|
Sid Catlett 1944–1946
''Sid Catlett 1944–1946'' is a compilation album by jazz drummer Sid Catlett. It was recorded during 1944 to 1946, and was released in 1998 by the French label Classics Records as part of their Chronological Classics series. On the album, Catlett is heard in ensembles of varying size and instrumentation. Reception In a review for AllMusic, Cub Koda stated that Catlett's "sense of time was impeccable and his soloing always flowed from the most musical of impulses," and wrote: "these are delightful recordings in a variety of settings that show off the versatility and innate musicality of Catlett's swinging ways." The authors of ''The Penguin Guide to Jazz Recordings'' commented: "This hotchpotch of small-group dates... is fascinating... Sid's mercurial style, with glistening cymbal work, unexpected rimshot fusillades and detailed snare rhythms, was among the very few swing-based methods that didn't sound passé in the bop era." Writing for ''Jazz Times'', Harvey Pekar noted that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sid Catlett
Sidney "Big Sid" Catlett (January 17, 1910 – March 25, 1951) was an American jazz drummer. Catlett was one of the most versatile drummers of his era, adapting with the changing music scene as bebop emerged. Early life Catlett was born in Evansville, Indiana, United States, and at an early age he was instructed in the rudiments of piano and drums, under the tutelage of a music teacher hired by his mother. When he and his family relocated to Chicago, Catlett received his first drum kit, and immersed himself in the diverse styles and techniques of Zutty Singleton, Warren "Baby" Dodds, and Jimmy Bertrand, among others. Later life and career In 1928, Catlett began playing with violinist and clarinet player Darnell Howard, before joining pianist Sammy Stewart's Orchestra in New York City, and making appearances at the Savoy Ballroom. After performing for several lesser established musical acts, Catlett began recording and performing with multiple musicians including Benny Carter, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Love For Sale (song)
"Love for Sale" is a song by Cole Porter introduced by Kathryn Crawford in the musical ''The New Yorkers,'' which opened on Broadway on December 8, 1930 and closed in May 1931 after 168 performances. The song is written from the viewpoint of a prostitute advertising "love for sale". Early versions The song's chorus, like many in the Great American Songbook, is written in the A-A-B-A format. However, instead of 32 bars, it has 64, plus an 8-bar tag. The tag is often dropped when the song is performed. The tune, like many of Porter's, shifts between a major and minor feeling. The A section is in the key of B-flat minor before modulating to B-flat major and back. Background When the song came out in 1930, a newspaper labelled it as 'in bad taste';Schwartz, Charles (1979). ''Cole Porter''. Da Capo Press. , pp. 115–116 radio stations avoided broadcasting it. Because of the complaints, Porter shifted the setting of the song in the musical to the Cotton Club in Harlem, where it was su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charlie Shavers
Charles James Shavers (August 3, 1920 – July 8, 1971) was an American jazz trumpeter who played with Dizzy Gillespie, Nat King Cole, Roy Eldridge, Johnny Dodds, Jimmie Noone, Sidney Bechet, Midge Williams, Tommy Dorsey, and Billie Holiday. He was also an arranger and composer, and one of his compositions, "Undecided", is a jazz standard. Career Shavers's father, a distant relative of Fats Navarro, was from the Shavers family of Key West, Florida. Charlie Shavers was a cousin of heavyweight boxer Earnie Shavers. Born in New York City, he took up piano and banjo before switching to trumpet. In the mid-1930s, he performed with Tiny Bradshaw and Lucky Millinder. In 1935, he played in the trumpet section with Dizzy Gillespie and Carl (Bama) Warwick in Frankie Fairfax's Campus Club Orchestra. In 1936, he joined John Kirby's Sextet as trumpet soloist and arranger. He was only 16, but gave his birth date as 1917 to avoid child labor laws; many biographies still list this date. Sha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Illinois Jacquet
Jean-Baptiste "Illinois" Jacquet (October 30, 1922 – July 22, 2004) was an American jazz tenor saxophonist, best remembered for his solo on "Flying Home", critically recognized as the first R&B saxophone solo. Although he was a pioneer of the honking tenor saxophone that became a regular feature of jazz playing and a hallmark of early rock and roll, Jacquet was a skilled and melodic improviser, both on up-tempo tunes and ballads. He doubled on the bassoon, one of only a few jazz musicians to use the instrument. Early life Jacquet's parents were Creoles of color, named Marguerite Trahan and Gilbert Jacquet,The Sons and Daughters of Jean Baptiste Jacquet (1995) When he was an infant, his family moved from Louisiana to Houston, Texas, and he was raised there as one of six siblings. His father was a part-time bandleader. As a child he performed in his father's band, primarily on the alto saxophone. His older brother Russell Jacquet played trumpet and his other brother Linton pl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frank Socolow
Frank Socolow (September 18, 1923 – April 30, 1981), born in New York City, was a jazz saxophone, saxophonist and oboe, oboist, noted for his tenor saxophone, tenor playing. Socolow began his career in the early 1940s playing in swing (genre), swing bands led by Jack Nelson, Georgie Auld, Ted Fio Rito, Roy Stevens, Van Alexander and Shep Fields. In 1944 he landed the first of three stints (the others being in 1948 and 1956–57) with Boyd Raeburn's Orchestra, recording a number of records. In 1945 he recorded a session as leader (the first of only two) with Freddie Webster and a young Bud Powell for Duke Records. He was a member of Buddy Rich's short-lived big band, toured Scandinavia 1947-48 with Chubby Jackson, joined Artie Shaw's big band 1949-50, and throughout the late 40s and the 50s recorded with a wide variety of artists including the aforementioned, Johnny Bothwell, Charlie Ventura, Gene Krupa, Sal Salvador, Maynard Ferguson, Terry Gibbs, Phil Woods, Cecil Payne, Ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eddie "Lockjaw" Davis
Edward F. Davis (March 2, 1922 – November 3, 1986), known professionally as Eddie "Lockjaw" Davis, was an American jazz tenor saxophonist. It is unclear how he acquired the moniker "Lockjaw" (later shortened in "Jaws"): it is either said that it came from the title of a tune or from his way of biting hard on the saxophone mouthpiece. Other theories have been put forward. Biography Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemère, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues. In 1940, when Teddy Hill became the manager of the legendary Minton's Jazz club, he put Eddie Davis in charge of deciding which musicians could, or couldn't, sit in during the jam sessions (playing in this Minton's sessions was coveted by many, including mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bumps Myers
Hubert Maxwell "Bumps" Myers (August 22, 1912, Clarksburg, West Virginia - March 2, 1968, Los Angeles) was an American jazz saxophonist. Known primarily as a tenor saxophonist, he also occasionally played alto and soprano sax. Myers moved to southern California with his family when he was nine years old, and began playing with Curtis Mosby in the late 1920s. He played with Buck Clayton in the 1930s (including on a tour of China), as well as with Lionel Hampton and Les Hite. In the 1940s Myers played extensively with Benny Carter, as well as with Lester Young, Jimmie Lunceford, Sid Catlett, T-Bone Walker, Benny Goodman, and Russell Jacquet. He continued performing live and working as a session musician through the 1950s, with Jimmy Witherspoon, Helen Humes, Red Callender, Louie Bellson, and Harry Belafonte; he also worked with Horace Henderson in the early 1960s before retiring due to health problems.Howard Rye, "Bumps Myers". '' The New Grove Dictionary of Jazz''. 2nd edition, ed. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Willie Smith (alto Saxophonist)
William McLeish Smith (November 25, 1910 – March 7, 1967) was an American saxophonist and one of the major alto saxophone players of the swing era. He also played clarinet and sang. Early life Smith was born in Charleston, South Carolina, United States, and raised in Charleston and attended Avery Institute. His first instrument was clarinet, and his education was in chemistry. He received his chemistry degree from Fisk University, an HBCU. Career In 1929, Smith became an alto saxophonist for Jimmie Lunceford's band, becoming one of the main stars in the group. In 1940, he led his own quintet as a side project. His success with Lunceford had lost its charms by 1942, as he now wanted more pay and less travel. Smith moved to the Charlie Spivak orchestra for a year, and was in the United States Navy for another year. He then switched to Harry James's orchestra, where he made more money, and stayed with him for seven years. After that he worked with Duke Ellington and Billy May. He ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bull Moose Jackson
Benjamin Clarence "Bull Moose" Jackson (April 22, 1919 – July 31, 1989)Allmusic biography Accessed January 2008. was an American blues and rhythm-and-blues singer and saxophonist, who was most successful in the late 1940s. He is considered a performer of dirty blues because of the suggestive nature of some of his songs, such as "I Want a Bowlegged Woman" and "Big Ten Inch Record". Career Jackson was born Benjamin Joseph Jackson in Cleveland, Ohio. He played violin as a child but quickly became drawn to the saxophone and started his first band, the Harlem Hotshots, while he was still in high school. In 1943, he was recruited as a saxophonist by the bandleader Lucky Millinder, and the musicians in Millinder's band gave him the nickname " Bull Moose" for his appearance. He began singing when he was required to stand in for Wynonie Harris at a show in Lubbock, Texas. Millinder encouraged Jackson to sign a solo contract with Syd Nathan of King Records to play rhythm and blues. The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barney Bigard
Albany Leon "Barney" Bigard (March 3, 1906 – June 27, 1980) was an American jazz clarinetist known for his 15-year tenure with Duke Ellington. He also played tenor saxophone. Biography Bigard was born in New Orleans to Creole parents, Alexander and Emanuella Bigard. He had two brothers, Alexander Jr. and Sidney. His uncle, Emile Bigard, was a jazz violinist. He attended local schools and studied music and clarinet with Lorenzo Tio. In the early 1920s, he moved to Chicago, where he worked with King Oliver and others. During this period, much of his recording, including with clarinetist Johnny Dodds, was on tenor saxophone, which he played often with great lyricism, as on Oliver's "Someday Sweetheart". In December 1927, Bigard joined Duke Ellington's orchestra in New York. He played with Ellington until 1942. They played primarily at the Cotton Club until 1931, then toured almost nonstop for over a decade. With Ellington, he was the featured clarinet soloist, while also d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Open The Door, Richard!
"Open the Door, Richard" is a song first recorded by the saxophonist Jack McVea for Black & White Records at the suggestion of A&R man Ralph Bass. In 1947, it was the number one song on ''Billboard'''s "Honor Roll of Hits" and became a runaway pop sensation. Origin "Open the Door, Richard" began as a black vaudeville routine. Pigmeat Markham, one of several who performed the routine, attributed it to his mentor Bob Russell. According to Markham, Russell wrote the piece for a show called ''Mr. Rareback'', in which the comedian John Mason performed it (and presumably expanded it in improvisation). Mason, Russell, and Markham were all African-American comedians; all performed in blackface. The routine was made famous by Dusty Fletcher on stages such as the Apollo Theater in New York City and in a short film. Dressed in rags, drunk, and with a ladder as his only prop, Fletcher would repeatedly plunk the ladder down stage center, try to climb it to knock on an imaginary door, then c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
How High The Moon
"How High the Moon" is a jazz standard with lyrics by Nancy Hamilton and music by Morgan Lewis. It was first featured in the 1940 Broadway revue '' Two for the Show'', where it was sung by Alfred Drake and Frances Comstock. In ''Two for the Show'', this was a rare serious moment in an otherwise humorous revue. Recordings The earliest recorded hit version was by Benny Goodman & His Orchestra, featuring vocalist Helen Forrest. It was recorded on February 7, 1940, and released by Columbia Records as catalog number 35391, with the flip side "Fable of the Rose". The Les Paul Trio recorded a version released as V-Disc 540B with a spoken introduction which was issued in November, 1945 by the U.S. War Department. In 1948, bandleader Stan Kenton enjoyed some success with his version of the tune. The recording, with a vocal by June Christy, was released by Capitol Records as catalog number 911 (with the flip side " Willow, Weep for Me") and 15117 (with the flip side "Interlude"). It re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
