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Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Benjamin Francis Webster “Ben” “Frog” “Brute”
1 The TENORSAX of BENJAMIN FRANCIS WEBSTER “BEN” “FROG” “BRUTE” PART 1 (1931 – 1943) Solographer: Jan Evensmo Last update: April 13, 2018 2 Born: Kansas City, Missouri, March 27, 1909 Died: Amsterdam, Holland, Sept. 20, 1973 Introduction: Ben Webster was one of the all-time tenor saxophone greats with a long career of more than forty years. He was a favourite from the very first record with Duke Ellington from the early forties, and his music was always fascinating. I wrote his first solography in 1978 in Jazz Solography Series. Later his music appeared in the various ‘History of Jazz Tenor Saxophone’ volumes, including 1959. Later works will appear in due time on Jazz Archeology. He visited Norway several times, and I never forget when my friend Tor Haug served him fish for dinner! Early history: First studied violin, then piano. Attended Wilberforce College. Played piano in a silent-movie house in Amarillo, Texas. First professional work with Bretho Nelson's Band (out of Enid, Oklahoma), then, still on piano with Dutch Campbell's Band. Received early tuition on saxophone from Budd Johnson. Joined "family" band led by W.H. Young (Lester's father) in Campbell Kirkie, New Mexico, toured with the band for three months and began specialising on sax. With Gene Coy's Band on alto and tenor (early 1930), then on tenor with Jap Allen's Band (summer 1930). With Blanche Calloway from April 1931. Then joined Bennie Moten from Winter 1931-32 until early 1933 (including visit to New York). Then joined Willie Bryant's orchestra. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Cab Calloway HI-DI-HO 1934
Bemerkungen zu „HI-DE-HO“ Erscheinungsjahr: 1934 Regisseur: Fred Waller Musiker: Cab Calloway (Vocal, Dirigent), Lammar Wright (Trompete), Doc Cheatham (Trompete), Eddie Swayzee (Trompete) Harry White (Posaune), DePriest Wheeler (Posaune), Eddie Barefield (Reeds), Andrew Brown (Reeds), Arville Harris (Reeds), Walter Thomas (Reeds), Benny Payne (Piano), Morris White(Gitarre), Al Morgan (Bass), Leroy Maxey (Drums) Vorbemerkungen: Der zu besprechende Film „HI-DE-HO“ ist auf der DVD „Syncopation“ von William Dieterle (1942) als Bonus-Track in sehr guter Restauration zu finden. Auf der genannten DVD sind zehn klassische Shorties aus der Paramount-Serie „One-Reel Acts and Band Shorts“ vorhanden. Diese Jazz- Shorties werden hier nach und nach vorgestellt. Der Herausgeber der DVD ist die Cohen Film Collection, die sich auf die Fahnen geschrieben, alte Filme zu restaurieren und somit der Nachwelt diese einzigartigen Dokumente zugänglich zu machen. Wir geben hier Zitate über die Motive der Produktionsfirma der DVD von der Web- Seite http://www.cohenfilmcollection.net wieder: „Cohen Film Collection: The Rohauer Library is a world-renowned collection of rare movie classics. Long acclaimed for its immensity and entertainment value, this esteemed collection of over 700 titles spans 75 years of the cinema’s most dynamic eras. This unique screen treasure was amassed by Raymond Rohauer (1924–1987), the former film curator of the Huntington Hartford Gallery of Modern Art in New York, who devoted his life to collecting these distinguished films. Rohauer was born in Buffalo, New York, and moved to Los Angeles when he was a teenager because of his passion for the movies. Starting his collection as a youth, he went on to found the Society of Cinema Arts, offering events and regular screenings of experimental, classic and foreign films at the Coronet Theatre and the Riviera- Capri Theatre. -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
Download the CLARINET of William Thornton Blue
1 The CLARINET and Altosax of WILLIAM THORNTON BLUE Solographers: Jan Evensmo & Jean-François Pitet Last update: June 17, 2021 2 Born: Cape Girardeau, Missouri, January 31, 1902 Died: Trenton, New Jersey, April 1968 Introduction: I have to admit that William Thornton Blue was only an exciting name to me for many years. However, after finishing the clarinet solographies of Jerry Blake and Ed Inge, my good Swedish friend Bo Scherman pointed out that Blue was the logic follow-up. A brief listening session convinced me that he was completely right. What then was more logical than to ask my French friend Jean-François Pitet (curator of the website devoted to Cab Calloway and his musicians: www.thehidehoblog.com) to work with me and make this WTB solography! History: His father (his exact namesake) was a music teacher and conductor of the Pythian Brass Band in St Louis. Learned music with his friend (and future successor in Cab Calloway’s orchestra) Arville Harris. Started his career in P.G. Lowery circus and vaudeville orchestra. Had his own trio in St. Louis in 1920 before joining Billy King’s Road Show in 1921 and for a short time with Wilson Robinson’s Bostonians (which later became Andrew Preer’s Orchestra, the Cotton Club Orchestra, the Missourians and… Cab Calloway’s orchestra.) Worked on the steamers with Charlie Creath and joined Dewey Jackson from 1924 to 1927. Left his hometown for New Orleans in 1925 to work with Fate Marable on the Steamer St. Paul. After Jackson, permanently joined the Cotton Club orchestra headed by Andrew Preer. -
Irving Randolph “Mouse”
1 The TRUMPET of IRVING RANDOLPH “MOUSE” Solographer: Jan Evensmo Last updated: Feb. 12, 2018 Note: This is a complete solography with comments to all sessions. 2 Born: St. Louis, Missouri, June 22, 1909 Died: NYC. Dec. 10, 1997 Introduction: Irving Randolph was my very good friend, and every time I visited New York, I used to stay with him and his wife Henrietta at their apartment on Hamilton Terrace, close to Columbia University. He was really a prince, a very pleasant personality with so much humour. We had so much fun together, and he taught me to drink Bells whisky, his favourite brand. He is much underrated as a trumpet artist, although at his best in the middle 1930s, he had no peers only equals. Unfortunately he was taken ill in 1939, and he told me that when he returned to music, his embouchure never came back with him. The solography below is basically the one printed as Vol. 12 (1982) in my Jazz Solography series, but now continued until the end of his musical career. History: First professional work with Fate Marable’s Band, then joined Norman Mason’s Carolina Melodists. With drummer Floyd Campbell’s Orchestra (1928), then worked with Alphonso Trent and J. Frank Terry’s Band before joining Andy Kirk from 1931-1933, played occasionally for Fletcher Henderson early in 1934, spell with Benny Carter, then became regular member of Fletcher Henderson’s band from July 1934. Joined Cab Calloway from spring 1935 until late 1939, when he joined Ella Fitzgerald. With Don Redman from May 1943, then Edmond Hall sextet throughout the late 1940s. -
Dickerson, R.Q
THE RECORDINGS OF R. Q. DICKERSON An Annotated Tentative Personnelo - Discography DICKERSON, Roger Quincey Born: Paducah, Kentucky, c. 1898; Died: Glen Falls, New York, 21 January 1951 Raised in St. Louis, Missouri. Played in local theatres from 1928-20. Left St. Louis with Wilson Robinson´s Bostonians (1923), after extensive touring, the band gained residency at New York´s Cotton Club – by then violinist Andrew Preer was fronting the band. After Preer´s death in May 1927, the band worked for a time as The Cotton Club Orchestra, then became known as the Missourians. From 1930 they became Cab Calloway´s Orchestra – Dickerson left the band in 1931. Left full-time music and worked for man years as a taxi-driver, he suffered a long illness before dying of a throat ailment. (John Chilton, Who´s Who in Jazz) STYLISTICS STYLE Clearly a St. Louis / Western style player with the slightly stiff rhythm of that city´s musicians. Dickerson frequently uses a harmon mute and sometimes plays growl phrases. Plays very hot and certainly is one of the leading exponents of Western trumpet playing in Harlem of the time. TONE He owns a strong and sharp tone, especially when playing with his favourite harmon mute. VIBRATO Medium to fast and short vibrato TIME Dickerson plays with a good swinging and driving beat using retained off-beat effects. PHRASING He plays feather-light phrases all over the trumpet range. Obviously, he had listened to Bubber Miley and plays his own variety of Miley´s ‘Black And Tan Fantasy’ solo with great aplomb – and many blue-notes. -
Download LEON BERRY “CHU”
1 The TENORSAX of LEON BERRY “CHU” Solographer: Jan Evensmo Last update: May 30, 2018 2 Born: Wheeling, West Virginia, Sept. 13, 1910 Died: Conneaut, Ohio, Oct. 30, 1941 Introduction: Oslo Jazz Circle may be said to have developed upon the grave of Chu Berry!! From the very beginning he was identified as the most swinging tenorsax player of them all, the center of swing which all jazz revolved around. To be a member of the club, you had to answer correctly to a questionnaire related to his music, no amateurs were allowed to join this very serious association!! Great plans were made to commemorate him, including a statue, first of normal height to be located on a small island in the Molde fiord for the benefit of visitors to the Molde Jazz Festival, but later the vision was upgraded to the size of the Statue of Liberty in New York, with Chu blowing to warn ships in distress when the fog was coming. However, the ideas were not consistent with the new airport in Molde, a large statue would be a danger to air safety. So the plans were buried. For good? Who knows? Chu still deserves a statue, to me he is greater than ever!!! A Chu Berry solography was published in my Jazz Solography Series as Vol. 1 way back in the 1970s. Most of the comments have been left unchanged, but lots of additional material has been discovered since then! History: Came from a musical family, his brother, Nelson, is a tenor sax player. Took up sax after hearing Coleman Hawkins playing on a Fletcher Henderson summer tour. -
Jammin' for the Jackpot: Big Bands and Territory Bands of The
Jammin’ For the Jackpot: Big Bands and Territory Bands of the 30s New World NW 217 Today's listeners are likely to associate jazz with nightclubs and concert halls or, historically, with Chicago speakeasies and New Orleans houses of prostitution. In fact, however, the typical occupation of most jazz musicians through the 1940s was playing for dancing. For about three decades after World War I, jazz musicians were in frequent creative tension with the dance-band industry—exploiting and expanding its musical resources, learning its professional lessons, earning its wages, and chafing under its difficult working conditions and many artistic restrictions. As dance orchestras grew steadily in number, size, and popularity through the 1930s and early 1940s, they came to be called "big bands." Like many of America's musics from the same period— Broadway and Hollywood musicals, rural blues, "folk" music—big-band music of the swing era has been weighted with a nostalgic value that is difficult to support. Since the 1950s, jazz enthusiasts have praised these years as a period of good taste, originality, and high musical standards, with correlative prominence for jazz soloists and jazz-trained arrangers. To some extent this was the case. Dance bands of the day always fed on the work of jazz soloists: their innovations in phrasing and rhythm; their repertoire, including adaptations and assimilations from "classical" music; and, perhaps most tellingly, their own self-popularizations. But though the improvising jazz musician provided inspiration for much of the music of the big bands, not all the better dance orchestras were strongly jazz-oriented (Ray Noble's band was one of the better examples of a musically interesting group with a low jazz quotient); and even the finest jazz bands some of the time played straightforward versions of not always memorable popular tunes. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1917 – 1934 SIMPLIFIED EDITION 2 INTRODUCTION UPDATE ORIGINAL EDITION Fifteen years have passed since the paper version of this book was published. It is time to be “modern” and let the world have easy access on the internet! This version is a reprint of the original version with a few changes: The Solography has been updated with new discoveries (still some missing items!). Note however that the Statistics part is kept unchanged (lack of time, possibly to be updated later). References to 78 rpm. issues have been omitted. This will make reading of the solography information easier, and discograhies are anyway assumed available to readers. Any feedback will be highly appreciated! Jan Evensmo July 25, 2011 INTRODUCTION UPDATE SIMPLIFIED EDITION In this edition I have removed all introductory information about the jazz solography concept, since this will be found on the Jazz Archeology website anyway. I have also removed all auxiliary chapters like status reports, chronology, summing ups, statistics, etc., these will reappear later in another context. I have also removed the information related to the artists already with their own solography available on Jazz Archeology. This will hopefully give a better focus on the many good artists who nevertheless not belong to the most important ones. To those of you who owns the ‘blue’ Volume 1 in my Jazz Solography Series on “The History of Jazz Tenor Saxophone – Black Artists 1917 - 1934”, you will observe some minor updates. Please give feedback so this part of jazz tenor saxophone history will be as correct and complete as possible! Jan Evensmo June 8, 2014 – Update July 6, 2015 (p.