SPOTLIGHT for JANUARY 25TH:


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*BIRTHDAYS*
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1919 Reg Arnold, (Jazz) Trumpet/cornet, b. England, d. Jan. 15, 1963
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1891 Wellman Braud, Bass, b. St. James Parrish, LA, USA. d. Oct. 29, 1966, Los Angeles, CA, USA. The original spelling of his family name "Breaux". Sometime after 1904, while still in his 'teens, Braud was in New Orleans where he played the violin and bass fiddle, and even led his own trio in the 'Storyville' district. In 1917, when the U. S. entered WWi, and the U.S.Army closed the "red light" district, he, and a great many other New Orleans Jazzmen relocated to Chicago, IL. In 1923, he was doubling on bass and trombone as a member of the Plantation Orchestra that toured to London, England. On his return to the U.S., he first found work with Wilber Sweatman's orchestra in New York city, and then became a part of Duke Ellington's band. Braud's "Walking Bass" and his "Slap" style of playing the bass greatly distinguished Ellington's band during the late 1920s and early 1930s. It is not well recalled today, but we must credit Braud's style with bringing about the change from using a Brass Bass (tuba) to using a String Bass with modern orchestras. (But do remember that Braud did play the Brass bass, and even recorded playing it, with Ellington's band.) It should also be remembered that Braud was not "slap" bassist. George "Pops" Foster (1892-1969), a very creative musician, used the "Slap" style to drive the Luis Russell and Louis Armstrong bands. Another bassist, Al Morgan (1908-1974), also help greatly to popularize the "slap" style. (This writer urges readers to hear Morgan on the "Jones & Collins Astoria Hot 8" recordings ("Astoria Strut", and "Duet Stomp"). It should also be noted that "slap" style bass playing predates the recording process. Steve Brown, the New Orleans Rhythm Kings bassist played a 'slap' style bass, and when he left the NORK, his replacement, "Chink" Martin Abraham also played a "slap" style bass (although he best recalled today as a fine tuba player). And, there are others, too. In the early 1930s, Morgan's 'slap' bass helped to power the Cab Calloway orchestra. One of his routines can still be seen in reruns of the W. C. Field's film, 'International House'. In 1936 Braud and clarinetist Jimmie Noone co-managed the short-lived 'Vodvil Club' in Harlem club. When the club closed (the world was in the throes of a severe economic depression), he formed "The Spirits of Rhythm". Subsequently, Braud played with other New York bands including those of trumpeter "Hot Lips" Page, Kaiser Marshall, and another old New Orleans Jazzman, Sidney Bechet. In 1954, he rejoined Ellington. In 1956, he joined the another of his old New Orleans buddies, "tailgate trombonist" Kid Ory, remaining with Ory for some years.
Biography
by Scott Yanow
One of the top string bassists of the 1920s, Wellman Braud was the first of the great Duke Ellington bass players, a tradition that would later include Jimmy Blanton, Oscar Pettiford, and even Charles Mingus. Braud grew up playing music in New Orleans, occasionally switching to guitar or drums. By the time he moved to Chicago in 1917, Braud was strictly a bassist. He was with Charlie Elgar (1920-1922) and toured Europe with Will Vodery's Plantation Revue before freelancing to New York. Braud became a key member of Duke Ellington's Orchestra (1927-1935), and his well-recorded bass (his only close competitor on his instrument during the period was Pops Foster) really drove the band during their many records. After leaving Ellington, Braud played with the Spirits of Rhythm (1935-1937) before forming his own trio. He recorded with Jelly Roll Morton (1939-1940) and Sidney Bechet (1940-1941), but opened a poolroom in New York in 1940, and thereafter became a part-time player. Among his later musical experiences were reunions with Duke Ellington (1944 and 1961), and stints with Bunk Johnson (1947) and Kid Ory's Creole Jazz Band (1956).
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1925 Barbara Carroll, Piano/vocal, b. Worcester, MA, USA.
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1899 "Sleepy John" Estes, Blues Vocals, b. (near) Ripley, TN, USA. d. June 5, 1977, Brownsville, TN, USA (stroke).
Biography
by Barry Lee Pearson
Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the houseparty circuit in and around Brownsville in the early '20s. Forty years later, the same team reunited to record for Delmark and play the festival circuit. Never an outstanding guitarist, Estes relied on his expressive voice to carry his music, and the recordings he made from 1929 on have enormous appeal and remain remarkably accessible today.
Despite the fact that he worked to mixed Black and White audiences in string band, jug band, or medicine show format, his music retains a distinct ethnicity and has a particularly plaintive sound. Astonishingly, he recorded during six decades for Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark, and others. Over the course of his career, his music remained simple yet powerful, and despite his sojourns to Memphis or Chicago he retained a traditional down-home sound. Some of his songs are deeply personal statements about his community and life, such as "Lawyer Clark" or "Floating Bridge." Other compositions have universal appeal ("Drop Down Mama" or "Someday Baby") and went on to become mainstays in the repertoires of countless musicians. One of the true masters of his idiom, he lived in poverty, yet was somehow capable of turning his experiences and the conditions of his life into compelling art.
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1929 Benny Golson, Tenor Sax/composer/arranger, b. Philadelphia, PA, USA. Attended Howard University (1947-50) after which he joined (1951) Bull Moose Jackson's band (Tadd Dameron on piano) in Philadelphia, PA. In 1953, he again played with Dameron. 1953-54 with Lionel Hampton, 1954-'56 with Johnny Hodges and Earl Bostic. 1956-'58 with Dizzy Gillespie's globetrotting big band. During 1956-'60, Golson composed: "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty" and "Blues March". 1958-'59 with Art Blakey's Jazz Messengers. 1959-62 he co-led the Jazztet with Art Farmer, following which he gradually drifted away from Jazz concentrating on more studio work. During 1964-'66, he was in Europe. In 1977, he recorded for Columbia, and has consistently recorded albums for many Japanese labels. Golson has recorded as a leader for the Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury and Dreyfus labels.
Biography
by Scott Yanow
Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-50) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953 and this was followed by stints with Lionel Hampton (1953-54), Johnny Hodges and Earl Bostic (1954-56). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-58), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty" and "Blues March" during 1956-60. His stay with Art Blakey's Jazz Messengers (1958-59) was significant and during 1959-62 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including a couple years (1964-66) in Europe. When Benny Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia (1977), Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury and Dreyfus among others.
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1938 Etta James, vocals, b: Los Angeles, CA, USA. née: Jamesetta Hawkins
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Biography
by Bill Dahl
Few R&B singers have endured tragic travails on the monumental level that Etta James has and remain on earth to talk about it. The lady's no shrinking violet; her autobiography, Rage to Survive, describes her past (including numerous drug addictions) in sordid detail.
But her personal problems have seldom affected her singing. James has hung in there from the age of R&B and doo wop in the mid-'50s through soul's late-'60s heyday and right up into the '90s and 2000s (where her 1994 disc Mystery Lady paid loving jazz-based tribute to one of her idols, Billie Holiday). Etta James' voice has deepened over the years, coarsened more than a little, but still conveys remarkable passion and pain.
Jamesetta Hawkins was a child gospel prodigy, singing in her Los Angeles Baptist church choir (and over the radio) when she was only five years old under the tutelage of Professor James Earle Hines. She moved to San Francisco in 1950, soon teaming with two other girls to form a singing group. When she was 14, bandleader Johnny Otis gave the trio an audition. He particularly dug their answer song to Hank Ballard & the Midnighters' "Work With Me Annie."
Against her mother's wishes, the young singer embarked for L.A. to record "Roll With Me Henry" with the Otis band and vocalist Richard Berry in 1954 for Modern Records. Otis inverted her first name to devise her stage handle and dubbed her vocal group the Peaches (also Etta's nickname). "Roll With Me Henry," renamed "The Wallflower" when some radio programmers objected to the original title's connotations, topped the R&B charts in 1955.
The Peaches dropped from the tree shortly thereafter, but Etta James kept on singing for Modern throughout much of the decade (often under the supervision of saxist Maxwell Davis). "Good Rockin' Daddy" also did quite well for her later in 1955, but deserving follow-ups such as "W-O-M-A-N" and "Tough Lover" (the latter a torrid rocker cut in New Orleans with Lee Allen on sax) failed to catch on.
James landed at Chicago's Chess Records in 1960, signing with their Argo subsidiary. Immediately, her recording career kicked into high gear; not only did a pair of duets with her then-boyfriend (Moonglows lead singer Harvey Fuqua) chart, her own sides (beginning with the tortured ballad "All I Could Do Was Cry") chased each other up the R&B lists as well. Leonard Chess viewed James as a classy ballad singer with pop crossover potential, backing her with lush violin orchestrations for 1961's luscious "At Last" and "Trust in Me." But James' rougher side wasn't forsaken -- the gospel-charged "Something's Got a Hold on Me" in 1962, a kinetic 1963 live LP (Etta James Rocks the House) cut at Nashville's New Era Club, and a blues-soaked 1966 duet with childhood pal Sugar Pie De Santo, "In the Basement," ensured that.
Although Chess hosted its own killer house band, James traveled to Rick Hall's Fame studios in Muscle Shoals in 1967 and emerged with one of her all-time classics. "Tell Mama" was a searing slice of upbeat Southern soul that contrasted markedly with another standout from the same sessions, the spine-chilling ballad "I'd Rather Go Blind." Despite the death of Leonard Chess, Etta James remained at the label into 1975, experimenting toward the end with a more rock-based approach.
There were some mighty lean years, both personally and professionally, for Miss Peaches. But she got back on track recording-wise in 1988 with a set for Island, Seven Year Itch, that reaffirmed her Southern soul mastery. Her following albums have been a varied lot -- 1990's Sticking to My Guns was contemporary in the extreme; 1992's Jerry Wexler-produced The Right Time, for Elektra, was slickly soulful, and her most other '90s outings have explored jazz directions. In 1998, she also issued a holiday album, Etta James Christmas. She was inducted into the Blues Hall of Fame in 2001, and in 2003 received a Grammy Lifetime Achievement Award. That year also saw the release of her Let's Roll album, followed in 2004 by a CD of new blues performances, Blues to the Bone, both on RCA Records.
In concert, Etta James is a sassy, no-holds-barred performer whose suggestive stage antics sometimes border on the obscene. She's paid her dues many times over as an R&B and soul pioneer; long may she continue to shock the uninitiated.
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1927 Antonio Carlos Jobim, Guitar/Composer, b. Rio De Janeiro, Brazil, d. Dec. 8, 1994, New York, NY, USA. Composer/guitarist/pianist who converted the Brazilian 'Samba' into the intimate 'Bossa Nova' (Trans: "new wrinkle" or "new wave"), which attracted a world-wide following in the 1960's. He worked extensively with Stan Getz on such of his tunes as "Ipanema"
Biography
by Richard S. Ginell
It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.
Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.
Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of "Tom and His Band" (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinícius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer João Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune "Desafinado" -- and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s.
Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth, and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene, where every other set seems to contain at least one bossa nova.
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1896 Harry Link, Composer, b. Philadelphia, PA, USA. d. July 5, 1956, New York, NY, USA.
Biography
by Steve Huey
Composer Harry Link is best-known for co-writing the standards "These Foolish Things" and "I've Got a Feeling I'm Falling." Born Harry Linkey in Philadelphia on January 25, 1896, he attended the University of Pennsylvania and studied business in its Wharton School. One of his earliest professional songs was co-written with Irving Berlin -- 1914's "Along Came Ruth." In 1916, he acted in the film The Masked Rider, but didn't make it a full-time career; instead, he worked on his songwriting while managing the business end of several different music publishing companies over the years. His first big-time success came with 1929's "I've Got a Feeling I'm Falling," which he co-wrote with Billy Rose and the legendary pianist Fats Waller; the song was a hit for Waller and was later recorded by Louis Armstrong, among many others. Link wrote several other songs with Waller, among them "Gone" (with Andy Razaf) and "I Hate to Leave You Now" (with Link's eventual wife, Dorothy Dick; this tune was also recorded by Armstrong).
Link and Dick also collaborated frequently, often with outside writers, which produced songs like "By My Side" (1931), "Until We Meet Again Sweetheart," and "Peelin' the Peach" (which was recorded by Paul Whiteman). In 1932, Link contributed material to the film Blondie of the Follies, and four years later he landed the biggest hit of his career with "These Foolish Things (Remind Me of You)," which was co-written by Jack Strachey and Eric Maschwitz. That year alone brought five Top Ten versions of the song, including renditions by Benny Goodman and Teddy Wilson & Billie Holiday; it was recorded by countless others, and was even a hit in France for Jean Sablon (under the title "Ces Petites Choses"). After 1937, Link spent much of the remainder of his career working in a business, rather than creative, capacity. He died in New York City on July 5, 1956.
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1932 Sid Manker, Guitar/composer, b: Memphis, TN, USA, d: January 1974. Used the Royalty checks from his tune "Raunchy" to support his own Memphis Jazz Quartet. Was a member of the Son House band. *HOO HOOOOOO “RAUNCHY”!!! I LOOOOOVE IT!!!
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1911 Charles "Truck" Parham, Double Bass/drums, b. Chicago, IL, USA, d. June 5, 2002, Chicago, IL, USA (age: 90). Originally, Parham worked as a drummer before switching over to the "bull fiddle". During 1932-'34. "truck" first worked with Zack Whyte's band in Cincinnati, OH. From 1936-'38, he was resident in Chicago, IL, where he played regularly with Zutty Singleton and Roy Eldridge and occasionally with Art Tatum. From 1940-'42, Parham was a member of the Earl Hines orchestra, and then joined Jimmie Lunceford's Orchestra, remaining with Lunceford until 1947. Still in Chicago during 1950-'55, Parham was part of Muggsy Spanier's dixieland band. During 1956-57 he worked with Herbie Fields, and with the Earl Hines and Louie Bellson bands. In the 1960's, Parham played mostly played with pianist Art Hodes, ans with some other traditional Jazz groups. During his career, Parham recorded with many Jazzmen including Roy "Little Jazz" Eldridge, Earl "the fatha" Hines, Jimmy Lunceford, 'Muggsy' Spanier, Louie Bellson and Art Hodes. He had never recorded as a leader.
Biography
by Greg Prato
Charles "Truck" Parham played bass with some of the most renowned jazz and Dixieland musicians of the 20th century, including pianist Art Tatum and cornet player Muggsy Spanier, among others. Born and raised in Chicago, Parham sold newspapers from the town's famed Dreamland Café, where he first became familiar with jazz music (via cornet player King Oliver). Parham also grew friendly with some of the musicians that played at the venue, including Freddie Keppard and Louie Armstrong, both for whom the youngster did chores for. It wasn't long before Parham picked up an instrument himself, but it wasn't the bass first, it was the tuba. He switched to the bass soonafter however, after a bandleader asked him to fill in for bassist who failed to show up for a performance. Parham began picking up pointers from such bass legends as Walter Page from the Count Basie Band, as Page tutored Parham in exchange for his service as a bodyguard (Parham was an amateur boxer and a football player). It was also around this time that Parham was given his nickname, "Truck," due to the fact that he would often drive the band bus.
Parham played with local bands regularly and eventually throughout the Midwest by the 1930s, before returning back to Chicago permanently, where he played alongside drummer Zutty Singleton (additionally, Parham played with trumpeter Roy Eldridge around this time, at the popular Three Deuces Club). Shortly thereafter, Parham became known as one of the area's most skilled bassists, as he continued to perfect his playing in pianist Earl "Fatha" Hines' big band as well as Jimmie Lunceford's Orchestra, the latter of which Parham played with for five years during the early to mid-'40s. During the '50s, Parham played as part of cornetist Muggsy Spanier's Dixieland Band, in addition to brief gigs with singer Pearl Bailey and drummer Louis Bellson, while the '60s saw the bassist play primarily with Dixieland/traditional jazz pianist Art Hodes. Parham continued to play throughout the latter part of his life, including festival shows alongside longtime friend/saxophonist Franz Jackson's band. Parham passed away at the age of 91 on June 5, 2002, in his lifelong hometown of Chicago, due to respiratory ailments.
www.jazzinchicago.org/Interna...ham.aspx
www.aaregistry.com/african_...os_finest
www.jazzhouse.org/gone/lastpost2.php3
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1932 "Whispering" Smith, mouth harpist, b. West Brookhaven, MS, USA. Smith was an excellent performer who arrived in Crowley, LA, just a trifle after the 'heyday' of the "swamp blues sound". He worked with Lightnin' Slim and Silas Hogan before making his own fine singles for J.D. Miller, a Crowley, Los Aangeles, CA producer.
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1922 Jimmy Wyble, Guitar,b. Port Arthur, TX, USA. Among the bands with whom Jimmy played are 'Spade Cooley band', 'The Red Norvo Quintet', and 'Benny Goodman Band'. He has appeared on the Flip Wilson Show and Kraft Music Hall. Studied classical guitar with Laurindo Almeida. His film recordings include The Wild Bunch, Oceans Eleven, and Kings Go Fourth. LP albums include The Swing Era, Windjammer, Red Norvo Plays the Blues, and The Sound of Music. He has also written several Guitar instruction books.


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Notable Events on this date include:
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1964. Marian Distler, label co-owner (Folkways), died in New York, NY, USA. Age: 45

1965. Chico Derrick, bass, died in Chicago, IL, USA. Age: 38

1971. John 'Cap'n' Handy, tenor sax, died in Pass Christian, MS, USA. Age: 70

1987. Harry Dial, label owner (Dial)/drums, died in New York, NY, USA. Age: 79

1989. Laura Lee McBride, C&W vocalist, died. Laura was Bob Wills' first female vocalist.


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Songs Recorded/Released this date include:
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1937 "This Year's Kisses", Teddy Wilson Orch. (Billie Holiday voc.)

1937 "Why Was I Born", Teddy Wilson Orch. (Billie Holiday voc.)

1937 "I Must Have That Man", Teddy Wilson Orch. (Billie Holiday voc.)

1938 Love Is Here To Stay, - Jimmy Dorsey Orch.

1945 Ac-cent-tchu-ate The Positive, - Crosby, Bing

1945 Don't Fence Me In, - Heidt, Horace

1945 Ac-cent-tchu-ate The Positive, - Shaw, Artie

1960 Beyond The Sea, - Darin, Bobby

1960 Let It Be Me, - Everly Brothers

1960 Theme From A Summer Place, - Faith, Percy

1964 I Want To Hold Your Hand, - Beatles

1964 Java, - Hirt, Al

1969 This Magic Moment, - Jay & The Americans

1969 Baby, Baby Don't Cry, - Miracles

1969 You Showed Me, - Turtles

1975 Can't Get It Out Of My Head, - E.L.O.


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LYRICS:
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Why Was I Born? Lyrics
Lyrics:
Spending these lonesome evenings
With nothing to do
But to live in dreams that I make up
All by myself

Dreaming that you're beside me
I picture the prettiest stories
Only to wake up
All by myself

What is the good of me by myself?

Why was I born
Why am I living
What do I get
What am I giving

Why do I want a thing
I daren't hope for
What can I hope for
I wish I knew

Why do I try
To draw you near me
Why do I do I cry
You never hear me

I'm a poor fool
But what can I do
Why was I born
To love you

(bridge)

I'm a poor fool
But what can I do
Why was I born
To love you




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Beyond the Sea
Written by: Charles Trenet/Jack Lawrence
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Somewhere beyond the sea
Somewhere waitin’ for me
My lover stands on golden sands
And watches the ships that go sailin’.

Somewhere beyond the sea
She's there watchin’ for me
If I could fly like birds on high
Then straight to her arms I’d go sailin’.

It's far beyond the stars
It's near beyond the moon
I know beyond a doubt
My heart will lead me there soon.

We'll meet beyond the shore
We'll kiss just as before
Happy we'll be beyond the sea
And never again I'll go sailin'.

I know beyond a doubt
My heart will lead me there soon
We'll meet … I know we'll meet … beyond the shore
We'll kiss just as before.

Happy we'll be beyond the sea
And never again I'll go sailin'.

No more sailin' …
So long sailin' …
Bye, bye sailin'...
Move on out, captain …
So long, ensign …