazy.
• 1918 - Edwards was drafted into the army.
• 1918 - J. Russell Robinson (July 8, 1892 - Sept. 30, 1963) replaced Ragas who had died of influenza.
• 1925 - LaRocca suffered a nervous breakdown and quit the music business.
• By 1926, the group was defunct.
• 1936 - Re-formed as Nick LaRocca & His Original Dixieland Band.
• LaRocca foolishly insisted that jazz was a totally white music.
• Hits include "Original Dixieland Onestep"(1912), "Reisenweber Rag"(1917), "Darktown Strutters' Ball"(Oct., 1917)#2, "Tiger Rag" (Oct., 1918)#1-2 wks., "Ramblin' Blues"(1920), "Home Again Blues" (April, 1921)#2, "St. Louis Blues"(Aug., 1921)#3 and "Royal Garden Blues"(Nov., 1921)#3.

SIDNEY BECHET

• (May 14, 1897 - May 14, 1959)
• Soprano saxophonist/clarinetist/bandleader born in New Orleans, Louisiana.
• A Creole, his brother was trombonist Leonard Bechet.
• The only New Orleans jazz artist to achieve fame on the soprano sax.
• Self taught, Bechet never learned to read music.
• 1906 - Age 9, a child prodigy, he played clarinet with cornetist Freddie Keppard's band.
• 1907 - Became the protégé of clarinetist George Baquet who taught him to read music. At this time, he also formed The Young Olympia Band, a 7 piece outfit featuring trumpeter Buddy Petit.
• His sound featured a pronounced vibrato.
• For two years, he was a member of Kid Ory's band.
• 1911 - Played in cornetist Bunk Johnson's (1889 - 1949) Eagle Band.
• 1913 - Began playing with King Oliver.
• 1914-1916 - Toured the southern states with a vaudeville company.
• 1916 - Played with Joe Oliver's Olympia Band in New Orleans.
• 1917 - Moved to Chicago, playing first with King Oliver then with Freddie Keppard.
• 1919 - Toured Europe with composer Will Marion Cook's Southern Syncopators. It has been said that Bechet was responsible for introducing jazz to Europe.
• 1919 - Played with Will Marion Cook's Southern Syncopators at Buckingham Palace at the invitation of The Prince Of Wales.
• 1919 - While in London where he remained, began playing soprano sax.
• 1922 - Toured the U.S. in a show called "How Come?"
• 1923 - First recorded with pianist Clarence Williams in The Blue Five also recording with Louis Armstrong and Bessie Smith.
• 1925 - Appeared in Paris with Josephine Baker in "Revue Negre."
• 1929 - After an episode of violence, he was sentenced to 15 months in prison and expelled from France.
• 1932 - Formed The New Orleans Footwarmers with Tommy Ladnier.
• 1934-1938 - Played in Noble Sissle's orchestra. Recordings include "Polka Dot Rag"(1934) and "Dear Old Southland"(1937).
• 1938 - Announced his retirement from music.
• 1940 - Recorded "Perdido Street Blues" with Louis Armstrong.
• In later years, moved to France where he enjoyed several hits including "Summertime"(1939), his million selling "Les Oignons" (Oct., 1949) and "Petite Fleur"(1952).
• 1949 - Played with Charlie Parker at The Nice Jazz Festival.
• 1956 - Collaborated with James Toliver on the jazz ballet, "La Nuit Est Une Sorciere."
• 1957 - Recorded an album with Kenny Clarke titled "When A Soprano Meets A Piano."
• He is famous for being able to take his instrument apart while playing it.
• May 14, 1959 - Died on his 62nd birthday of cancer in Paris, France. The inhabitants of Juan-Les-Pins erected a monument in his honour.
• 1960 - His autobiography, "Treat It Gentle" was published.
• Recommended track - "Maple Leaf Rag"(Sept., 1932) by Sidney Bechet & His New Orleans Feetwarmers.

JAZZ IN CHICAGO

Many blacks began migrating north during World War One to escape Jim Crow laws and by 1917, after the closing of Storyville, most jazz musicians worth their salt migrated north, some to Memphis and Kansas City, but the new jazz mecca was ultimately Chicago. Much of the city's earliest black population settled into the South State St. area and East 35th St. became the major black entertainment district. Notable clubs included The Sunset, The Plantation and The Apex. With so many of the prominent artists originating from New Orleans, the traditions of that particular style were kept alive. In Chicago, jazz was also embraced by more and more white performers. Black musicians played in the south side while whites played in the north side. They jammed together at after hours clubs. It expanded and seemed to reach its artistic maturity in the Windy City. However, Chicago's heyday as the capitol of jazz was short lived. By 1928, a reformist government had shut down many of its speakeasies. Consequently, the centre of jazz moved to New York City.

Chicago style jazz differed from the original form in that the individual lead musicians were encouraged to take centre stage rather than remain with the ensemble.

Of all the great musicians who found fame in Chicago, the two most remarkable and successful were also the two greatest jazz cornetists of their time - Louis Armstrong and Bix Beiderbecke.

LOUIS ARMSTRONG

• Louis Daniel Armstrong (Aug 4, 1901 - July 6, 1971)
• Cornetist/singer born in New Orleans, Louisiana.
• Armstrong mistakenly thought his birth date was July 4, 1900.
• The son of a 16 year old prostitute.
• Jan. 2, 1913 - Began 1 year in The Coloured Waif's Home For Boys for discharging a pistol. There, he learned to play cornet in its marching band.
• 1915 - Played with drummer Joe Lindsey.
• 1918 - Became the protégé of his hero, cornetist King Oliver whom he called "Papa Joe."
• 1918 - Joined Kid Ory's band when Oliver left for Chicago, Illinois. They often played on riverboats travelling the Mississippi.
• Aug 8, 1922 - Joined Oliver in Chicago becoming second cornetist in King Oliver's Creole Jazz Band at The Lincoln Gardens. He made his first recordings with Oliver on Gennett Records. The outstanding result was Armstrong's debut on "Chimes Blues." Also in the band was Armstrong's future wife pianist/composer Lillian Hardin (1898 - Aug. 27, 1971). Hardin composed the classic songs, "Just For A Thrill" and "Jazz Lips."
• Feb. 5, 1924 - Married Lil Hardin, who persuaded him to branch out and try his luck in New York City.
• Sept., 1924 - In New York City, he played with The Fletcher Henderson Orchestra at Roseland Ballroom. With Henderson, he recorded "Sugar Foot Stomp"(Oct., 1925)#8 and "Carolina Stomp" (March, 1926)#10. (NOTE: "Sugarfoot Stomp" is also known as "Dippermouth Blues"). There, he also recorded with Bessie Smith and Ma Rainey. Most jazz critics agree that it was here that Armstrong taught the world how to swing.
• Nov., 1925 - Back in Chicago, Armstrong began playing with Erskine Tate and later, his wife's band, Lil's Hot Shots.
• Formed his own band, The Hot Five, later becoming The Hot Seven in 1927.
• 1926 - Recorded his extraordinary "Cornet Chop Suey" and the classic "Heebie Jeebies." Armstrong's vocal on the latter are considered to be the first ever improvised scat vocal on record.
• Armstrong was at the height of his artistic power in Chicago, known for his clear piercing tone and dazzling succession of high C's. His greatest popularity came with his inventive and unique scat-tinged raspy vocals. Scat (singing nonsensical syllables in place of lyrics while vocally simulating instrumental sounds) is said to have been invented by Armstrong when he forgot the lyrics to a song.
• The great Billie Holiday stated that Armstrong phrased his vocals exactly the way he would have played the notes on his cornet.
• June, 1929 - He was featured in "The Hot Chocolate Revue" in New York City. The songs were by Fats Waller and Andy Razaf.
• 1932 - Worked with Chick Webb in New York City.
• 1932 - Toured England where he played The London Palladium.
• 1932 - Divorced Hardin.
• Often called "Pops," Armstrong later acquired a new nickname instigated by P. Mathison Brooks of The London Melodymaker. Short for Satchel Mouth, "Satchmo" stuck affectionately for the rest of his life.
• Nov., 1933 - In order to hit his celebrated high notes, Armstrong had to exert extreme pressure on his lip, leaving a hard callous. In London, England, the callous split onstage, forcing him to retire for 8 months.
• With his infectious smile and ever present handkerchief, Armstrong became the international ambassador of jazz.
• 1942 - Married Louise Wilson.
• Aug. 13, 1947 - Debuted his All Stars in Los Angeles, California with Jack Teagarden and Earl Hines. They would continue of and on for almost a quarter of a century.
• 1949 - He was awarded the title of "King Of The Zulus" at Mardi Gras in New Orleans. But after white musician Jack Teagarden was banned from playing, Armstrong refused to appear.
• His trademark song was "When It's Sleepy Time Down South"(Jan., 1952)#19.
• Appeared in numerous films, rarely playing anyone but himself yet managing to steal every scene. The films include "Pennies From Heaven"(1936), "Going Places"(1938), "Cabin In The Sky"(1943), "New Orleans"(1947), "The Glenn Miller Story"(1954), "The Five Pennies"(1959) and "Hello Dolly"(1969).
• Feb., 1964 - Armstrong had his biggest hit ever when his recording of "Hello Dolly" went to #1.
• July 6, 1971 - Died of heart and kidney failure in New York City. - Aug. 27, 1971 - Lil Hardin Armstrong suffered a heart attack and died while performing at a memorial concert for Louis.
• Hits include "Muskrat Ramble"(July, 1926)#8, "Potato Head Blues" (Dec., 1927)#12, "West End Blues"(Sept., 1928)#8, "St. James Infirmary"(May, 1929)#15, "Ain't Misbehavin'"(July, 1929), "St. Louis Blues"(Feb., 1930)#11, "I'll Be Glad When You're Dead You Rascal You"(Nov., 1931)#13, "All Of Me"(Feb., 1932)#1-2 wks., "Body And Soul"(Oct., 1932)#7, "Basin St. Blues"(Oct., 1938)#20, "Jeepers Creepers"(Feb., 1939)#12, "Mack The Knife"(Feb., 1956) #20, "Mame"(May, 1966)#81, "Cabaret"(Feb., 1968)#1 UK and "What A Wonderful World"(Feb., 1968)#1 UK, (Feb., 1988)#32.

BIX BEIDERBECKE

• Leon Bismark Beiderbecke (March 10, 1903 - Aug. 7, 1931)
• Cornetist/pianist/composer born in Davenport, Iowa.
• The first white jazz musician to be admired and copied by blacks.
• Age 8, he was outplaying his piano teacher.
• 1917 - Age 14, he picked up a cornet and taught himself to play yet never learned to read music. Jazz became his obsession.
• 1922 - Thrown out of military academy in Lake Forest, Illinois.
• 1923 - Started out with The Wolverines, a white pioneer jazz ensemble.
• During the 1920's, he played with several famous dance bands including Frankie Trumbauer (Franklyn "Tram" Trumbauer) (1901 - June 11, 1956) and Paul Whiteman.
• 1926 - Began touring with Jean Goldkette.
• Played on such classic recordings as "Dardanella," "I'm Coming Virginia" and his own composition, "Davenport Blues."
• Famous for his spectacular tone and phrasing, he was the most imitated cornetist of his time. Beiderbecke rarely played with a mute.
• Beiderbecke once was told by a classical music instructor, "compared to you, I'm a musician in a cage."
• Wrote and recorded the classic "In A Mist"(Feb., 1928)#20 which later became a NARAS (National Academy of Recording Arts and Sciences) Hall Of Fame recording.
• When radio took over, studio musicians were required to read charts. That, combined with the notated arrangements of the large dance bands caused Beiderbecke to lose jobs to less gifted musicians. He was a jazz virtuoso who thrived on improvisation.
• Depression and alcoholism set in.
• Aug. 7, 1931 - Age 28, died in Queens, New York of pneumonia and swelling of the brain.
• 1938 - His life was vaguely exploited in Dorothy Baker's novel, "Young Man With A Horn."
• Aside from "In A Mist," his only other solo charted hit was "At The Jazz Band Ball"(Feb., 1928)#15.
• Recommended track - "Singin' The Blues"(Feb., 1927) with Franklyn Trumbauer & His Orchestra.

JAZZ PIANISTS

JELLY ROLL MORTON

• See The Giants Of New Orleans Style Jazz

CLARENCE WILLIAMS

• (Oct. 8, 1893 - Nov. 6, 1965)
• Pianist/composer/singer/arranger/publisher born either in New Orleans or Plaquemine Delta, Louisiana)
• Age 8, began to play the piano.
• 1910 - Participated as singer and MC of "The Minstrels."
• 1913 - Began composing and working with violinist Armand J. Piron.
• 1915 - Established a music publishing company with Piron.
• 1917 - Toured briefly with W. C. Handy.
• 1919 - Moved to Chicago, establishing his music publishing company there.
• 1920-1921 - Married singer Eva Taylor in New York City where he establishes his own recording company, C. Williams Music Co. Inc. He also recorded as a singer for the Okeh label.
• 1923-1925 - Began working with banjo player Narcisse Buddy Christian and washboard player Floyd Casey. Also worked regularly with Bessie Smith.
• 1927-1928 - Recorded with The Washboard Five.
• 1930 - Worked in various jug bands.
• Nov., 1931 - In the Pittsburgh Courier, he was defined as "The man who published the largest number of authentically black songs and successful jazz of all black musicians put together."
• 1943 - Sold his entire catalogue to Decca.
• 1945 - Appeared for the last time as a singer with The Howard McGhee Orchestra.
• May, 1956 - He was hit by a taxi and due to shock, loses his sight, continuing to compose until his death.
• Recordings include "Jackass Blues"(1926) and "I've Found A New Baby"(1926).

EARL "FATHA" HINES

• Earl Kenneth Hines (Dec. 28, 1905 - April 22, 1983)
• Pianist/composer/bandleader born in Duquesne, Pennsylvania.
• Considered to be "The Father Of Modern Jazz Piano."
• His style and phrasing have been described as not unlike that of a trumpet player.
• 1922 - Toured with singer Lois Deppe.
• 1923 - Moved to Chicago, Illinois, playing at The Elite Club #2 for 5 years where his piano style developed and drew much attention.
• 1927-1928 - Achieved fame with his classic recordings with Louis Armstrong and clarinetist Jimmie Noone (1895 - April 19, 1944). - 1929 - Formed his own orchestra which played regularly at The Grand Terrace in Chicago for over a decade. His nickname "Fatha" was inaugurated by an announcer during a live broadcast from The Grand Terrace.
• 1943 - His band featured trumpet player Dizzy Gillespie and alto saxman Charlie Parker. His vocalists included Billy Eckstine and Sarah Vaughan. The band featured the first arrangement of the be- bop standard, "A Night In Tunisia."
• 1947-1951 - Once again played with Armstrong's All Stars.
• 1951 - Went into semi-retirement.
• 1964 - Enjoyed an amazing comeback.
• 1973 - Hines became a sensation at The Newport Jazz Festival.
• 1973 - Voted top jazz pianist of the year.
• April 22, 1983 - Died in Oakland, California after a heart attack.
• His compositions include "Rosetta"(1928), "Deep Forest"(his signature tune) and "Piano Man."
• Hits include "Beau Koo Jack"(Sept., 1929) (with Omer Simeon), "57 Varieties"(Sept., 1933)#20, "Rhythm Sundae"(April, 1937)#17, "Boogie Woogie On The St. Louis Blues"(May, 1940)#11, "Stormy Monday Blues"(April, 1943)#23 and "It Had To Be You"(Aug., 1944) #18.

ART TATUM

• Arthur Tatum (Oct. 13, 1910 - Nov. 5, 1956)
• Pianist/guitarist/violinist born in Toledo, Ohio.
• Almost totally blind.
• As a teenager, he was the staff pianist for WSPD radio in Toledo.
• His hero was Fats Waller.
• 1932 - Accompanied singer Adelaide Hall in New York City.
• 1933 - Went solo and began recording. Early tracks include "Tiger Rag"(1933), "Indiana"(1933) and "I've Got My Love To Keep Me Warm"(1937).
• He usually played solo or in a trio consisting of himself, guitarist Tiny Grimes and bassist Slam Stewart.
• Noticing that Tatum was in his audience, Fats Waller once stated "Ladies and gentlemen, I just play the piano but God is in the house tonight."
• Several major classical musicians such as Toscanini and Horowitz cited Tatum as one of the most mesmerizing artists of all time.
• Famous for his landmark performances at The Onyx and The Down Beat clubs on 52nd Street in New York City.
• 1956 - His "Art Tatum In Person" album was recorded shortly before his death.
• Nov. 5, 1956 - Died of uremic poisoning in Los Angeles, California.
• Hits include "Body And Soul"(May, 1937)#19 and "Tea For Two" (Aug., 1939)#18.

BOOGIE WOOGIE PIANO

Boogie woogie was a rather loud and lively piano style which originated in the lower Mississippi area in the early 20th century. In the 1920's, it became the rage in Chicago's South Side. It was played at gatherings called "pitchin' boogie parties" to raise rent money. In boogie, the emphasis is placed on rhythm rather than melody. It hit its commercial peak during the early 1940's and later became a contributing factor in the birth of both swing and rock and roll.

Boogie woogie is simply bass figures of 8 to the bar, originally developed to imitate the rhythm of railway cars. The pianist's right hand plunks out treble runs and rhythmic arpeggios while the left hand pumps the steady brisk 8 to the bar bass. The right hand was conveniently left free for drinking purposes. Boogie (sometimes known as barrelhouse or stomps) could quite easily be defined as double ragtime.

Important boogie woogie pianists included Jimmy Yancey, Meade Lux Lewis (Sept. 4, 1905 - June 7, 1964) (composer of "Honky Tonk Train Blues"), Cow Cow Davenport and probably the most famous - Pine Top Smith.

PINE TOP SMITH

• Clarence Smith (Jan. 11, 1904 - March 15, 1929)
• Pianist/singer/dancer/composer born in Troy, Alabama.
• Nicknamed "Pine Top" because as a child, he loved to play in the pine trees.
• A pioneer of both blues and boogie piano.
• 1928 - Toured on the TOBA (see Vaudeville, Music Hall And Cabaret) vaudeville circuit and recorded for Vocalion and Brunswick.
• His classic "Pine Top's Boogie Woogie"(Feb., 1929)#20, which later became a NARAS Hall Of Fame Recording is considered to be the definitive boogie woogie recording and the first to have the expression in the title. In the late 1930's, Cleo Brown's version of the piece triggered a new craze for boogie woogie.
• March 15, 1929 - While attending a dance at a Masonic Lodge Hall, he was accidentally shot to death by one David Bell.

JIMMY YANCEY

• James Edward Yancey (Feb. 20, 1898 - Sept. 17, 1951)
• Pianist/singer/composer/dancer born in Chicago, Illinois.
• Travelled with his father, singer/guitarist Mose Yancey in vaudeville.
• 1903 -1908 - Worked as a singer/dancer in the "Man From Bam" revue in Chicago.
• 1915 - Learned to play the piano from his brother, Alonzo Yancey.
• Played piano in Chicago during the early 1920's.
• 1939 - Recorded on the Solo Art label in Chicago.
• Recorded for Victor (1939-1940), Paramount (1950) and Atlantic (1951).
• Composer of "Yancey Stomp."
• His wife, blues singer Mama Yancey (Estella Harris) (Jan. 1, 1896 – ) often collaborated with him.
• Sept. 17, 1951 - Died in a diabetic coma in Chicago, Illinois.
• Hits include "The Fives"(April, 1939), "South Side Stuff"(April, 1939), "Yancey Special"(Dec., 1943) and "White Sox Stomp"(Dec., 1943).
• Other recordings include "State Street Special" and "Five O'Clock Blues."

ALBERT AMMONS

• Albert C. Ammons (Sept. 23, 1907 - Dec. 2, 1949)
• Pianist born in Chicago, Illinois.
• Father of tenor saxophonist Gene "Jug" Ammons (April 14, 1925 - July 23, 1974).
• During the 1920's and 1930's, worked as a solo act as well as appearing with several bands.
• Mid 1930's - Formed The Rhythm Kings in Chicago featuring trumpeter Guy Kelly and bassist Israel Crosby to play at Club DeLisa.
• Jan., 1939 - Recorded "Boogie Woogie Stomp."
• 1939 - Began his association with pianists Pete Johnson and Meade Lux Lewis.
• 1941 - Recorded the piano duet, "Cuttin' The Boogie" with Pete Johnson.
• 1944 - Formed a new Rhythm Kings featuring trumpeter Hot Lips Page.
• Dec. 2, 1949 - Died in Chicago, Illinois.
• Other recordings include "Swanee River Boogie"(1946) and "You Are My Sunshine"(1948).

A SELECTED LISTING OF OTHER BOOGIE WOOGIE RECORDINGS

• Cow Cow Davenport - "Cow Cow Blues"(July, 1928).
• Pete Johnson - "Basement Boogie"(May, 1941).
• Meade Lux Lewis - "Honky Tonk Train Blues"(Nov., 1935).
• Speckled Red - "The Dirty Dozen"(April, 1930).

STRIDE PIANO

Stride piano, a percussive parlor social piano style, brought into prominence by artists such as Willie "The Lion" Smith and James P. Johnson was a style which flourished in 1920's Harlem. It consisted of the left hand alternating single notes with chords in a steady walking rhythm. Stride pianists were extremely popular at all night rent parties as depicted in the lyrics of Fats Waller's lusty "The Joint Is Jumpin'."

A virtuoso style, stride was orchestral piano. Its practitioners, often called "tickler," waged piano wars called "cutting contests."

JAMES P. JOHNSON

• James Price Johnson (Feb. 1, 1891 - Nov. 17, 1955)
• Pianist/composer/conductor/theoretician born in New Brunswick, New Jersey.
• Renowned jazz/ragtime pianist and one of the finest stride pianists.
• Taught piano by his mother.
• 1910 - Toured in vaudeville.
• 1916 - Began cutting his first piano rolls.
• A pioneer of stride piano, his most famous pupils were Fats Waller and Willie "The Lion" Smith.
• 1923 - Travelled to England with Charles Elgar's band to perform in the "Plantation Days" revue.
• 1923 - With Cecil Mack, he wrote "The Charleston" which was featured in the all black revue, "Runnin' Wild." The song became one of the most recorded songs of all time and the dance craze it triggered dominated the 1920's (see The Jazz Age).
• 1926 - Composed "If I Could Be With You One Hour Tonight" for Ruth Etting.
• 1928 - Performed his symphonic work, "Yamecraw" at Carnegie Hall.
• Shows include "Messin' 'Round"(1929) and "Sugar Hill"(1931).
• 1936 - Composed "Symphony Harlem" and developed the short play, "De Organiser" with poet Langston Hughes.
• 1946 - Suffered a stroke but continued to work.
• 1951 - Another stroke ended his music career.
• Nov. 17, 1955 - Died in New York City.
• Hits include "Worried And Lonesome Blues"(1922), "Carolina Shout"(April, 1922)#10, "Keep Off The Grass"(1926) and "Old Fashioned Love"(June, 1939).
• Other recordings include "Sugar" and "Harlem Chocolate Babies On Parade."

FATS WALLER

• Thomas Wright Waller (May 21, 1904 - Dec. 15, 1943)
• Pianist/singer/composer/comedic showman born in New York City.
• Son of the minister at The Abyssinian Baptist Church.
• During the 1920's, worked as an accompanist on both the organ and piano.
• A protégé of James P. Johnson.
• Perfected the technique of stride piano.
• He often composed songs with lyricist Andy Razaf (1895 - 1973).
• Waller's big break came when he wrote material for the Broadway musicals, "Keep Shufflin'"(1928) and "Hot Chocolates"(1929).
• As a performer, he was famous for his brilliant piano stylings and inventive vocals punctuated with sly comedic comments and double entendres.
• He once described himself as "Mrs. Waller's 285 pounds of jam, jive and everythin'" and became famous for his trademark "One never knows, do one."
• 1934 - Organized his group Fats Waller & His Rhythm.
• 1943 - Botched a Carnegie Hall recital because of his drinking.
• 1943 - Appeared in the film, "Stormy Weather."
• Oscar Levant called him "The Black Horowitz."
• Dec. 15, 1943 - Died of influenzal bronchial pneumonia on a train in Kansas City, Missouri.
• 1978 - The hit Broadway show, "Ain't Misbehavin'," named after his best known composition, was a celebration of Waller's writing talents.
• Hits include "Ain't Misbehavin'"(Nov., 1929)#17, "Honeysuckle Rose"(Feb., 1935)#17, "I'm Gonna Sit Right Down And Write Myself A Letter"(June, 1935)#5, "Truckin'"(Aug., 1935)#1-3 wks., "A Little Independent"(Dec., 1935)#1-2 wks., "It's A Sin To Tell A Lie"(June, 1936)#1-4 wks., "I'm Sorry I Made You Cry"(Feb., 1937) #3, "The Joint Is Jumpin'"(Nov., 1937)#17, "Two Sleepy People" (Nov., 1938)#1-2 wks. and "Your Feets Too Big"(Dec., 1939)#15.
• Recommended track - Fats Waller & His Rhythm Five - "Blue Turning Grey Over You"(June, 1937).
• Other notable compositions include "Black And Blue," "Keepin' Out Of Mischief Now," "Squeeze Me"(1925) and "I've Got A Feeling I'm Falling"(1929).

WILLIE "THE LION" SMITH

• William Henry Joseph Bonaparte Bertholoff Smith (1897 - 1973)
• Pianist/composer born in Goshen, New York.
• James P. Johnson's greatest rival.
• During World War One, did combat service.
• After the war, became a colourful resident of the Harlem music scene.
• 1920 - Backed singer Mamie Smith on her landmark recording of "Crazy Blues."
• He stated that his nickname, "The Lion" stemmed from his devotion to Judaism. James P. Johnson allegedly dubbed him "The Lion Of Judah."
• He was a great influence on Duke Ellington's piano style.
• Published an autobiography titled "Music On My Mine."
• Compositions include "Echoes Of Spring," "Morning Air," "Passionette" and "Portrait Of The Duke."
• Recommended track - Willie "The Lion" Smith & His Cubs - "More Than That"(April, 1937).

THE EMERGENCE OF ORCHESTRATED JAZZ

In the early days, it was believed that good jazz could not be notated. Later, the semblance of the old Dixieland ensemble was retained but the new freedom of melodic improvisation was expanded. It was in New York City that big band jazz came into fruition. As the size of the jazz dance band grew, it became obvious that arrangements were undeniably necessary. Ensemble passages were notated and improvisation was usually a luxury allowed only to soloists. The head arrangement became the basic method of organizing a large ensemble.

HEAD ARRANGEMENTS

Music given the illusion of spontaneity with the use of riffs (repeated rhythmic and melodic patterns). Simply put, it was the ensemble grouping of instruments (pre-arranged and notated) backing the melody line. When used to back soloist improvisation, it was termed underscoring. The master of this technique was the great Fletcher Henderson.

FLETCHER HENDERSON

• James Fletcher Henderson (Dec. 18, 1897 - Dec. 28, 1952)
• Pianist/composer/arranger/bandleader born in Cuthbert, Georgia.
• Son of black educator Fletcher Hamilton Henderson ( – 1943).
• Brother of arranger Horace Henderson.
• Nicknamed "Smack."
• 1920 - Moved to New York City after graduating from Atlanta University.
• Originally trained as a chemist.
• Signed on as the house pianist for the Black Swan Record Company, one of the first black owned outfits.
• 1923 - Assembled a band for Club Alabama.
• 1924 - Formed The Roseland Ballroom Orchestra, playing for white audiences only.
• His was among the first large bands to acquire a reputation for playing jazz with fully prepared orchestrations.
• Based out of New York City, he arranged for Isham Jones, Benny Carter and the Dorseys.
• Henderson was the man who did the most for jazz as an arranger. His fortes were his head arrangements and creative underscoring. He developed a distinctive style featuring the brass answering the reeds in counterpoint. He was replaced by Benny Carter.
• Paul Whiteman stated that if Henderson had been a white man, he would have been a millionaire.
• 1928 - Narrowly survived a car accident.
• 1928 - Henderson's arranger, Don Redman (1900 - 1964) took over McKinney's Cotton Pickers.
• By the end of the 1920's, he had abandoned both the tuba and the banjo (replaced by a rhythm guitar), the last vestiges of Dixieland jazz.
• His theme song was "Christopher Columbus."
• 1933 - Recorded Coleman Hawkins' "Queer Notions."
• After his band broke up in the 1930's, Henderson prepared arrangements for Benny Goodman, Count Basie and Artie Shaw.
• 1933 - Henderson, who had been playing swing for almost 10 years, was brought to Goodman's attention by jazz connoisseur/record producer John Hammond. Having a black musician arrange for an all white orchestra was a revolutionary move at the time. The Goodman band was much more disciplined than Henderson's and the results were phenomenal.
• Often dubbed "The Architect Of Swing."
• 1947 - Became staff arranger for Benny Goodman (see Swing).
• 1950 - Suffered a severe stroke which ended his career.
• Hits include "Gulf Coast Blues"(Nov., 1923)#10, "Charleston Crazy"(April, 1924)#8, "Sugar Foot Stomp"(Oct., 1925)#8, "Carolina Stomp"(March, 1926)#10, "Dinah"(April, 1926)#13, "Fidgety Feet"(Aug., 1927)#17 and "King Porter Stomp"(Dec., 1928) #11.

THE COTTON CLUB

Although Chicago had become the breeding ground for jazz in the early 1920's, New York City as the long acknowledged seat of entertainment became a magnet for jazz musicians after many of Chicago's speakeasies were forced to shut down in 1928. Harlem, an uptown section of Manhattan Island had become a major centre of black music and culture. It was the home of the NAACP (The National Association For The Advancement Of Coloured People). The numerous boites or "joints" featured solo pianists or small ensembles while the big three nightclubs, Connie's Inn, Smalls' Paradise and The Cotton Club presented the crème of black entertainment in spectacular floor shows.

The Cotton Club at 644 Lenox Avenue (at 142nd Street), originally called The Club Deluxe, had been owned by former heavyweight boxer Jack Johnson. In 1922, Owney Madden's gang took over, changing the club's name. The first house band was Andy Peer's Cotton Club Syncopators. The venue catered to a rich, white high society clientele consisting of jazz lovers and curiosity seekers. The only blacks in the establishment were the entertainers and the hired help. Lavish floor shows featuring heavily choreographed dance routines were the mainstay of the entertainment. Chorus girls were required to be under 21, over 5 ft. 6 in. and were chosen in accordance with their degree of beauty and lightness of colour - as the saying went, "light, bright, damn near white" and "tall, tan and teasing." Great jazzmen such as Duke Ellington and Cab Calloway enjoyed their first moments of fame at The Cotton Club. The house band from 1927 to 1931 was Duke Ellington And His Jungle Band.

After the Harlem riots, a flood of new clubs opened and The Cotton Club was moved to West 48th St. in 1936. However, it closed 2 years later. The venue was later immortalized in the show, "Bubbling Brown Sugar" (1976) and the film, "The Cotton Club" (1985).

DUKE ELLINGTON

• Edward Kennedy Ellington (April 29, 1899 - May 24, 1974)
• Pianist/composer/arranger/bandleader born in Northwest Washington, D.C.
• The son of James Edward Ellington, a White House butler, he was taught music by a Miss Clinkscales.
• His mother Daisy was a great influence in his music career.
• 1918 - Married Edna Thompson with whom he later had a son, trumpeter/bandleader Mercer Ellington (1919 - 1996).
• Worked as an accompanist for a magician and fortune teller before playing piano in nightclubs.
• Composed his first piece, "Soda Fountain Rag" and formed his first band, The Duke's Serenaders.
• 1921 - He met and was influenced by his 2 favourite pianists, James P. Johnson and Fats Waller.
• Early, 1923 - Moved to New York City where he formed a 6 piece ensemble called The Washingtonians. James "Bubber" Miley became the featured cornetist.
• 1923 - Began a 4 year engagement at The Hollywood Inn in Times Square, later becoming The Kentucky Club. His group was renamed The Kentucky Serenaders.
• 1927 - Signed a 3 year engagement contract with The Cotton Club. Regular nationwide radio broadcasts from the venue helped spread his fame. There, a new jazz style evolved featuring strong African rhythms and brass producing exotic growling effects. Even Ellington was prone to calling it "jungle music."
• Dec., 1928 - His classic recording of "The Mooche" went to #16.
• 1930 - Divorced Thompson to marry Cotton Club dancer Mildred Mixon.
• 1929 - Appeared in the short film, "Black And Tan."
• 1930 - Ellington and his orchestra appeared in the first of several full length films, "Check And Double Check."
• 1931-1942 - His vocalist was the wistful Ivie Anderson.
• 1932 - Handed over his Cotton Club residency to Cab Calloway.
• Feb., 1932 - His recording of "It Don't Mean A Thing (If It Ain't Got That Swing)" went to #6 nationally, anticipating the Swing Era 3 years in advance.
• 1933 - Enjoyed a triumphant tour of Europe.
• 1935 - Composed his first extended work, "Reminiscing In Tempo."
• 1939 - Began his songwriting partnership with composer/pianist/ arranger Billy Strayhorn (Nov. 29, 1915 - May 31, 1967).
• 1940 - The Ellington band was at the height of its success.
• July, 1941 - "Take The A Train," composed by Strayhorn went to #11 and became the band's theme song. Strayhorn became a lifelong Ellington collaborator.
• Jan. 23, 1943 - Ellington debuted his 44 minute work, "Black, Brown And Beige" at Carnegie Hall in New York City.
• 1950 - Mercer Ellington joined the trumpet section.
• 1950 - Ellington initiated his catch phrase "I love you madly" to his audience.
• 1956 - Turned in a classic concert at The Newport Jazz Festival.
• 1959 - Composed the soundtrack for the film, "Anatomy Of A Murder."
• 1966 - Toured Europe with Ella Fitzgerald.
• April 29, 1969 - His 70th birthday was celebrated with a reception at The White House with President Nixon.
• April 29, 1974 - Celebrated his 75th birthday in a hospital bed at the Columbia Presbyterian Medical Centre in New York City.
• May 24, 1974 - Died of lung cancer in New York City.
• A true genius in every sense of the word, he created over 6,000 compositions.
• Feb. 8, 1996 - After leading his father's orchestra since 1974, Mercer Ellington died in Denmark at the age of 76.
• Hits include "Black And Tan Fantasy"(May, 1928)#10, "Creole Love Call"(May, 1928)#19, "Diga Diga Do"(Dec., 1928)#17, "Three Little Words"(Oct., 1930)#1-3 wks., "Mood Indigo"(Feb., 1931)#3, "Sophisticated Lady"(May, 1933)#3, "Stormy Weather"(May, 1933) #4, "Cocktails For Two"(May, 1934)#1-5 wks., "Solitude"(Oct., 1934)#2, "Caravan"(July, 1937)#4, "I Let A Song Go Out Of My Heart"(March, 1938)#1-3 wks., "Prelude To A Kiss"(Oct., 1938)#18, "I Got It Bad And That Ain't Good"(Oct., 1941)#13, "Don't Get Around Much Anymore"(May, 1943)#8, "Do Nothing Till You Hear From Me"(Jan., 1944)#10 and "Satin Doll"(June, 1953)#27.

CAB CALLOWAY

• Cabell Calloway (Dec. 25, 1907 - Nov. 18, 1994)
• Singer/songwriter/alto saxophonist/drummer/bandleader/dancer/ actor born in Rochester, New York.
• Raised in Baltimore, Maryland, later moving to Chicago, Illinois.
• 1929 - Worked with The Missourians, later renamed The Cab Calloway Orchestra.
• 1932 - Rose to fame when he replaced Duke Ellington as the resident star attraction at The Cotton Club.
• March, 1932 - His recording of "Minnie The Moocher" went to #1.
• Nicknamed "His Hi-De-Ho Highness Of Jive" ("hi-de-ho" being one of the catch phrases from "Minnie The Moocher").
• One of the most charismatic showmen of all time, he led a superb jazz band called The Cabaliers, at times featuring trumpeter Dizzy Gillespie, bassist Milt Hinton and tenor saxophonists Chu Berry and Ben Webster.
• As a vocalist, he adopted Armstrong's scatting technique and some madcap vocal acrobatics never heard before or since.
• He created an inspired, bizarre dance style much copied but never duplicated. In fact, he perfected an early variation on a step later called the moonwalk by Michael Jackson.
• Calloway became a fashion trendsetter, popularizing broad brimmed hats, colourful zoot suits and a watch chain that touched the floor.
• 1932 - He was seen at the height of his powers in the film, "The Big Broadcast."
• 1980 - Appeared in the film, "The Blues Brothers."
• Hits include "St. James Infirmary"(May, 1931)#3, "Kickin' The Gong Around"(Nov., 1931)#4, "Jitter Bug"(April, 1934)#20, "Angels With Dirty Faces"(Dec., 1938)#3, "(Hep Hep) The Jumpin' Jive" (July, 1939)#2, "Greechie Joe"(Oct., 1941)#23, "Blues In The Night"(Jan., 1942)#8 and "The Honeydripper"(Feb., 1946)#3 R&B.

JIMMIE LUNCEFORD

• See Swing

MORE JAZZ PIONEERS

BENNIE MOTEN

• (Nov. 13, 1894 - April 2, 1935)
• Pianist/bandleader from Kansas City, Missouri.
• 1923-1929 - Bennie Moten's Kansas City Orchestra was blazing trails in jazz which are often ignored. Their Kansas City style, a collection of earthy blues riffs over a steady rhythm set the precedence for The Count Basie Band. Moten was the missing link in what happened to jazz during its migration from New Orleans to Chicago.
• Fall, 1923 - Began recording (the 3rd jazz group in history to do so) on the Okeh label.
• Late, 1926 -Dec., 1932 - Recorded on Victor.
• His main vocalist was the bluesy Ada Brown.
• 1929-1935 - The 12 piece band featured pianist William "Count" Basie. After recruiting Basie, Moten ceased playing piano with his own band.
• By 1930, he had absorbed most of Walter Page's Blue Devils (his greatest competitor in Kansas City) into his band.
• April 2, 1935 - Died on the operating table at a Chicago hospital after complications during a tonsillectomy.
• After Moten's death, Basie recruited the band's best musicians for his own band.
• Hits include "South"(April, 1925)#12 (the recording became a hit again in 1929 and in 1944), "Kansas City Shuffle"(July, 1927)#18 and "Moten Stomp"(Jan., 1928)#16.

THE CALIFORNIA RAMBLERS

• 1921 - White commercial jazz ensemble formed in Ohio.
• The band featured bass and baritone saxophonist Adrian Rollini (1905 - May 15, 1956) and during its heyday in the 1920's, included Red Nichols and the Dorsey brothers.
• At times, the group's vocalists included Irving Kaufman, Arthur Hall and Vernon Dalhart.
• Their full speed ahead razz-ma-tazz style added sparkle to the era known as The Roaring Twenties.
• Hits include "My Honey's Lovin' Arms"(July, 1922)#10, "California Here I Come"(June, 1924)#10, "Shine"(Sept., 1924)#10 and "The Peanut Vendor"(Jan., 1931)#5.

JACK TEAGARDEN

• Jack Weldon John Leo Teagarden (Aug. 20, 1905 - Jan. 15, 1964)
• White trombonist/singer born in Vernon, Texas.
• His mother Helen Teagarden was a ragtime pianist.
• His 3 siblings were all musical. Clois played drums, Norma was a pianist and younger brother Charles played the trumpet.
• 1921 - Age 16, moved to San Antonio, Texas, later joining Peck Kelley's band in Houston.
• Revolutionized jazz trombone playing, working out a set of close to the chest slide positions to accommodate his short arms.
• 1927 - Made his recording debut with Johnny Johnson's band.
• Late, 1927 - After making a name for himself in the Southwest, he arrived in New York City.
• Played with Roger Wolfe Kahn, Ben Pollack (1928-1933), Benny Goodman, Red Nichols and Paul Whiteman (1933-1938).
• An accomplished blues singer.
• 1939-1947 - Fronted his own band.
• 1947-1951 - Played with Louis Armstrong's All-Stars.
• Jan. 15, 1964 - Died in New Orleans, Louisiana.
• Hits include "You Rascal You"(Oct., 1931), "Someone Stole Gabriel's Horn"(Sept., 1933)#7, "I've Got It"(May, 1934)#16 and "The Sheik Of Araby"(June, 1939)#14.
• Recommended track - "The Beale Street Blues"(Feb., 1931) by The Charleston Chasers, featuring Benny Goodman, Glenn Miller, Arthur Schutt, Gene Krupa and Teagarden on vocals.

COLEMAN HAWKINS

• See Swing

McKINNEY'S COTTON PICKERS

• Jazz band founded by Bill McKinney in Detroit, Michigan.
• Controlled by Jean Goldkette's management.
• For a time, Billie Holiday's father, guitarist Clarence Holiday was a member.
• Played regularly with Goldkette's band at The Greystone Ballroom in Detroit, Michigan.
• 1928 - Alto saxophonist/arranger Don Redman (1900 - 1964) left Fletcher Henderson to direct the band.
• 1929 - Notable musicians included Coleman Hawkins and Fats Waller.
• 1935 - The exit of Redman and the strain of constant one-nighters caused the band to break up.
• Hits include "Four Or Five Times"(July, 1928), "Milenberg Joys" (Dec., 1928)#17 and "If I Could Be With You One Hour Tonight" (Aug., 1930)#1-2 wks.

A SELECTED LISTING OF OTHER PIONEER JAZZ RECORDINGS

• Tiny Bradshaw & His Orchestra - "The Darktown Strutters' Ball" (Sept., 1934).
• Celestin's Original Tuxedo Jazz Orchestra - "As You Like It"(April, 1927).
• Johnny Dodds' Black Bottom Stompers - "New Orleans Stomp"(April, 1927).
• Monk Hazel & His Bienville Roof Orchestra - "High Society"(Dec., 1928).
• Charlie Johnson & His Orchestra - "The Boy In The Boat"(Sept., 1928).
• Jones & Collins Astoria Hot Eight - "Duet Stomp"(Nov., 1929).
• Harlan Lattimore & His Connie's Inn Orchestra - "Chant Of The Weed" (June, 1932).
• The Little Chocolate Dandies - "Six Or Seven Times"(Sept., 1929) (featuring Fats Waller, Benny Carter and Coleman Hawkins).
• Mills' Ten Black Berries - "Double Check Stomp"(June, 1930).
• New Orleans Owls - "That's A Plenty"(April, 1927).
• New Orleans Rhythm Kings - "Tiger Rag"(Aug., 1922).
• New Orleans Wanderers - "Perdido Street Blues"(July, 1926).
• Jimmie Noone's Apex Club Orchestra - "I Know That You Know"(May, 1928).
• Luis Russell & His Orchestra - "Saratoga Shout"(Jan., 1930).

SYMPHONIC JAZZ

Symphonic jazz was the fusion of heavily orchestrated, structured compositions with jazz elements - simply put, classical jazz. The major early exponents of this hybrid were white dance band leader Paul Whiteman and Tin Pan Alley composer/pianist George Gershwin.

PAUL WHITEMAN

• (March 28, 1890 - Dec. 29, 1967)
• Violinist/composer/bandleader born in Denver, Colorado.
• Nicknamed "Pops" and unrealistically, "The King Of Jazz," Whiteman was the most popular bandleader of the pre-swing era.
• Began as a violinist with the Denver and San Francisco orchestras.
• 1919 - Formed his own orchestra in San Francisco featuring Henry Busse (trumpet player generally associated with his muted style and his great hit, "Hot Lips") and pianist/arranger Ferde Grofe (composer of "The Grand Canyon Suite").
• Technically, his orchestra was a commercial dance band yet it regularly featured many of the most respected jazz virtuosos of the period. He was responsible for the commercial success of legendary artists such as cornetist Bix Beiderbecke, guitarist Eddie Lang and vocalist Bing Crosby.
• Oct., 1920 - His recording of "Whispering" went to #1-11 wks., eventually selling over two and a half million copies. It launched a whole new trend in society dance music.
• Between 1920 and 1954, Whiteman amassed a staggering number of hits.
• 1921 - The Paul Whiteman Orchestra headlined at the famous Palace Theater, a feat never before achieved by an orchestra.
• Feb. 12, 1924 - Whiteman premiered the classic George Gershwin composition, "Rhapsody In Blue"(Oct., 1924)#3 at The Aeolian Hall in New York City. The piece was a unique classical production with distinct jazz overtones.
• 1927 - Began featuring a new vocal trio called The Rhythm Boys (see The Jazz Age) consisting of Al Rinker, Harry Barris and a young jazz crooner named Bing Crosby.
• 1927 - The band roster included jazz greats Bix Beiderbecke, Joe Venuti, Red Nichols and Jimmy and Tommy Dorsey.
• 1930 - A full length movie titled "The King Of Jazz" was built around Whiteman and his orchestra.
• 1943 - Signed on as the musical director for The Blue Network which later became The American Broadcasting Company.
• 1962 - Made his last public appearance.
• Dec. 29, 1967 - Died in Doylestown, Pennsylvania.
• Hits include "The Japanese Sandman"(Nov., 1920)#1-2 wks., "Wang Wang Blues"(Dec., 1920)#1-6 wks., "Stumbling"(July, 1922)#1-6 wks., "Hot Lips"(Sept., 1922)#1-6 wks., "Three O'Clock In The Morning"(Nov., 1922)#1-8 wks., "What'll I Do"(July, 1924)#1-5 wks., "Valencia"(June., 1926)#1-11 wks., "When Day Is Done" (Sept., 1927)#2, "Mississippi Mud"(May, 1928)#6, "Great Day" (Dec., 1929)#1-2 wks., "Body And Soul"(Oct., 1930)#1-6 wks., "Smoke Gets In Your Eyes"(Dec., 1933)#1-6 wks. and "Wagon Wheels" (Feb., 1934)#1.

GEORGE GERSHWIN

• See Tin Pan Alley

THE GREAT JAZZ DANCE BANDS

RED NICHOLS

• Ernest Loring Nichols (May 8, 1895 - June 28, 1965)
• Cornetist/bandleader born in Ogden, Utah.
• Began playing in his father's brass band.
• Oct., 1922 - Recorded with The Syncopatin' Five at the Gennett Studios in Richmond, Indiana.
• 1923 - Travelled to New York City, joining Johnny Johnson's orchestra.
• Played with Paul Whiteman and The Charleston Chasers.
• 1924 - Formed The Five Pennies (actually consisting of 6 to 10 musicians), the pre-eminent exponents of commercial Dixieland jazz. Its line-up at one time or another included Benny Goodman, Glenn Miller, trombonist Miff Mole (Milfred Mole) (1898 - April 29, 1961) and Jimmy Dorsey.
• 1924 - Singer/songwriter Harry Warren debuted with Nichols' band.
• 1926 - Began recording for the Brunswick and Okeh labels. When recording for Columbia, they recorded under Red Nichols And His Five Pennies. When recording for Brunswick, they often called themselves The Charleston Chasers.
• Oct., 1930 - His band was the pit band for the Broadway show, "Girl Crazy."
• In the early 1930's, with the emergence of swing, Nichols disbanded his band. Also his daughter's polio affliction caused him to quit the business to work in a shipyard.
• 1944 - Came out of retirement, became a featured soloist with Pee Wee Hunt and Glen Gray.
• After World War II, re-formed The Five Pennies.
• 1959 - The film, "The Five Pennies" starring Danny Kaye was based on his life.
• 1962 - Went on a State Department tour of 11 countries.
• June 28, 1965 - Died in Las Vegas, Nevada.
• Hits include "Ida Sweet As Apple Cider"(Nov., 1927)#1-3 wks., "Indiana"(Oct., 1929)#19 and "Embraceable You"(Nov., 1930)#2.

BEN POLLACK

• (1904 - June 7, 1971)
• Drummer/singer/bandleader.
• Began as the drummer for The New Orleans Rhythm Kings at The Friars Inn in Chicago, Illinois.
• 1925 - Formed his own band in California, adding 16 year old clarinettist Benny Goodman to his line-up.
• 1926 - Returned to Chicago, playing all the major ballrooms.
• March, 1928 - Opened at The Little Club in New York City.
• Pollack combined true Dixieland jazz with commercial dance orchestrations.
• Pollack's was one of the first large white jazz orchestras and one of the top bands of the pre-swing era.
• Nicknamed "The Father Of Swing."
• Eventually, he lost the band and quit the music business. The remnants became the basis for Bob Crosby's band.
• June 7, 1971 - Committed suicide by hanging himself.
• Hits include "Sweet Sue"(July, 1928)#3, "Yellow Dog Blues"(Aug., 1929)#20, "I've Got Five Dollars"(May, 1931)#19, "The Beat Of My Heart"(March, 1934)#2 and "Sleepy Head"(June, 1934)#13.

JEAN GOLDKETTE

• (1899 - March 24, 1962)
• Pianist/bandleader born in Valenciennes, France.
• 1911 - Came to America to become a concert pianist.
• 1921 - Formed his own band in Detroit, his home base being The Greystone Ballroom.
• Billed as "The Paul Whiteman Of The West," Goldkette's orchestra often featured violinist Joe Venuti, cornetist Bix Beiderbecke and Tommy and Jimmy Dorsey.
• 1926 - Brought his orchestra to The Roseland Ballroom in New York City, creating quite a stir with his fast paced energetic style.
• Goldkette demanded that the final chorus of each number be driven home by full band in blazing style.
• 1927 - Disbanded, with most of his leading personalities joining Paul Whiteman. Goldkette's subsequent bands failed.
• 1939 - Conducted a 90 piece orchestra at Carnegie Hall.
• Unfortunately, his recordings never really conveyed the power and urgency the band displayed live.
• Hits include "Remember"(May, 1925)#6, "Lonesome And Sorry"(Sept., 1926)#14, "Sunday"(Jan., 1927)#11 and "I'm Looking Over A Four Leaf Clover"(May, 1927)#10.
• Other memorable numbers include "My Pretty Girl," "Sunny Disposish," "Clementine" and his spectacular arrangement of "Dinah."

SWEET JAZZ

The "sweet band" moniker was given to the extremely commercial white dance bands. The sounds were smooth, syrupy and easy on the ears - accessible to Middle America, yet these orchestras often featured some of the finest jazz musicians.

GUY LOMBARDO

• Gaetano Lombardo Jr. (June 19, 1902 - Nov. 7, 1977)
• Violinist/bandleader born in London, Ontario, Canada.
• The Lombardo Band featured Guy and brothers Carmen (1903 - April 17, 1971) (saxophonist/vocalist), Lebert (1905 - June 16, 1993) (trumpeter/drummer) and Victor (soprano saxophonist). Their sister Rosemarie also sang with the band for a time.
• 1922 - The band was the main attraction at The Wintergarden in London, Ontario.
• Feb. 18, 1924 - The Lombardo Band moved to Cleveland, Ohio, changing its name to The Royal Canadians.
• Nov. 16, 1927 - Their first radio show, broadcast from Chicago's Granada Inn over station WBBM made the band an overnight sensation.
• 1928 - The band consisted of the 3 Lombardos, 9 Canadians and 6 Americans. The line-up would remain intact well into the 1940's.
• Oct. 3, 1929 - The Royal Canadians moved to New York City.
• Dec. 31, 1929 - The band broadcast its first New Year's Eve radio program on NBC. "Auld Lang Syne" officially became their theme song.
• 1939 - Kenny Gardner joined as vocalist along with Carmen Lombardo.
• The band's motto was "The sweetest music this side of heaven."
• Guy Lombardo & The Royal Canadians became a 20th century institution, selling over 100 million records and introducing 275 original songs.
• April 17, 1971 - Carmen Lombardo, the band's major songwriter died of stomach cancer.
• Nov. 7, 1977 - Guy Lombardo died after open heart surgery.
• Nov. 16, 1978 - The Guy Lombardo Bridge opened in London, Ontario in his honour.
• 1978 - Lebert's son, Bill Lombardo took over as leader.
• June 16, 1993 - Lebert Lombardo died.
• Guy Lombardo's recording of "Auld Lang Syne" remains the definitive nostalgia disc of all time.
• Hits include "Charmaine"(Sept., 1927)#1-7 wks., "Sweethearts On Parade"(Dec., 1928)#1-3 wks., "You're Driving Me Crazy"(Nov., 1930)#1-4 wks., "Paradise"(April, 1932)#1-3 wks., "Stars Fell On Alabama"(Oct., 1934)#1-4 wks., "Boo Hoo"(March, 1937)#1-5 wks., "September In The Rain"(April, 1937)#1-4 wks., "The Band Played On"(April, 1941)#1-2 wks. and "Enjoy Yourself"(Jan., 1950)#10.

FRED WARING'S PENNSYLVANIANS

• Frederick M. Waring (June 9, 1900 - July 19, 1984)
• Bandleader/composer/banjoist born in Tyrone, Pennsylvania.
• Began his career broadcasting in Detroit, Michigan.
• 1916 - With his pianist brother Tom, formed Waring's Banjazzatra.
• Jan., 1923 - Waring's Pennsylvanians were a hit at Sid Grauman's Metropolitan Theatre in Hollywood, California.
• The group played snappy material and dressed up their numbers with precision choreography and visual effects. They became famous for their glee club style and their brightly painted megaphones.
• The band's theme song was "Sleep"(Dec., 1923)#1-5 wks.
• 1933-1942 - Waring retired, making several comebacks during the 1940's and 1950's, later hosting his own TV show.
• 1943 - Recorded his only million seller, "'Twas The Night Before Christmas."
• Featured performers included trumpeter/singer Johnny "Scat" Davis and singers Priscilla and Rosemary Lane.
• July 19, 1984 - Died in State College, Pennsylvania.
• Hits include "Memory Lane"(Aug., 1924)#1-5 wks., "Laugh Clown Laugh"(May., 1928)#1, "Little White Lies"(Aug., 1930)#1-6 wks., "I Found A Million Dollar Baby (In A Five-And-Ten-Cent Store)" (July, 1931)#1-3 wks. and "Holiday For Strings"(April, 1944)#14.

LEO REISMAN

• Leo Frank Reisman (Oct. 11, 1897 - Dec. 18, 1961)
• Violinist/bandleader born in Boston, Massachusetts.
• Famous for accompanying Fred Astaire on several recordings.
• Reisman's orchestra included pianists Eddy Duchin and Johnny Green.
• Mayor Jimmy Walker persuaded Reisman to play New York's Central Park Casino (for $60,000).
• Show tunes and Latin rhythms were his main fortes.
• Reisman was the very first to use blacks in his band, both in the studio and in performance. During the band's heyday, several black artists were featured including trumpet player Bubber Miley and in 1936, the great pianist Teddy Wilson.
• Hits include "The Wedding Of The Painted Doll"(May, 1929)#1-4 wks., "Paradise"(Jan., 1932)#1-6 wks., "Night And Day"(Dec., 1932)#1-10 wks. (with Fred Astaire), "Stormy Weather"(March, 1933)#1-8 wks. and "The Continental"(Oct., 1934)#1-2 wks.

TED WEEMS

• Wilfred Theodore Weymes (Sept. 26, 1901 - Feb. 7, 1969)
• Bandleader/composer born in Tulsa, Oklahoma.
• 1922 - With his trumpeter brother Art, formed his first band.
• 1929 - His band was based in Chicago, Illinois.
• 1936-1942 - His featured vocalist was Perry Como, whose big hit with Weems, "I Wonder Who's Kissing Her Now," recorded in Oct., 1939 was later re-released and became a #2 hit in Aug., 1947.
• The sweet sounding band enjoyed its biggest hit ever with "Heartaches"(March, 1947)#1-13 wks. The recording had been cut in Aug., 1933, never really going anywhere until 14 years later when a Charlotte, North Carolina disc jockey played it as a novelty and the record took off.
• His signature tune was "Out Of The Night."
• 1942 - The band broke up because of military service.
• 1945 - Re-formed his band.
• 1958 - Weems was working as a radio DJ in Memphis, Tennessee.
• 1961 - Formed a new band.
• Hits include "Somebody Stole My Gal"(Feb., 1924)#1-5 wks., "The Man From The South"(Jan., 1930)#1 and "Mickey"(Oct., 1947)#3.

RUDY VALLEE

• See The Jazz Age

TED LEWIS

• See The Jazz Age

GEORGE OLSEN & HIS MUSIC

• See The Jazz Age

ALSO SEE

• Chapter 4: The Jazz Age
• Chapter 5: The Blues
• Chapter 7: Swing
• Chapter 9: The Sing Era
• Chapter 10: Modern Jazz

BIBLIOGRAPHY