DOCSLIB.ORG

TIME LINE of KID ORY's CAREER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TIME LINE of KID ORY's CAREER INTRODUCTION TIME LINE of KID ORY’S CAREER Abbreviations of books and magazines used: AJ Albuquerque Journal ADB Anderson Daily Bulletin BBJ “Big Band Jazz” - Albert McCarthy CD Chicago Defender (via Storyville) DTN Daily Time News DB Downbeat ES Evening Standard, California FN Footnote(E) GRV New Grove Dictionary of Jazz GTJ & CR Good Time Jazz and Contemporary Record News ILB Independent, Long Beach JA The Jazz Archivist JJ Jazz Journal (E) JM Jazz Music (E) JMNO “Jazz Masters of New Orleans” - Martin Williams JN Jazz News {Aus) JOTBC “Jazz on the Barbary Coast” – Tom Stoddard JR Jazz Record JRP Jazz Report (E) JW Jazz Writing (this was a Jazz Appreciation Society book) KJO “King Joe Oliver” - Rust/Allen/Wright KSN Kingsport News LDN Lebanon Daily News LBPT Long Beach Press-Telegram MM Melody Maker (E) MR Mississippi Rag NOTFA “New Orleans Jazz: The Family Album” - Al Rose OT Oakland Times OTR Oakland Tribune PSS Pacific Stars and Stripes P Pickup (E) PS The Post Standard RC Record Changer RDF Redlands Daily Facts STY Storyville (E) TILII “Tell It Like It Is” - Joe Darensbourg TDC Tuscan Daily Citizen WCR West Coast Rag WA The Western Appeal All Are U.S. except where marked vii INTRODUCTION 1886 December 25th Edouard Ory was born at Laplace, Louisiana. (WCR - 2/95) (JA - Dec „94) 1899 Forms first band. Line up - Violin, Bass Viol, Guitar and Ory on Banjo. 1908 Brings a band to New Orleans - called “Ory‟s Brownskin Babies”. 1910 Ory moves to New Orleans. Photograph of the “Woodland Band” at Laplace, Louisiana - Chif Matthews cor, Johnny Brown vln, Kid Ory valve tbn, Stonewall Matthews gtr, Foster Louis sbs and Edward Robinson drs. (photo in NOTFA) 1913 Leads the band at Pete Lala‟s Cafe in Storyville. 1914 King Oliver joins Ory‟s band and brass band which was sometimes billed under joint names. 1916 Johnny Dodds joins Ory‟s band 1918 Jimmie Noone joins Ory‟s band 1919 Leaves New Orleans for Los Angeles. August 29th “Scrip Dance” at the Grunwald Tea House. Music by Oury‟s (sic) Orchestra. (Flyer/card) Autumn - leads bands at the Cadillac Cafe, Central Avenue, Dreamland Ballroom, L.A., Creole Cafe, Oakland, Cliffhouse, San Francisco (FN - Vol.8, no3). 1921 June - Recording for Sunshine Records (A1) 1922 February 28th - KO plays at a grand Mardi Gras Ball at Oakland Municipal Auditorium. „Music by King Oliver‟s and Ory‟s celebrated orchestras (WA - 18/2/22) May 20th - Ory‟s Band opens at “Wayside Park Cafe” (CD - 20/5/1922) “Ory‟s Sunshine Orchestra” make the first ever black jazz records. June 22nd - Spikes Brothers present their first artists in a public demonstration at “Gaumet Auditorium” with Roberta Dudley, Ruth Lee, The Famous Black and Tan Orchestra and Ory‟s Creole Jazz Band. (CD - 27/5/1922) July - Ory‟s band plays a “mammoth dance” at “Dreamland”, San Diego (CD - 15/7/1922) August 8th - Ory‟s band plays train excursion to San Diego. Personnel is given as Mutt Carey cornet/leader, Kid Ory trombone/manager, “Slocum” clarinet, Earl Whaley sax, Buster Wilson piano, Ed Garland bass and Ben Borders drums. (CD - 22/7/1922) September - Dance at “Hiawatha Dance Academy”. Plays with Dink Johnson on clarinet and L. Z. Cooper on piano (CD - 16/9/1922) October 4th - They open a brief season at the “Plantation Review” (CD - 7/10/1922) 1923 Makes first radio broadcast by a black jazz band. 1924 Moves to Chicago. viii INTRODUCTION 1925/1926 Joins King Oliver‟s Dixie Syncopators at the Plantation Cafe. Ory plays alto for the first six weeks (KJO) 1925 November 12th - Recording for OKEH (A2) 1926 February 22nd - Recording for OKEH (A3) February 26th - Recording for OKEH (A4) March 10th - Recording for Vocalion (A5) March 11th - Recording for Vocalion (A6) April 20th - Recording for Vocalion (A7) April 21th - Recording for Vocalion (A8) April 23th - Recording for Vocalion (A9 & A10)) May 28th - Recording for Vocalion (A11) May 29th - Recording for Vocalion (A12) June 16th - Recording for OKEH (A13) June 18th - Recording for OKEH (A14) June 23th - Recording for OKEH (A15) July 13th - Recording for Columbia (A16) July 14th - Recording for Columbia (A17) July 23th - Recording for Vocalion (A18) September 15th - Recording for Victor (A19) September 17th - Recording for Vocalion (A20) September 21th - Recording for Victor (A21) November 16th - Recording for OKEH (A22) December 16th - Recording for Victor (A23) 1927 April 22nd - Recording for Vocalion (A24) April 27nd - Recording for Vocalion (A25) May 9th - plays with King Oliver at the Savoy Ballroom, New York. June - Plays with Dave Peyton‟s Band at the New Plantation Cafe. Opens Chicago‟s Savoy Ballroom with the Clarence Black Band September 2nd - Recording for OKEH/Columbia (A26) September 26th - Recording for OKEH/Columbia (A27) December 9th - Recording for OKEH/Columbia (A28) December 10th - Recording for OKEH/Columbia (A29) December 13th - Recording for OKEH/Columbia (A30) 1928/1929 Plays with Boyd Atkins Chicago Vagabonds, at Sunset Cafe, Chicago 1928 July 2nd - Recording for OKEH/Columbia (A31) 1930 Returns to Los Angeles. Plays in a show called “Lucky Day” with the Leon Rene Band at the Pantages Theatre, San Francisco Plays with Mutt Carey‟s Jeffersonians and Emerson Scott‟s Band in Los Angeles. Photograph of KO with Clem Raymond‟s Orchestra at the Balconades Ballroom, San Francisco (JOTBC) 1931 Plays with Fred Washington Band at the Club Araby 1932 Plays with Charlie Echols Ebony Serenaders at Papkie‟s Club, L.A (BBJ) ix INTRODUCTION 1933 Retires from music to run a chicken farm with his brother John. Takes various odd jobs sorting mail and working in a railroad office. Plays alto and bass in neighbourhood dance bands. Plays a New Orleans type funeral in the Mexican Quarter. 1938 Brother John dies. KO visits New York City. 1939 Article about Ory in Jazz Information magazine. Visits New York city 1940s Date unknown - Private recording of KO playing valve trombone and clarinet (F1) 1940 Rehearses with Jelly Roll Morton‟s Big Band (JMNO) 1941 May 21st - KO composition copyright: Don‟t forget the Santa Fe Train and Bus July 10th - Pall Bearer at Jelly Roll Morton‟s funeral 1942 January 3rd - KO composition copyright: Jaywalk February 9th - KO composition copyright: Are You Selling Songs Mister? March 4th - KO composition copyright: Mussolini Carries the Drum for Hitler Regular guest spots with Barney Bigard‟s Band at the Trouville Club, LA (DB - 1/9/42) 1943 May - Plays with Zutty Singleton‟s Band at Billy Berg‟s Club, Vine Street, Hollywood (BBWH- p.198) May 9th - Ory plays Rudy Blesh concert. Later - Leads own quartet for residency at the Tip Toe Inn, 714E Whittier Boulevard, LA. x INTRODUCTION Line up - “Red Mac” Maclure tpt, (later replaced by Joe Darensbourg, clt) Buster Wilson pno, Alton Redd drs, Charles Mingus bass, Kid Ory doubles sbs, as, cor and tbn. (JR – Sept „45) This club was frequented by Orson Welles and Nesuhi Ertegun. (C1) 1944 March 15th - July 12th - Ory plays with the All Star New Orleans Band, first broadcast on the Orson Welles‟ Mercury Theatre radio show (see C2 - C14 and see Appendix 1) (MM - 23/5/64) April 19th - Jimmie Noone dies. Wade Whaley deps with the band. April - Recording for Jubilee (D1) May 3rd - Barney Bigard replaces Whaley May 18th - Recording for Standard Oil Schoolroom Broadcasts (C10) August 3rd - Recording for Crescent (B1) August 13th - Ory plays at Memorial concert for Jimmie Noone at the Trocadero Club, LA (RC – Oct „44) 1945 January 10th - Time Magazine interviews Ory. The story, called “The Kid Comes Back” appears in the February 5th issue (RC – Mar „45) February 12th - Recording for Exner (B2) February 18th - Ory Band plays two numbers, Muskrat Ramble and Savoy Blues at a benefit concert run by Norman Granz at the Philharmonic Hall LA. Also on the bill are Billie Holiday, Gene Krupa, Coleman Hawkins. (RC – April „45) March 18th - Plays a Hollywood High School Concert titled “Spirituals to Swing”. (RC – May „45) March 21st - Recording for Decca (B3) April 1st - KOCJB opens at Jade Palace Cafe, 6619-21 Hollywood Boulevard - for a one year residency, six nights a week, no Tuesdays. Minor Hall is on drums and Ory plays trumpet for the first few nights as Mutt Carey was on holiday in New Orleans. (RC – July „45) April 1st - Recording for Standard Oil Schoolroom Broadcast (C15) April 22nd - KOCJB play two or three Sunday afternoons at Ace Cain‟s Club, Western Avenue. Barney Bigard sits in. (RC – June „45) May 6th - Sunday afternoon sessions moves to the Jade Palace without Mutt Carey. However on the 13th, Carey was back. August 5th - Recording for Crescent (B4) August 14th - Joe Darensbourg leaves and returns to Seattle. (JM - Vol 3. no5) Barney Bigard plays for one week (JR – Oct „45). August - Darnell Howard joins. (DB -1/9/45) September 8th - Recording for Crescent (B5) November 3rd - Recording for Crescent (B6) 1946 January 24th - Recording for Standard Oil Schoolroom Broadcast (C16) February 10th - Recording live at The Green Room (C17) February 19th - KO signs contract with Columbia Records. February - Albert Nicholas joins KOCJB at the Radio Room, 1539 Vine Street, Hollywood (DB - 22/4/46) April 21st - Live Broadcast from Billy Berg‟s Club (C18) Late May - Recording for Jubilee (D2 & D3) June - Ory signs with the MCA Booking Agency (DB - 3/6/46) August 4th - Afternoon and evening dance run by the Yerba Buena Music Shop, at the Dawn Club, San Francisco. Albert Nicholas clt and L Z Cooper pno. (P – Oct „46) August - Albert Nicholas leaves and returns to New York. He is replaced by Jack Kelson (Kelso) for two months, Darnell Howard for a short time, and then Barney Bigard.
Load more

Recommended publications
  • Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
    ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington.
    [Show full text]
  • 2 Tansas Gazette - North East Louisiana
    . 2 Tansas Gazette - North East Louisiana ======= Map of North Eastern Louisiana Waterproof, La is in the Southern portion of Tansas Parish, La. It is 199 miles from New Orleans. During the era of the cotton plantations the population of the parish was 90% slaves. There were many dances in the parish's leading cities - Waterproof, Newellton and St. Joseph. There were few concerts given and few organized brass or string bands. Jazz music was first mentioned in the newspaper in 1921. 1881 May 7 - The Ball, Wednesday Night In response to an invitation sent us, we attended the ball given by the Tensas "rifles, at Masonic Hall, on the evening of the 4th. As we predicted last week, everyone who attended had an ice time, and to say that it was a success but faintly expressed it. The band - Kaisers, from Natchez - came on the Rebstock, about 6:30 and about 9 p.m. the ladies and their escorts began to arrive, and despite the warmth of the evening, number of them were soon whirling in the dizzy mazes of the waltz. "From that time until the hour appointed for supper, the dancers held the floor, and "chased the giddy hours with flying fee" to the music of quadrille, heel and toe, the waltz and the Lancers. The assemblage was the largest, we learn, of any that has attended a ball here during the season. 1882 November 4 - Brass Band We learn that the Waterproof Brass Band has organized a series of open-air concerts, in the form of night serenades to their friends in the several neighborhoods in the vicinity of the town.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Diana Davies Photograph Collection Finding Aid
    Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival.
    [Show full text]
  • March 1980 the PRESIDENT's CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This Month's Board Meeting Was Held at the Bratwur Sthaus, As Usual
    RaaBuHCS 'J March 1980 THE PRESIDENT'S CORNER TAILGATE RAMBLINGS VOLUME 10, NUMBER 3 March 1980 This month's Board Meeting was held at the Bratwur sthaus, as usual. A nice custom was inaugurated: inscribing the PRJC presidential Editor: Ken Kramer gavel with the p resid en t's name and year of service. The gavel may well prove superfluous Contributing Editors: since committee reports seem very favorable. Mary Doyle Harold Gray Memberships are at all-tim e high — about Joe Godfrey Dick Baker 1,300 members. Financially we are in good George Kay Floyd Levin shape, even after purchasing new sound Vivienne Brownfield equipment, although we have no big source of revenue until the June Boatride. We hope to PRJC President: Mary Doyle break even on PRJC events up to then. (703) 280-2373 Our experts report in glowing terms of Vice President: Ken Kramer great sounds to come from the PRJC's new sound (703) 354-7844 equipment. If you haven't already heard the new system at the Jazzathon, you can hear it TAILGATE RAMBLINGS is the monthly publication with your own ears at the BIX BIRTHDAY PARTY o f the Potomac River Jazz Club. The Club on March 8. Its purchase is due to your past stands for the preservation, encouragement, participation, so enjoy! Good music deserves and advancement o f tra d ition a l ja zz. This good sound. means jazz from 1900 to 1930 in the New Orleans, Chicago, and Dixieland styles, Before adjourning at the unusually early including their various revivals, as well as hour of 9:40, the board made a couple of blues and ra gtim e.
    [Show full text]
  • May • June 2013 Jazz Issue 348
    may • june 2013 jazz Issue 348 &blues report now in our 39th year May • June 2013 • Issue 348 Lineup Announced for the 56th Annual Editor & Founder Bill Wahl Monterey Jazz Festival, September 20-22 Headliners Include Diana Krall, Wayne Shorter, Bobby McFerrin, Bob James Layout & Design Bill Wahl & David Sanborn, George Benson, Dave Holland’s PRISM, Orquesta Buena Operations Jim Martin Vista Social Club, Joe Lovano & Dave Douglas: Sound Prints; Clayton- Hamilton Jazz Orchestra, Gregory Porter, and Many More Pilar Martin Contributors Michael Braxton, Mark Cole, Dewey Monterey, CA - Monterey Jazz Forward, Nancy Ann Lee, Peanuts, Festival has announced the star- Wanda Simpson, Mark Smith, Duane studded line up for its 56th annual Verh, Emily Wahl and Ron Wein- Monterey Jazz Festival to be held stock. September 20–22 at the Monterey Fairgrounds. Arena and Grounds Check out our constantly updated Package Tickets go on sale on to the website. Now you can search for general public on May 21. Single Day CD Reviews by artists, titles, record tickets will go on sale July 8. labels, keyword or JBR Writers. 15 2013’s GRAMMY Award-winning years of reviews are up and we’ll be lineup includes Arena headliners going all the way back to 1974. Diana Krall; Wayne Shorter Quartet; Bobby McFerrin; Bob James & Da- Comments...billwahl@ jazz-blues.com vid Sanborn featuring Steve Gadd Web www.jazz-blues.com & James Genus; Dave Holland’s Copyright © 2013 Jazz & Blues Report PRISM featuring Kevin Eubanks, Craig Taborn & Eric Harland; Joe No portion of this publication may be re- Lovano & Dave Douglas Quintet: Wayne Shorter produced without written permission from Sound Prints; George Benson; The the publisher.
    [Show full text]
  • Louis Armstrong
    A+ LOUIS ARMSTRONG 1. Chimes Blues (Joe “King” Oliver) 2:56 King Oliver’s Creole Jazz Band: King Oliver, Louis Armstrong-co; Honore Dutrey-tb; Johnny Dodds-cl; Lil Hardin-p, arr; Arthur “Bud” Scott-bjo; ?Bill Johnson-b; Warren “Baby” Dodds-dr. Richmond, Indiana, April 5, 1923. first issue Gennett 5135/matrix number 11387-A. CD reissue Masters of Jazz MJCD 1. 2. Weather Bird Rag (Louis Armstrong) 2:45 same personnel. Richmond, Indiana, April 6, 1923. Gennett 5132/11388. Masters of Jazz MJCD 1. 3. Everybody Loves My Baby (Spencer Williams-Jack Palmer) 3:03 Fletcher Henderson and his Orchestra: Elmer Chambers, Howard Scott-tp; Louis Armstrong-co, vocal breaks; Charlie Green-tb; Buster Bailey, Don Redman, Coleman Hawkins-reeds; Fletcher Henderson-p; Charlie Dixon- bjo; Ralph Escudero-tu; Kaiser Marshall-dr. New York City, November 22-25, 1924. Domino 3444/5748-1. Masters of Jazz MJCD 21. 4. Big Butter and Egg Man from the West (Armstrong-Venable) 3:01 Louis Armstrong and his Hot Five: Louis Armstrong-co, voc; Edward “Kid” Ory-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; May Alix-voc. Chicago, November 16, 1926. Okeh 8423/9892-A. Maze 0034. 5. Potato Head Blues (Armstrong) 2:59 Louis Armstrong and his Hot Seven: Louis Armstrong-co; John Thomas-tb; Johnny Dodds-cl; Lil Hardin Armstrong-p; Johnny St. Cyr-bjo; Pete Briggs-tu; Warren “Baby” Dodds-dr. Chicago, May 10, 1927. Okeh 8503/80855-C. Maze 0034. 6. Struttin’ with Some Barbecue (Armstrong) 3:05 Louis Armstrong and his Hot Five.
    [Show full text]
  • Rudolph Beaulieu I
    1 RUDOLPH BEAULIEU Also present: William Russell I [of 3]--Digest--Retyped Ralph Collins May 31, 1961 Rudolph Peter Beaulieu was born in New Orleans, on Derbigny ·. between Kerlerec and Columbus (about where Artisan Hall is), on July 23, 1899. RB had two brothers who also played music; Arnold Depass (actually, a half-brother) played drums. (George Guesnon, shown in a photograph, is mentioned.) Depass played with "some of the old aces." RB learned to play on Depass's drums, on the sly until Depass caught him; then Depass told him it was all right for him to play them, told him he should learn to play, and later began sending him on jobs. RB began getting work on his own, and he ( made up a band (he says he has made up four or five bands in his career). RB says he and Martin Gabriel (now away from here) "carried I ' on plenty•). [wofked together a lot?]. WR says a Gabriel married the \ bass player, [August] Lanoix; RB says that she is a sister of Martin; there were other Gabriels in that family; one, Clarence Gabriel, was a fine piano player •.•• [Restricted] RB says he and others, incluiling Clarence Gabriel, Charlie Armstead, and Maurice Durand, [trumpet,] had a band which played "back of Desire Street." He [owner of the place there?] died not long ago. The band worked there about three years. Talk of Durand, who lives [and died] in. California. RB also worked with various other bands, including that of Papa Celestin. RB began playing just about the time Louis Armstrong went to Chicago [1922].
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter
    Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter We’re reminded, once again, of the perma- spent decades in Europe and South America. nent power of jazz to syncopate itself across time Our media-savvy correspondent Dave Ra- zones. From the earliest years, Storyville’s “ragtime” dlauer has rendered future jazz historians a service and “jazz” bands quickly reproduced themselves on by painstakingly tracking the elusive career of this San Francisco’s Barbary Coast, then in Los Angeles, peripatetic reedman (and sometime trumpeter). After Chicago, New York, Paris... Seeking jobs -- even on you peruse the Goodie story in this issue, be sure to ocean liners -- jazzmen tune your digital device joined the flood of their to his streaming site, recordings in seamlessly jazzhotbigstep.com for blanketing the planet more info and sound with a music that would recordings. come to be recognized as Another ex- America’s great cultural ample of the increas- gift to the world. ingly two-way com- Yet jazz also merce between national remains, a century later, and local events have firmly anchored to its been the appearances hometown venues. This of Loren Schoenberg in issue of your Cricket the South Bay. Once a celebrates the little- year for three years, this known career of Frank Director of the National “Big Boy” Goodie. His Jazz Museum in Harlem compelling life story has been presenting begins in Creole New fascinating free public Orleans and ends (like lectures at Stanford that of many another University’s Cantor classic jazz pioneer: Museum.
    [Show full text]
  • L TRAIN TRACKS South Parkway
    Black World Hoyt Fuller, Editor Tan 1950 Negro Digest 1942 Ebony 1945 Park movie theater 1951 Jet 1951 theatrical clientelle Johnson Publishing Eddie Flagg the bellboy Earl Fatha Hines NBC Orchestra & Review "Taking care" of guests c.1928-37 Ritz Lounge Supreme Life Insurance Co. Olivet Baptist Church Grand Terrace Ballroom Ritz Hotel Stelzer's Lounge PERSHING ROAD 3501 South Parkway 3101 S Parkway 3955 S Parkway 31st St 33rd St 35th St 39th St 41st St 43rd St 45th St 47th St South Parkway Blvd South Parkway South Parkway South Parkway South Parkway South Parkway South Parkway South Parkway 3624 S Parkway 4644 S. Grand Boulevard Ida B Wells House Metropolitan Theatre L TRAIN TRACKS Victory Monument c. 1917-30 Metropolitan Theater Erskine Tate Fats Waller L TRAIN TRACKS Bob Schofner leaders charismatic black activist A. Philip Nat "King" Cole Omer Simeon Randolph and former porter Milton "Pee Wee" Jackson Quinn Wilson Webster, head of the Chicago union local Cavel Chilton Wallace Bishop Sammy Stewart Louis Armstrong Clarence Jones and his Syncopators The Brotherhood of Sleeping Car Porters Warwick Hall 543 E. 47th St. 1925 41st St 33rd St 35th St 39th St 47th St Calumet Avenue Calumet Avenue Calumet Avenue Calumet Avenue The Peerless 1924-30's New Grand Terrace Joe "King" Oliver with the Dixie Syncopators Erskine Tate 338 E. 35th St. Palm Tavern 446 E 47th St Plantation Cafe Jabbo Smith Carroll Dickerson's Band 1937 - Earl Hines Dave Peyton Cab Calloway Sammy Stewart Band Sunset Cafe 315-17 E. 35th St. at S. Calumet Miles Davis bebop Buster Bailey poems by Langston Hughes Chicago Renaissance Louis Armstrong Sunset Stompers Charlie Elgar's Band 1921-1937 Boyd Atkins Band white owned Tiny Parham black & tan cabaret L TRAIN TRACKS Earl Hines' band with Dizzy Gillespie and paintings by Archibald Motley Chicago Jazz 35th St.
    [Show full text]
  • Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]
    OARNELL HOWARD 1 I [of 3]-Digest-Re typed April 21, 1957 Also present: Nesuhi Ertegun, Robert Campbell Darnell Howard was born July 25, 1906, in Chicago [Illinois]. NE says Muggsy [Spanier] told him he [also] was born that year, but DH says Muggsy is older. DH was born at 3528 Federal Street (two bloclcs from Armour Institute, which is now Illinois Institute of Technology). DH began studying his first instrument, violin,, at age seven; he studied with the same teacher who gave his father some lessons; his fatlaer played ciolin, comet and piano, and worked in night clubs around Chicago; he was working at [Pony?] Moore's at 21st and Wabash/ when he became il-1. DH says Bob Scobey or Turk [Murphy] told him that NE was a first-rate photographer. DH's father played all kinds of music, as DH has. EH studied violin until he was fourteen years old, when he ran away from home. His violin teacher was anj:,old man named Jol-inson. DH joined the union when he was twelve; h^s was sponsored by Clarence Jones; DH wente to worX [with Jones?] at the Panorama Theater; instumnentation was violin, pianc^ comet and drums. The school board made DH i^uit because of his age. The band played for motion pictures; they read their music. DH made 1-iis musical debut when he was nine years old, playing in a chsrch/ with his mother playing fhe piano. DH was induced to run away from 'home because be couldn't work in Chicago; to went with John Wycliffe's [c£.
    [Show full text]