http://crooners.tribe.net/thread/08fcd954-b58d-4a6d-adfe-c72512e406ee?format=rss Tribe.net. Local Connections http://crooners.tribe.net/thread/08fcd954-b58d-4a6d-adfe-c72512e406ee#e0c3c86d-392f-4258-be3f-19138474ae6a BIRTHDAYS ------------------------------------------------------------------------ 1913 "Blue Lu" Barker , Vocal, b. New Orleans, LA, USA, d. May 7, 1998, New Orleans, LA, USA. (cancer) né: Louisa Dupont. Her husband was guitarist Danny Barker. MP# BIO: Biography by Eugene Chadbourne Singer Blue Lu Barker was born, raised, and buried in New Orleans; her funeral even turned into a popular video broadcast spotlighting the town's jazz funeral traditions. Like many early Louisiana performing artists, claims to her paralyzing influence over the entire country's jazz and blues scenes tend to be made with great regularity. Thus the tale of Blue Lu Barker is one in which jazz critics on one side of the fence comment on her limited vocal range, while others come up with quotes such as this one, attributed to legendary jazz vocalist Billie Holiday: "Blue Lu Barker was my biggest influence." In both the '30s and '40s she was one of the more popular blues performers, often appearing alongside artists such as Cab Calloway and Jelly Roll Morton. Sometimes it was her husband, musician Danny Barker, who opened the doors to musical groups such as Sidney Bechet's, but no bandleader ever tossed her offstage when she clambered up for a vocal, especially once she started cutting hit records. Barker's most famous recordings were done in 1938. "Don't You Feel My Leg" was a well-crafted song that seemed to encourage promiscuity and restraint simultaneously, always a good thing for the music business. The song got a second round of popularity in the '80s courtesy of Maria Muldaur. The early Barker material features her husband on banjo and guitar and the couple would continue performing together until his death. Her career continued after that, all the way up to a last recording taped live in 1998 at the New Orleans Jazz and Heritage Festival. That's unless the video of her funeral is counted, as her presence is majestic enough to almost be considered a performance. Players who are still alive and jamming at this event include the majestic Big Al Carson on tuba.__Barker was born Louisa Dupont Barker and her father ran a grocery store and pool hall, cashing in big time during prohibition with a stock of bootleg liquor. At 13, she left school and married Barker. In 1930 the couple moved to New York, hooking up a variety of performing situations including the contact with Morton. At the 1938 Vocalion session during which she cut her first vocals, the producer checked her out and came up with the Blue Lu Barker stage name. The couple were contracted to Decca in the '30s and the Apollo label the following decade, joining a roster at the latter label that included rhythm & blues and jazz greats such as Wynonie Harris, Dinah Washington, and Luis Russell. One of the couple's Apollo sessions even featured a jam with the mighty Charlie Parker. Blue Lu Barker was inducted into the Louisiana Blues Hall of Fame in 1997, one year before she died. ------------------------------------------------------------------------ 1912 Ted Donnelly , Trombone, b. Oklahoma City, OK, USA. d. 1958 Biography by Eugene Chadbourne Lovers of music and food sometimes play a game in which players whose names have edible associations are combined in order to create a musical banquet of the mind. Adding Ted "Muttonleg" Donnelly to any such list might be the difference between a full meal and a snack . The man's involvement with classic big band music is fully of the former variety. For many nights he ate at the smorgasbord of Andy Kirk's creative__ensembles, and an equally long stretch of noshing at the Count Basie buffet followed. As a result of both bandleaders' efforts, the trombonist's discography stacks high, many classic pancakes.__Those within earshot of Donnelly when he began playing violin at the age of eight might not have predicted that such manna would be his simply from playing an instrument. He spent four years bowing and plucking before switching to the trombone, getting his first professional job in the George E. Lee ensemble. By 1934 the trombonist was working with Tommy Douglas. The Kirk period begins in 1936 and stretches some seven years, coincidentally about the same length of time he would stay with Basie starting in late 1943. __A theory of a seven year itch with this trombonist might thus emerge and is only slightly tarnished by the fact that he spent only six years with Erskine Hawkins beginning in 1951--pretty much his last collaboration before his death. Other Donnelly accomplishments include a U.S.O. tour with bandleader Al Sears during the second World War and a stint with tenor saxophonist Illinois Jacquet that lasted far, far less than seven years. ------------------------------------------------------------------------ 1931 Sonny Fisher , (Rockabilly) vocals, b. Tyler, TX, USA. Biography "The Wild Man from Texas," rockabilly cat Sonny Fisher recorded a series of little-heard but incendiary singles for the Starday label during the mid-1950s, finally winning acclaim from European audiences close to a quarter century later. Born Therman Fisher on a farm outside Chandler, Texas on November 13, 1931, he grew up in Tacoma, Washington but eventually returned to the Houston area--first drawn to music by his father, an amateur singer and guitarist, the adolescent Fisher also favored Hank Williams, Roy Acuff and Ernest Tubb. Fisher formed his own country band in 1951, assembling fiddler Paul Vaughan, steel guitarist Red Leonie, bassist Leonard Curry and drummer Darrell Newsome--with the addition of electric guitarist Joey Long, the group began incorporating R&B covers into its repertoire, and after Fisher witnessed Elvis Presley's late 1954 appearance at Houston's Texas Korral, he steered his music fully in the direction of rockabilly, sacking Vaughan and Leonie while dubbing the remaining trio the Rocking Boys. ------------------------------------------------------------------------ 1915 Jack Guthrie , singer/songwriter, b. Olive, OK, USA. Woody Guthrie's cousin. MP3 BIO: Biography by Bruce Eder If Jack Guthrie is remembered at all today, it is as the cousin of Woody Guthrie, but in his own lifetime, Jack was far more commercially successful than Woody ever was while he was alive. He was one of the most important and influential country singers of the mid-'40s, and only his early death from tuberculosis prevented his legacy from being better known to the generations since. __Guthrie was born in Olive, OK, in 1915, the son of a blacksmith who also played the fiddle in his spare time. The family led a somewhat mobile existence in the area around Texas and Oklahoma, and Guthrie had little chance to put down deep roots. His main interests as a boy included roping and trick riding, at which he became very good. He also listened to his father's playing and the music of Jimmie Rodgers, and some sources indicate that he was taught guitar by Gene Autry in the years before Autry became a recording star. __The family had little to hold them in Oklahoma during the Dust Bowl era and eventually migrated to California, where they settled in the area around Sacramento. He performed in rodeos and was employed by the National Forest Service through the Works Progress Administration. In 1934, he married Ruth Henderson, and the two worked together for a time in an act together, in which he would use his skills with a bullwhip to snap cigarettes out of her mouth. By most accounts, the marriage was a lasting one, though not always happy, and the two spent a fair amount of time living apart from one another. __Woody's arrival in California three years later gave the cousins the opportunity to team up. Their act was heard on radio during the summer of 1937, under the name The Oklahoman and Woody Show. It was a success in terms of listener response and fan mail, but it paid no money, and the boost it generated for their club performances wasn't sufficient to provide either man with a living. The partnership broke up when Jack took a job in construction to earn more money and Woody found a new partner, Maxine ("Lefty Lou") Crissman, although Jack continued to appear occasionally with the duo. By 1939, Woody had headed to New York, where he first hooked up with the organized Left and political singers like Pete Seeger, and began the main body of his musical career. Jack stayed in California and continued to play before live audiences in bars and other local venues whenever he could, and one of the songs that he picked up was a Woody original, "Oklahoma Hills." Jack made some changes and refinements in his cousin's song, effectively earning a co-authorship credit. At that time, California was populated by many thousands of transplanted Oklahomans, and Jack became well known for his version of "Oklahoma Hills." __Guthrie became a well-known figure in the clubs around Los Angeles, where his brand of dance music was extremely popular and his flamboyance made him a memorable figure -- at rodeos, he was known for leaving the band and doing some trick riding during a set. By 1944, he was more than ready to begin recording. With the encouragement of Maxine Crissman's sister Mary Ruth, he approached Capitol Records, and she also put up the money for the demo record that he used to get in the door, "Oklahoma Hills." He recruited a band from among acquaintances, did the demo, and went to Capitol. __In 1944, Capitol Records -- which had only been founded four years earlier -- had begun a new cycle of signing country and blues artists, which included Leadbelly and Merle Travis. Jack Guthrie was one of the new signings, in what turned out to be a seven-year contract. He made his Capitol recording debut in October of 1944 with "Oklahoma Hills," with a backing band called the Oklahomans, consisting of Porky Freedman (lead guitar), Red Murrell (rhythm guitar), Cliffie Stone (bass), and Billy Hughes (fiddle) -- he cut the B-side "I'm Brandin My Darlin' With My Heart" and a cover of an Ernest Tubb number, "Careless Darlin'," at the same session on October 16, 1944. Nine days later, Guthrie had a second recording session that yielded four more songs, including his version of Jimmie Rodgers' "When the Cactus Is in Bloom," a number that highlighted Guthrie's yodeling ability. "Oklahoma Hills" was released early in 1945 and rose to number one on the country charts, spending six weeks in that spot. __Before the song was even released, however, Guthrie had been drafted and was serving in the Pacific, stationed as an entertainer in Special Services on Iwo Jima. He was unable to do anything about his record's success, and this led to decisions that would ultimately have tragic consequences. Desperate to return to the United States so he could resume recording, Guthrie signed up for an additional year's enlistment in Special Services in exchange to being sent stateside. He returned to the United States in the first days of 1946 and tried to resume his performing career while still in uniform. He was stationed at Fort Lewis, WA, began playing with Buck Ritchey and His K-6 Wranglers in Tacoma, and returned to Capitol on January 29, 1946, for his first recording sessions since October of 1944. His personal appearances were so popular that a publisher felt confident enough to issue a Guthrie songbook that proved very popular locally. __In early 1946, just as he was resuming his career, Guthrie's weight began dropping rapidly, and a civilian doctor diagnosed his problem as tuberculosis. He was immediately released from the army, and had he used this chance to convalesce, it is possible that Guthrie might have made a full recovery. Instead, never believing his ailment to be a serious case of the disease, he kept working, organizing a new band and going out of the road. __And the irony was that he was on his way to stardom. "Oklahoma Hills" brought Guthrie to the attention of Ernest Tubb, who got Guthrie a gig on the Grand Ole Opry and toured with him for two weeks, during which they became good friends. Guthrie's band, which was later inherited by T. Texas Tyler, was a success, though by the time they were back in California in the spring of 1946, his health had begun to deteriorate further. Advised to lay off for a year and go into a sanitarium, he instead insisted on pushing himself to take advantage of the success he had found. Moreover, he never gave up the smoking or drinking that further taxed his system. Guthrie continued recording and performing every chance that he could, and he even turned up in the movie Hollywood Barn Dance, singing "Okie Boogie." He signed a contract that summer to do a movie with cowboy B-movie star Russell Hayden, but it never happened. By the spring of 1947, he weighed less than a hundred pounds, and that summer he entered a veterans hospital near Sacramento and was informed by the doctors that the prognosis was terminal. __This did nothing to slow him down. In fact, the result was the opposite -- as all of Guthrie's records were selling and Capitol wanted every side that they could get out of him, he became a willing participant in this musical death march, seeing this as his best chance to leave a lasting legacy. Guthrie's attitude had always been that if he was going to die anyway, that he should make the most of the time he did have. __Additionally, although it sounds grisly in retrospect, the dedication was justified. Even in the songs from Guthrie's later sessions, there is a compelling quality to the music. His easygoing manner, his way with a phrase, and his studio band's virtuosity leave the listener wanting to hear more. The play of the words and music are startling in their attractiveness, and there's hardly a weak number in his output, despite the conditions under which most of it was recorded. __Guthrie continued to record, despite being so weak that his wife had to set up a bed for him in the back of their car when he traveled anywhere. At his final sessions, he had to be transported in an ambulance, and he had to lie down and sleep between songs to regain what strength he still had. He finally amassed a body of more than 30 songs, in addition to radio transcription discs intended for broadcast. Guthrie lingered into the first weeks of 1948 and finally died in a sanitarium on January 15 of that year. Ironically, his records continued to sell for years after his death and remained in print, sometimes in redubbed form with extra instruments added. Meanwhile, Woody's reputation as an author of topical and political songs grew in the folk community; the folk music boom of the late '50s and early '60s and the rise of such figures as Bob Dylan, who freely traded on Woody's image and legacy in his early days, eventually eclipsed the memory and reputation of his cousin, at least in the popular culture. __In 1966, Capitol rather belatedly released an LP collection, Jack Guthrie's Greatest Songs. It helped keep Guthrie's legacy before the public, but it was Arlo Guthrie, Woody's son and Jack's nephew -- and the first member of the Guthrie family since Jack to achieve mass popularity and sell large numbers of records to the public in his own musical prime -- who played just as large a role, continuing to perform and record his uncle's music into the 1970s. ------------------------------------------------------------------------ 1928 Hampton Hawes , Piano, b. Los Angeles, CA, USA. d. 1977 mp3 bio; Biography by Scott Yanow Hampton Hawes was one of the finest jazz pianists of the 1950s, a fixture on the Los Angeles scene who brought his own interpretations to the dominant Bud Powell style. In the mid- to late '40s, he played with Sonny Criss, Dexter Gordon, and Wardell Gray, among others on Central Avenue. He was with Howard McGhee's band (1950-1951), played with Shorty Rogers and the Lighthouse All-Stars, served in the Army (1952-1954), and then led trios in the L.A. area, recording many albums for Contemporary. Arrested for heroin possession in 1958, Hawes spent five years in prison until he was pardoned by President Kennedy. He led trios for the remainder of his life, using electric piano (which disturbed his longtime fans) for a period in the early to mid-'70s, but returned to acoustic piano before dying from a stroke in 1977. Hampton Hawes' memoirs, Raise Up Off Me (1974), are both frank and memorable, and most of his records (for Xanadu, Prestige, Savoy, Contemporary, Black Lion, and Freedom) are currently available. ------------------------------------------------------------------------ 1927 Dolores Hawkins , vocalist, sang with Gene Krupa. d. 1987 ------------------------------------------------------------------------ 1919 John LaTouche , lyricist/writer, b. Richmond, VA, USA. d. Aug. 7, 1956, Calais, VT, USA. (Heart Attack). né: John Treville LaTouche. Was the lyricist who worked on the show 1943 "Cabin In The Sky" and the 1946 film "Dreams that Money Can Buy". One of his best remembered songs is "Taking A Chance On Love". John La Touche From Wikipedia, the free encyclopedia (Redirected from John Treville Latouche) Jump to: navigation, search This article is about the American musical lyricist. For the UK Member of Parliament see John La Touche (politician). John Treville Latouche (November 13, 1914 in Richmond, Virginia – August 7, 1956 in Calais, Vermont) was a musician and writer. Born in Baltimore, Maryland, Latouche's family moved to Richmond, Virginia when he was four months old. Much of his work included Rabelaisan humor and was therefore often censored or protested. He attended Columbia University but never graduated. In 1937 he had two songs in the revue, "Pins and Needles" and in 1939 for the show "Sing For Your Supper" he did the lyrics for "Ballad for Uncle Sam," later retitled "Ballad for Americans" with music by Earl Robinson. It was featured at both the 1939 Republican Convention and the convention of the American Communist Party. Most famously, he wrote the Ballad for Americans that was extremely popular in 1940s America. This 13-minute cantata to American democracy was written for a soloist and as well as a full orchestra. The music was written by Earl Robinson. When performed on the CBS radio network by singer Paul Robeson, it became a national success. Subsequently, both Robeson and Bing Crosby regularly performed it. He provided the lyrics for Vernon Duke's "Cabin in the Sky" (1940) and "Banjo Eyes" which starred Eddie Cantor (1941). He wrote the book and lyrics for "The Golden Apple" in 1954 with music by Jerome Moross. For Leonard Bernstein's "Candide" he provided additional lyrics in 1955. He was a protégé of James Branch Cabell and friends with writer Jack Woodford. Latouche dated Louella Woodford when they were both teenagers. Latouche died of a sudden heart attack at his Calais, Vermont home at the age of 41. BIO: http://www.google.com/url?sa=U&start=1&q=http://www.babydoe.org/latouche.htm&e=14905&ei=KPxXRbDiEYr-gwO0yvWADw&usg=__rVmO39s8D9DEQHTwwfWvCdI7z7Y= ------------------------------------------------------------------------ 1900 Gerald Marks , Composer, b. Saginaw, MI, USA. d. Jan. 27, 1997. Composed "All of Me" and "Is It True What They Say About Dixie". Self-taught Pianist who began writing songs in the 1920s for Broadway and later for Hollywood. He composed "All I Want For Christmas" for Shirley Temple (1936 film: Stowaway). MP3 Bio: Biography by Steve Huey Tin Pan Alley composer Gerald Marks is best known for co-writing the standard "All of Me," the biggest of his more than 400 published songs. Marks was born in Saginaw, MI, on October 13, 1900, taught himself to play the piano, and first saw one of his compositions performed publicly at the age of 11, by the local orchestra. He later dropped out of school and made his way to New York to become a professional songwriter. In 1931, he teamed up with lyricist Seymour Simons to write "All of Me"; both Louis Armstrong and Paul Whiteman had hits with the song the following year, and countless other jazz and pop artists recorded their own versions, including Frank Sinatra, Count Basie, Billie Holiday, Duke Ellington, Sarah Vaughan, Dinah Washington, and (much later) Willie Nelson. One of Marks' biggest later successes was 1936's "Is It True What They Say About Dixie?," written with lyricists Irving Caesar and Sammy Lerner for Al Jolson; it became a hit for both Jimmy Dorsey and Rudy Vallée. That same year, Marks also contributed "That's What I Want for Christmas" to the Shirley Temple film Stowaway. Other Marks collaborations with Lerner and Caesar included "Old Susannah, Dust Off That Piana" and "I Don't Know You, but You're Beautiful." In addition to writing songs for movies and musicals, Marks wrote music for campaigns related to children's safety and government war bonds, led his own orchestra for a time, and served on the board of the Songwriters' Hall of Fame. Later in life, he frequently lectured on his experiences in Tin Pan Alley, retiring in 1991. He passed away on January 27, 1997. Songwriters Hall of fame bio; http://www.songwritershalloffame.org/award_recipient_detail.asp?ceremonyId=12&awardRecipientId=92 more; http://nfo.net/cal/tm1.html#GMarks ------------------------------------------------------------------------ 1894 Howard McFarlane , Trumpet, b. London, England, d. March 6, 1983 London, England, U.K. In 1919, he was working in 'Pit' bands of London's film theaters. He next joined Alex Hyde's band, which toured Germany in 1924. While in Germany, Hyde also recorded (for example: Vox 01622 "Mama Loves Papa, Papa Loves Mama"). While still on the Continent, Hyde disbanded, and Howard remained in Germany, where he found work playing and recording during 1924-'26 with the Bernard Etté Orchestra . During 1926-'27, he made some hot jazz recordings leading his own small groups. During the 1925-'32 period, he also played with violinist Dajos Béla's orchestra, and others. In 1933-4, he returned to England where he worked with trumpeter Jack Jackson band, then rejoined Bela for a 1935-'37 tour to Argentina. During 1937-'40, he wasagain touring Europe and from 1940 to 1957 (his retirement), he worked as one of the sidemen in the BBC Dance Orchestra. ----------------------------------------------------------------------- 1894 Benjamin "Bennie" Moten , Piano/Leader, b. Kansas City, MO, USA. d. April 2, 1935. This fine pianist was already leading his own orchestra by 1920, a band that would serve as a 'launching' platform for many future stars such as Eddie Durham, "Count" Basie, Jimmy Rushing, Ben Webster, Walter Page, Lester Young, and Oran "Hot lips" Page, and others. Moten's tragic death occurred during a tonsilectomy when the surgeon's knife slipped and severed his jugular vein. After his death, "Count" Basie became Leader. MP3 bio; Biography by Scott Yanow Bennie Moten is today best-remembered as the leader of a band that partly became the nucelus of the original Count Basie Orchestra, but Moten deserves better. He was a fine ragtime-oriented pianist who led the top territory band of the 1920s, an orchestra that really set the standard for Kansas City jazz. In fact it was so dominant that Moten was able to swallow up some of his competitors' groups including Walter Page's Blue Devils, most of whom eventually became members of Moten's big band. Moten formed his group (originally a sextet) in 1922 and the following year they made their first recordings. Among Moten's 1923-25 sides for Okeh was the original version of his greatest hit "South." During 1926-32 Moten's Orchestra recorded for Victor and, although none of his original musicians became famous, the later additions included his brother Buster on occasional jazz accordion, Harlan Leonard, Jack Washington, Eddie Durham, Jimmy Rushing, Hot Lips Page and (starting in 1929) Count Basie. So impressed was Moten by Basie's playing that Count assumed the piano chair for recordings from that point on (although in clubs Moten would generally play a feature or two). The most famous Bennie Moten recording session was also his last, ten songs cut on December 13, 1932 that find the ensemble strongly resembling Basie's five years later. In addition to Hot Lips Page, Durham, Washington and Basie, the band at that point also starred Ben Webster, Eddie Barefield and Walter Page and one of the highpoints was the debut of "Moten Swing."__Tragically Bennie Moten died in 1935 from a botched tonsillectomy operation. Buster Moten briefly took over the band, but many of its top members (along with some important additions like Lester Young) eventually gravitated towards Count Basie. RHJ Bio; http://www.redhotjazz.com/moten.html Bennie Moten: http://www.jass.com/Ben/ben.review.html Bennie Moten at Club Kaycee: http://web1.umkc.edu/orgs/kcjazz/jazzfolk/moteb_00.htm http://www.vh1.com/artists/az/moten_bennie/bio.jhtml ------------------------------------------------------------------------ 1932 Meg Myles , vocals, b. Seattle, WA. USA. née: Billie Jean Jones. In the 1950s, Meg was a popular men's magazine model and pinup girl. As an actress, she was seen in a TV soap opera, but is perhaps best known today for her starring role in the cult B-movie, 'Satan in High Heels' Her singing career consists of a couple of LPs, 'At the Living Room', and one with Jimmie Rowles, 'Meg and Me'. Biography by Bruce Eder Meg Myles is best known as one of the more adored pin-up models of the 1950's and early 1960's, and as a serious stage actress with some notable film credits -- she also was a good enough singer to enjoy recording contracts with three major labels during the 1950's and early 1960's. Born Billie Jean Jones in Seattle, Washington, she took dance lessons as a girl and was determined to try for a career in show business, later majoring in dance and health ed at the College of the Pacific. Her extraordinary physique led to her discovery by a talent agent and parts on television shows with Bob Hope, among other stars.__Her acting and performing skills improved during the early/middle-1950's as her experience broadened to include singing in nightclubs. She was still cast largely on the basis of her physique, which was impressive enough to make her a favorite of men's magazines of the era, but did include a musical thrust -- in the 1954 feature Dragnet, she did a cameo as a Cuban singer, and a larger appearance in Phil Karlson's fact-based feature The Phenix City Story (1955), in which she sang the title song. She'd already made some records for the Sunset label in 1954 and 1955, but her second movie appearance led to a__national tour promoting the movie and "Phenix City Blues" and the release of the single by Capitol Records, which signed Myles to a contract. Although her records never sold in huge numbers, they proved a useful adjunct to her modeling and acting career as good efforts that proved that her talent ran deeper than her measurements -- even as she was being compared to Jayne Mansfield, the records provided tangible proof that there was some serious talent there. In 1957, Liberty Records picked up Myles' last Capitol sides for release; that same year, she appeared in the movie Calypso Heat Wave (which also included Joel Grey, the Treniers, the Tarriers, the Hi-Lo's and Maya Angelou), in a straight acting role. She also became a regular on Steve Allen's television series, where she was featured as a singer.__Allen's interest and exposure of her talents led Liberty Records to record Myles' first LP, Just Meg and Me, in which she was joined by Benny Goodman/Tommy Dorsey alumnus and Billie Holiday accompanist Jimmy Rowles, doing songs such as "You Made Me Love You", "More Than You Know", and "I Wanna Be Loved". Tiara Records also released a budget-priced LP of her early Sunset sides in 1958, entitled Passion In Paris. In 1961, she appeared in the movie Satan In High Heels, in which she sang "You Walked Out Of My Life" and one other song. By this time, she was performing regularly__at some of New York's best clubs, often accompanied by an early incarnation of the Ramsey Lewis Trio, and she recorded Meg Myles At The Living Room for Mercury Records with producer Quincy Jones. Alas, this was to be the end of her recording career, however -- as the 1960's wore on, her brand of music became less potentially commercial, and by the middle of the decade she was largely working as an actress on stage and screen, performing at the New York Shakespeare Festival and in numerous successful movies, including Coogen's Bluff and The Anderson Tapes. She did re-emerge as a singer briefly in the early 1990's in an AIDS benefit performance, doing music by Harold Arlen. BIO: http://www.javasbachelorpad.com/megmyles.html ------------------------------------------------------------------------ 1912 Singleton Palmer , Bass/Tuba, b. St.Louis, MO, USA. MP3 bio; BIOGRAPHY Providing a hearty bottom for many bands on either bass or tuba, this early jazz player remained on the St. Louis music scene his whole life. He first gained notoriety performing and recording on tuba with cornetist and singer Oliver Cobb beginning in the late '20s, including four sides that were cut for Paramount and Brunswick featuring the leader's attempts at sounding like Louis Armstrong. Palmer played bass with pianist Eddie Johnson for a three-year stretch beginning in 1931. Following this he had a longstanding gig with trumpeter Dewey Jackson through 1941. He then hooked up with another Midwest trumpeter, George Hudson, an early member of Sun Ra bands as well as a regular sideman of singer Dinah Washington. Palmer performed with Hudson off and on through 1948. During the late '40s, Palmer began picking up gigs with jazz names on more of a national level. He recorded with the mumbling trumpeter Clark Terry in 1947, then hopped on the night train of forceful tenor saxophonist Jimmy Forrest the next year. This led to a stint with one of the ultimate jazz big bands, Count Basie. Palmer also recorded as a bassist with several blues artists, most noticeably the cantankerous Big Joe Williams as well as harmonica snorting Sonny Boy Williamson I. He left Basie in 1950 to start up his own group, the Dixieland Six, also featuring trombonist Robert Carter, an alumni of the Duke Ellington band. This combo gigged regularly in St. Louis into the '80s and was the main local group keeping the flame burning for the Dixieland jazz style. He was one of a group of veteran jazz players from this city that recorded oral history material for the University of Missouri. Because of his constant activities on the St. Louis jazz scene, examples of his bands turn up on several different compilations that focus on this city's history of swinging sounds. Chicago jazz band the Dixieland Stompers recorded a tribute to Palmer, Blues for Singleton Palmer, for the Delmark label back in the '50s. ~ Eugene Chadbourne, All Music Guide ------------------------------------------------------------------------ 1914 Ernest James "Jim" Riley , piano/vibes/banjo/arranger, b: Fremantle, WA, USA. Played With: Frank Coughlan; Ron Moyle 1937-38; Ken Murdoch; Merv Rowston; Swing Five; Except nine months in England with Nat Gonella and Charlie Lees ------------------------------------------------------------------------ 1915 Clement Tervalon , bass/tuba, b: New Orleans, LA, USA. d: Dec. 2, 1989, New Orleans, LA. Played with Bessie Smith on the vaudeville circuit. ------------------------------------------------------------------------ Notable Events on this date include: ------------------------------------------------------------------------ 1937. NBC introduced the very first full-sized symphony orchestra formed exclusively for radio broadcast. 1966. "Washboard Sam", washboard, died in Chicago, IL, USA. Age: 56. aka "Ham Gravy", he was the illegitimate son of Frank Broonzy, the same man who fathered bluesman Big Bill Broonzy, who frequently worked with his half (?)-brother. : ( 1973. Jerry Lee Lewis Jr. died. 1996. Bill Doggett, C&W star, died. Age: 80 2003. Ray Harris, (Rockabilly) vocalist, died. (b. Sept. 7, 1927) ------------------------------------------------------------------------ Songs Recorded/Released this date include: ------------------------------------------------------------------------ 1924 “Some Of These Days”, Vocal refrain by C.A. Coon and J.L. Sanders - Coon Sanders Nighthawks Orchestra LISTEN: http://www.redhotjazz.com/songs/coon/sotdays.ram 1924 “Boxcar Blues”, - Faye Barnes / Maggie Jones LISTEN: http://www.redhotjazz.com/songs/maggiejones/boxcarblues.ram 1924 “Western Union Blues”, - Faye Barnes / Maggie Jones LISTEN: http://www.redhotjazz.com/songs/maggiejones/westernunionblues.ram 1925 “I Never Knew’, - (Ted Forito / Gus Kahn) - Art Landry and His Orchestra LISTEN: http://www.redhotjazz.com/Songs/kahn/INeverNewVic19845-B.ram 1925 “I'm Sitting On Top Of The World (Just Rolling Along - Just Rolling Along’, - Art Landry and His Orchestra LISTEN: http://www.redhotjazz.com/Songs/kahn/imsittingontop.ram 1925 “What Could Be Sweeter Than You ?’, - Art Landry and His Orchestra LISTEN: http://www.redhotjazz.com/Songs/landry/whatcouldbe.ram 1925 “Don't Wait Too Long”, Vocal Chorus by Arthur Fields - Bailey's Lucky Seven LISTEN: http://www.redhotjazz.com/Songs/lucky7/dontwait.ram 1925 “I Wonder Where My Baby Is Tonight?” - Bailey's Lucky Seven LISTEN: http://www.redhotjazz.com/Songs/lucky7/iwonderwheremybaby.ram 1927 “Police Blues”. - Lizzie Miles LISTEN: http://www.redhotjazz.com/songs/miles/policeblues.ram 1927 “When You Get Tired Of Your New Sweetie”. - Lizzie Miles LISTEN: http://www.redhotjazz.com/songs/miles/whenyougettired.ram 1929 “Mint Julep”, - Jelly Roll Morton's Red Hot Peppers LISTEN: http://www.redhotjazz.com/songs/morton/redhot/MintJulep.ram 1929 “Jersey Joe”, - Jelly Roll Morton's Red Hot Peppers LISTEN: http://www.redhotjazz.com/songs/morton/redhot/jerseyjoe1.ram 1929 “Mississippi Mildred”, - Jelly Roll Morton's Red Hot Peppers LISTEN: http://www.redhotjazz.com/songs/morton/redhot/MississippiMildred1.ram 1935 “Moonburn”, (Hoagy Carmichael) - Joe Sullivan Trio LISTEN: http://www.redhotjazz.com/Songs/sullivan/moonburn.ram 1961 "Tonight", Ferrante & Teicher 1965 "Make The World Go Away", Arnold, Eddy 1965 "I Will", Martin, Dean 1971 "Cherish", Cassidy, David 1971 "Family Affair", Sly & The Family Stone 1982 "Rock The Casbah", Clash ------------------------------------------------------------------------ LYRICS: ------------------------------------------------------------------------ I'm sitting on top of the world ~Lyric by Lewis and Young ~Music by Ray Henderson I'm sitting on top of the world, Just rolling along, just rolling along. I'm quitting the blues of the world, Just singing a song, just singing a song. Glory, hallelujah, I just phoned the parson, "Hey, Par, get ready to call!" Just like humpty dumpty, I'm ready to fall. i'm sitting on top of the world, Just rolling along, just rolling along. I'm quitting the blues of the world, Just singing a song, just singing a song. Cherish ~David Cassidy Cherish is the word I use to describe All the feeling that I have Hiding here for you inside You don't know how many times I wished that I had told you You don't know how many times I wished that I could hold you You don't know how many times I've wished that I could mold you into someone Who could cherish me as much as I cherish you Perish is the word that more than applies To the hope in my heart each time I realize That I am not going to be the one To share your dreams That I am not going to be the one To share your schemes That I am not going to be the one To share what seems to be the life That you could cherish me as much as I do yours Oh, I'm beginning to think That man has never found The words that could make you want me That have the right amount of letters Just the right sound That could make you hear Make you see That you're driving me out of my mind Oh I could say I need you But then you'd realize that I want you Just like a thousand other guys Who say they'd love you With all the rest of their lives When all they wanted was to Touch your face, your hands And gaze into your eyes Cherish is the word I use to describe All the feeling that I have hiding here for you inside You don't know how many times I wished that I had told you You don't know how many times I wished that I could hold you You don't know how many times I wished that I could mold you into someone That could cherish me as much as I cherish you And I do Cherish you And I do I cherish you Yes I do I cherish you Mon, 13 Nov 2006 05:48:48 GMT http://crooners.tribe.net/thread/08fcd954-b58d-4a6d-adfe-c72512e406ee#e0c3c86d-392f-4258-be3f-19138474ae6a Confetta 2006-11-13T05:48:48Z