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Benny Strickler.Pdf The Trisco CrtcQ.et fa[[ Ds8 BENNIY STRICKLER- A LEGENDARY TNUNAPETSTYLIST by Hal Snitlr "r ertjoye{yfaying with him...hew6LS fevote{ to the right Ein[ ofjazz anf couff certainty executeit." -Lu Wattersl "..?eoyfewho ytay ensemSfewouff yray fo, a feaf sucfr as ytaye{ 6y tsennyStricLfer." -Turk Murphy2 "I coufftetf 6y footing at frim he was a goo{musici0ti(1." -Bob Wills' Trumpeter BennyStrickler died beforehe was 30 and and would do so to the detriment of their health. How- his professionalcareer spanned only about 10 years. But ever, Beiderbecke's relations with his family were to Strickler's musical associatesand thosewho heard him strained;he had few close friends and his self-destructive ptay, his stature is as legendary as Bix Beiderbecke's. tendenciesfrequently led to missed work. Strickler, by There are numerous parallels to Beiderbeckein Strick- contrast, was a devoted family man with many friends, ler's tragically short career:both were nafural musiciansi who rarely drank and never missed a job until a serious they were able to inspire any musician to play "over his illness forced him to stop playing head"; their presencein a band always resultedin a team Strickler and Beiderbecke recorded relatively few spiri! even during desperate times their high musical commercial sides. But both were truly great artists. In standards could not be lowered; both lived to play music Strickler's case,he was certainly one of the most promis- ing musicians of the New Orleans Revival and he deservesto be mentioned prominently in any histo- fhe frisco CricQ.et ry of that musical movement. IssueNo. 6 YOUNG MAN WITH A HORN Publishedquarterly by the Benny Strickler was born Jan. 9,1917 n Fayet- SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION teville, Arkansas. He took music lessonsat an early 650California Street,12th Floor age, played in the town band and decided to be- SanFrancisco,CA 94108 come a professional musician after graduating from Phone: (415)522-7 417, F AX (415)922-6934 high school in 1935.- Sometime during his musical Website: www.sftradj azz.org training, he learned to sightread.' He also played Editor: Marty Eggers 1. Letter to author, Apr.28,1977. 2. Jim Goggin, Turk Murphy: lust For Tle Record,San Leandro, Directors SanFrancisco Traditional Jazz Foundatiory 1982,p.4. 3. Charles Townsend, SanAntonio Rose;The Lift Atrd Mtrsic Of Browne III William Carter CharlesHuggins '1,976, John R. BobWills, Urbana, University Of Illinois, p.199. Charles Campbell John Gill JohnMatthews Leon Oakley William Tooley 4. Benny Stricklerand the Yerba Buenalazz Band, Good Time JazzEP-"lOOI(notes by Lester Koenig). Unless otherwisenoted, all contentscopyright @1998 5. Danny Alguire, intentiao with Hal Smith and Chris Tyle, San FranciscoTraditional TazzFoundation Beaverton,Oregon, Apr.1,6,1977. 2 lhe frisco Cricket faff Dg8 along with records of King Oljver, Bix Beiderbecke, Red You, After Y.ou'oeGone and especially Bugle Cnll Ragnnd Nichols and Louis Armstrong.o Copenhngen.''Strickler's sound, attack and beat on these After deciding to become a professional musician, solos is very similar to Harry James;a natural reference Strickler and his wife Frances migrated to Los Angeles. during the flowering of the swing era. Some years later, Even with his considerable musicianship, there were a friend asked Strickler if he thought he would ever be as some lean times, especially after the family expanded to good as Harry james. Stricklerresponded, "Hell, I'm as include daughters Diane and Janet. Though he played jobs with Ben Pollack, JoeVenuti, Seger Ellis, Vido Musso and Wingy Manone,' some of the work was with "sweet" hotel-style bands. Strickler's longtime friend and musical colleague Danny Alguire recalled one such job: "Benny loved jazz...buthis first thing was his family....so that's why he playedwith a bunch of...guyswho couldn't play anvthing...itwas a hotel-styleband...he stuck it out as long as he could, causethey needed the money, but when he got a little money ahead...onenight he just quit. He 'l'm came home and said, sorry, Frances. I just co-uldn't play with that band anymore. I just couldn't do it."'" Alguire added that Shickler turned down an offer to work with Artie Shaw, saying "I don't bend notes for Oneof thefew known photographs of BennyStricnlr, and pro- anybody."e Alguire recalled, "Benny'd play anything, bablythe best. you know, but he'd have to do it righteous.' good as lnmes rightnow!"t4 AS GOOD AS HARRYJAMES A MEETING OF THE MINDS During his stay in Los Angeles, Strickler played and While Strickler continued to toil in Los Angeles, a recorded with Seger Ellis' Choirs Of Brass; a big band musical development was taking place which would with an unusual, experimental instrumentation: four shortly have a great impact on his career. It occurred trumpets, four trombones, three rhythm - and one clar- when bandleader Bob Wills added brass, reeds, piano inet! Irving Fazola was the lone reedman, surrounded by and drums to the Texas Playboys-formerly a string a formidable lineup which included, at various times, band. The resulting "Western Swing" amassed a huge trumpeters Nate Kazebier and Don Anderson, trombon- following in the Southwest, where the band performed ist King |ackson, pianist Stan Wrightsman and drummer live. Their fan base spread as the Playboys' hit records Fred Higuera. The Choirs Of Brass recorded only six and their daily broadcasts carried the music to Dust Bowl sides for DECCA, but reportedly made "large batches of migrants who moved west during the Depression. Wills transcriptions."tt While the DECCA sides have never continued to add horns and hot tunes and his musicians been reissued, the 78s circulate among collectors. On interests were drawn towards the popular songs and big these Strickler's only solo is heard on Bees '40s, .recordings, bands of the day. By the early the Texas Playboys Knees.''However, on the transcriptions he played superb included sidemen who had worked with the orchestras choruses on Clarinet Mnrmalade,I Wottld Do Anytltirtg For 6. tbid. 7. Ibid.,Townsenrl, op.cit.;Koenig,op.cit.;dotunbeat, Aug.78,1950;DannyAlguire,"TributeToBenny," JnzzRecord,November, 1960. 8. Alguire,intentieut. 9. Ibid. '10. Ibid. 11. (Anonymous) notes to SegerEllis' Clnirs Of Brass, Alamac LP QSR-2408. 1,2. Decca 1350 (cassette tape of 78 rpm; author's collection). lJ. Alamac QSR-2408. 71. Richard A. Oxtot, "The Story Of The Yerba Bubna Band," Jnzz Music, n.d., p.12. 3 The frisco Cric6.et faff rygs of Red Nichols, Teagarden, Jack Gene Krupa and Ben "Woody" Wood.z Alguire wrote, Pollack. The Playboys could still play frontier fiddle breakdownsfor small-town crowds, but with brass,reeds "..,Here ,one was a musician,s dream of a band, a in a and a swinging rhythm section, they could million' also play the coincidence that brought a bunch together that most up-to-date pop ',We,re tho-ughtand songs. Wills himself said, played alike...This band could pla'y anything hep. We're the well. most versatile band in America. Sure we Alex Brashear made some wonderfui big band arf ,head, give'em westernmusic...but we give,em rhumbas, too. rangements. And for variety, many arrangements ,em were And when there are jitterbugs in the_joint we get so worked out,-feafuring Benny on trumpet, Woody on clarine! and Neil luppy they can't stay on the floor.,,ls On Api.16,1940, on trombone playing the tradifional small group things. the Texas Playboys recorded two revolutionary sides: This was Benny at his best, a delight to hear...Here, too, NsutSan Antonio Rose became a popular mega_hit. was an insight into Benny himself. fris Nei concern was the general overall sound of the band. Manv ther "Rose" nor its session-matenig neaae,contained ,Now, a.,y times I heard him say, identifying markings, let,s just make the tune souni ^"western" besides Wills, spoken good!' What comments.'" he meant, of course, was to listen to each But Big Beaoerdid feature smooth section other,- and play with the thought of contributins to the work, Wayne johnson's fine sax chorus, Tubby Lewis, sound, just not what one person could get out of it for fiery humpet solo and driving ,If rhythm which opened himself...Benny often said, you don,ithink together, musicians' eyes and you ears across the countrv. Dannv can't play together., And he proved it by his i.rental Alguire said, "It was a hell of a record. I reaiized I was approach to his playing. He brought to the bandstand not awareof how far westernmusic had come.,,ttIn Los each night an enthusiasm that actually permeated throughout Angeles, Benny Shickler was also knocked out by the the band. It was a feeling thai we were all going s-upffb-m_usicianship,hot solos and swinging beat. He to play good. And we did..,,23 decided that he wanted to play trumpet *itf, tn" Texas Later, Alguire Playboys,and the sooner, the better.R When he found said that when Strickler wanted to discuss the best way, to play out that Wills and the band were in town, staying at the a certain number, or passage,he would tell the ,,Let,s Hollywood PlazaHotel, he quickly went to the hotel and band, have a meeting oJ th" minds."24 managed to corner Wills in the lobby. He said, ,,Mr. Either just Wills, I'm BennyStrickler and I want a job in your band!,, before or during his stay with the Texas Playboys,Shickler Wills made a characteristicallyquick but sound decision developed an admirition for the play_ and hired Shickleron the spot.tt ing of Yank Lawsol-uthe featured trumpeter with Bob Crosby's Shickler soon becamea force in the Texas playboys, Orchestra.2s Coincidentally or not, the Texas Playboys helping to keep the jazz content high in the plaibois; soon took on a distinct Crosby sound.
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