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BOBBY HACKETT “MELLOW MAN with a HORN” by Music Librarian CHRISTOPHER POPA with Comments by Bobby’S Son ERNIE HACKETT
MAY 2017 A FRESH BIOGRAPHICAL SKETCH BOBBY HACKETT “MELLOW MAN WITH A HORN” by Music Librarian CHRISTOPHER POPA with comments by Bobby’s son ERNIE HACKETT VITAL STATS given name Robert Leo Hackett birth January 31, 1915, Providence, Rhode Island father William F. Hackett, a railroad blacksmith mother Rose A. (nee Mulvaney) Hackett siblings six sisters and two brothers education Commercial High School [ now Central High School ], Providence, Rhode Island (he left school at age 14) spouse Edna Lillian (nee Lee) Hackett, b.April 7, 1915; m.July 26, 1937; d.April 15, 2000 son Ernest “Ernie” Hackett, b.April 6, 1949 daughter Barbara Traynor grandchildren two physical description “a short, trim man who sometimes wore a thin mustache” death June 7, 1976, Chatham, Massachusetts, heart attack grave Seaside Cemetery, Chatham, Massachusetts Bobby Hackett’s own big band didn’t last very long; he made a much greater musical impression as a sideman in such orchestras as Horace Heidt, Glenn Miller, and Glen Gray (not to mention his trumpet solos on various Jackie Gleason record albums afterwards). Hackett had been playing music since he was about eight years old. “His first instrument was the violin. Then on to banjo & guitar!,” his son, Ernie, reminded me. “Later he switched over to trumpet & landed on cornet!” Hackett played with various groups at restaurants, hotels, ballrooms across the northeast, and in 1935 received his Musicians Union card from Local 9-535 in Boston. He formed his own group, a small band, not long afterwards, and in 1938 began recording under his own name for the Vocalion label, employing, on various dates, such sidemen as George Brunies (trombone), Brad Gowans (valve trombone), Pee Wee Russell (clarinet), Ernie Caceres (baritone sax), Eddie Condon (guitar), Johnny Blowers (drums), and Linda Keene (vocal). -
¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
ARTIE SHAW NEA Jazz Master (2005)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 5 Prepared by: DENNIS M. SPRAGG Chronology Part 1 - Chapter 1 Updated February 5, 2021 “I’ll Never Say Never Again” “The Brothers” Jimmy and Tommy Dorsey The Dorsey Brothers’ Orchestra opened at the Glen Island Casino, New Rochelle, New York on May 15, 1935. Many celebrities attended the successful opening night and the band was in top form. All signs pointed to a successful summer season and further sales of more records. In addition, the Glen Island Casino was wired for numerous nationwide radio broadcasts. However, an undercurrent of tension existed between the brothers. May 30, 1935, during the Decoration Day holiday weekend (now known as Memorial Day), the situation came to a head. As Tommy led the band into the tune “I’ll Never Say “Never Again” Again”, the vocal trio of Roc Hillman, Skeets Herfurt and Don Matteson were approaching the microphone. They remembered hearing Jimmy say something like “Hey, Mac, that’s a little fast, isn’t it?” Tommy reportedly replied, “You want to take over? It’s all yours” and he walked off the bandstand before the audience at the Glen Island Casino. By late July Tommy reluctantly returned to finish the engagement with Jimmy and the band at the urging of Tommy Rockwell and a threat by Michael DeZutter, owner of the Glen Island Casino, to nullify the Dorsey Brothers’ Orchestra contract for the remainder of the engagement. Cork O’Keefe unsuccessfully tried to reconcile the brothers. Tommy refused to work with his brother and the Dorsey Brothers’ Orchestra became Jimmy Dorsey and his Orchestra. -
THE INFLUENCE of BIX BEIDERBECKE – VOLUME ONE: USA by Max Easterman Even Though It Became Known As “The Jazz Age”, Real Ja
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME ONE: USA By Max Easterman Even though it became known as “The Jazz Age”, real jazz was rarely popular in its own right during the 1920s, as witness the rarity of many of the finest jazz recordings from this era. Jazzmen – particularly white jazzmen – made much more money and often won greater fame using it to pep up dance music than they ever did making pure jazz recordings, though, of course, it’s by the jazz they played on records that we now judge their worth. Such is the distorting mirror of history! Of course, to the general public of the time, arranged dance music played with a rhythmic bounce and offering the occasional jazz-like solo was what they thought of as “jazz”. Two recordings suffice to illustrate the point. The recording of Paul Whiteman’s Back In Your Own Backyard , issued in March 1928, sold 88,000 copies; Bix’s recording of Somebody Stole My Gal , recorded a few weeks later, made sales of only 2400. The first is a highly arranged dance band recording containing just two short solos by Bix; the latter is a romping jazz gem, on which Bix flies like a bird throughout and inspires his fellows to greater things than they knew they were capable of. Bix was a legend in his lifetime for the men who played with him, or listened to him and tried to play like him. But for the general public, who bought the discs, he was just another name, a name which only became significant, for some of them, long after his death. -
160 Goldkette.Pdf
Jean Goldkette’s Post-Bix Recordings: The Don Redman Arrangements - Part Two By Nick Dellow and Albert Haim Introduction of existence as a broadcasting station, W-G-N, the Chicago In Part One, the authors examined theories expounded by Tribune station on the Drake hotel, enters upon the 1928-’29 several writers and discographers that sidemen from McKinney’s season of broadcasting with plans complete for some of the most Cotton Pickers took part in recordings made in 1928 and 1929 unusual programs ever presented by an individual by Jean Goldkette and his Orchestra, specifically those featuring broadcaster....Jazz music during the coming season will be taken arrangements written by Don Redman. Information was given care of by two stellar organizations, Coon Sanders’ Nighthawks on the post-Bix Goldkette bands that played in Kansas City and and Jean Goldkette’s recording orchestra....Coon-Sanders started Chicago in 1927 and 1928, as well as the Detroit-based broadcasting regularly from W-G-N last week, while the Goldkette McKinney’s Cotton Pickers, which Goldkette also managed. orchestra is scheduled to begin programs within the next ten Early theories and discographical listings were presented, days.” together with previously unpublished documents, including original Victor recording sheets. The suggestion that McKinney Note that the WGN orchestra, like the Trianon band before it, men took part on the Goldkette orchestra’s recording of That’s is described as Goldkette’s “recording orchestra”, in which Just My Way Of Forgetting You, which was the first of the Don capacity it recorded for Victor until mid-1929, with the sides Redman arrangements that the band recorded, was considered being labelled “Jean Goldkette’s Orchestra” or “Jean Goldkette in detail. -
Jazzletter PO Box 240, Oiai G' 93024-0240
G€rE Lrc Ad Libitwm & Jazzletter PO Box 240, Oiai G' 93024-0240 "The saxes had a different sound - two tenors and one The Glenn Miller Years III alto instead of the usual two altos and one tenor. Skeets and a fellow named Jack Stacey and Jimmy played alto and also Bobby Glenn hacl already recorded with pick-up groups led by clarinet. In the rhythm section we had Kaplan on bass, Kay Weber was the 1'ommy and his brother Jimmy, which contained the best of Van Eps on piano, Roc on guitar, and me. boy singer' New York City's lazz musicians' They backed Mildred girl singer and later on Bob Crosby became the room up Bailey, using Miller alrangements, and early in 1934 made "The band used to rehearse in that little rehearsal in Radio City. The second some instrumental records. Then they talked about forming a in the office of Rockwell-O'Keefe were screaming at permanent band and taking it on the road, under their joint rehearsal ran true to form the Dorseys - you think that means leadership, a doubtful idea at best, since they had never since each other. Jimmy yelled, 'I suppose know damn well I'm childhood been able to agree on anything. you're the boss,' and Tommy said, 'You you."' ln the last days of the Smith Ballew band, Ray McKinley the boss, because I can talk louder than in New England and Glenn went to hear a band at the Broadhurst Hotel led by The band played a series of one-nighters atthe Sands Point Casino Vic Schilling. -
Swing Era Music
John Buchanan presents A JOURNEY THROUGH THE GREAT MUSIC OF THE SSWWIINNGG EERRAA 1937 – 1940 Volume 1 CD 2 The Bunny Berigan orchestra came into existence on April Fool’s Day 1937 and over the next two years they partic - ipated in twenty-two recording sessions for Victor. For almost a year it represented the most stable band Bunny ever fronted. Favourable reviews of Bunny’s records appeared lavishly throughout newspaper columns as well as in the usual trade papers. On the 7 August he chose to record, for the third time, a Vernon Duke tune with lyrics by Ira Gershwin, a tune that was destined to become his greatest hit and his theme song. The tune was “I Can’t Get Started”, one that he had recorded twice previously, but it was this extended four minute forty second version that he recorded with his full orchestra in August 1937 that took off. Bunny Berigan and his Orchestra New York 7 August 1937 Victor Bunny Berigan (t, voc) Irving Goodman, Steve Lipkins (t) Al George, Sonny Lee (tb) Mike Doty, Joe Dixon (cl, as) Clyde Rounds, Georgie Auld (ts) Joe Lippman (p) Tom Morgan (g) Hank Wayland (sb) George Wettling (d) Gail Reese (voc) Joe Lippman (arr) 1. I CAN’T GET STARTED (4:40) (Duke-Gershwin) vocal BB arr JL Life Magazine, the most popular magazine in the country at the time, was planning a photo feature on the Goodman phenomenon for its regular feature ‘Life Goes To A Party’. On 16 October, shortly after the band took up their three month stay at the Pennsylvania Hotel, the magazine sent their photographer to the Madhatten Room where he successfully captured the atmosphere of a Saturday evening of dining and dancing. -
Oran Thaddeus Page “Hot Lips”
1 The TRUMPET of ORAN THADDEUS PAGE “HOT LIPS” Solographer: Jan Evensmo Last updated: March 31, 2020, April 28, 2021 2 Born: Dallas, Texas, Jan. 27, 1908 Died: NYC. Nov. 5, 1954 Introduction: Hot Lips Page was for unknown reasons rather marginally recognized in my Oslo Jazz Circle upbringing, and only later I opened my ears to his fine trumpet playing! Dan Morgenstern’s various liner notes helped a lot too! History: First music lessons from his mother, a former school-teacher. Early efforts on clarinet and saxophone, specialised on trumpet from the age of 12. Joined kids’ band led by bass drummer Lux Alexander. Left music temporarily, attended high school in Corsicana,Texas, left to do manual work in Seminole oil fields in Texas. Became regular member of band accompanying Ma Ra iney, made first visit to New York with Ma Rainey for bookings at the Lincoln Theatre. Worked with a T.O.B.A. circuit touring band, accompanied Bessie Smith, Ida Cox, etc. Joined Troy Floyd Band in San Antonio, also worked in Texas with Sugar Lou and Eddie’s Hotel Tyler Band. Was heard with this band by bassist Walter Page (no relation) and subsequently joined the Blue Devils band early in 1928. Left the band in 1930 to join Bennie Moten’s band, worked mainly with Moten until 1935, after that leader’s death (April 1935) led own quintet in and around Kansas City. Worked as a specialty act with Count Basie at the Reno Club, Kansas City (1936), was signed by manager Joe Glaser and moved to New York. -
Jean Goldkette's Post-Bix Recordings: the Don Redman
Jean Goldkette’s Post-Bix Recordings: the Don Redman Arrangements - Part One By Nick Dellow and Albert Haim Introduction Jazz discographies are replete with recordings that have caused controversy or confusion amongst record collectors and jazz enthusiasts, and in some instances the controversy has deepened with the passing of time. Such is the case with several recordings made in 1928 and 1929 by Jean Goldkette’s band, namely That’s Just My Way Of Forgetting You (Victor 21590), My Blackbirds Are Bluebirds Now (Victor 21805), Don’t Be Like That (Victor 21805) and Birmingham Bertha (Victor 22077). Over the years, a number of discographers, collectors and writers have suggested - or even categorically stated - that these recordings are actually by McKinney’s Cotton Pickers or by a combination of Goldkette and McKinney sidemen, even though the original 78s are labelled “Jean Goldkette and His Orchestra” or “Jean Goldkette’s Orchestra”. However, apart from the fact that the sides were arranged by Don Redman, the musical director of McKinney’s Cotton Pickers, the evidence for any direct involvement by McKinney men is highly contentious, as we shall see. In investigating these “post-Bix” Goldkette recordings, the authors have collected and collated information from a range of sources, including newspapers, magazines, discographies and recording ledgers. A number of musicians were also consulted, and in this respect we wish to acknowledge, at the outset, the contribution of Frank van Nus, who has carefully considered all the technical aspects, musicologically speaking, of Jean Gold- kette’s Victor recordings of 1928 and 1929; his help has been of fundamental importance. -
Swing: the Good, the Bad, and the Commercial (1935-1944)
V: Swing: The Good, the Bad, and the Commercial (1935-1944) Most of the innovations in jazz have shadowy histories; you can’t pin them down to a specific time or place. But the Swing Era decidedly began on August 21, 1935, when Benny Goodman’s orchestra played the last stop on a mostly failed transcontinental tour at the Palo- mar Ballroom in Los Angeles. The story is too familiar to bear repeating, but the shock waves created that night lasted a good eight years. Was it only eight years? And why only eight years? Many theories have been given for swing’s demise: World War II, the damaging re- cording ban placed on musicians by union president James Petrillo, changing tastes towards smoother and more soothing music, the collapse of the theater and club circuits. All of these things certainly had something to do with it. Yet what is almost never mentioned, except by musicians, is that swing was just another phase jazz was going through, a period of develop- ment. It had to change and move on to the next phase, and when it did, its carefully-built-up audience was either not there to move along with it or rejected the changes as anti-populist. Of course, the seeds of swing had already been sown in the early 1930s. The Casa Loma band, Duke Ellington, Fletcher Henderson, Chick Webb, and even the more obscure bands of Bennie Moten and Earl Hines, the vocal stylings of the Boswell Sisters, and other hot combinations had already been around for a while, but for the most part it was not a na- tional music, not a craze, not what “everyone” suddenly wanted to hear. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.