patricia

So, in a way, he was your mentor. I too actually had, and have two irreplaceable mentors, who helped ease me into jazz, recommending music to me and actually sending me examples of big band, vocalists, small-group and other stuff that piqued my interest which continues to grow. My near-obsession with jazz history grew out of my love of the music and I credit my mentors, Dan and Don with the passion which developed. In turn, I have passed along my knowledge of jazz, such as it is, to many younger people, including my two daughters' friends. My youngest daughter is very interested in pre-1940's jazz, as well as Edith Piaf. Since she was only seventeen when I first exposed her to alternatives to punk, I consider that a particularly fine plume in my personal beanie. I also brought jazz CD's with me to work, when I was labouring at a libation emporium, part-time and managed to turn some of the guys who had, on to that point, been C&W listeners to the passion of jazz. It was in self-defence originally, but resulted in some of the MUZAK being Miles, Parker and Lena Horne, as well as some Jimmy Smith and Herbie Hancock. Joni Mitchell's "Both Sides Now" and Etta James' "Mystery Lady" were favourites. We do what we can to spread the word.

With my luck, I'd end up in the "Smooth Jazz, New Age" section and end up with a passell of Kenny G. and Yanni. However, pointed in the right direction, I would probably forget that they were free and be as discriminating as I usually am and come away with about 25 CD's, instead of the barrel-load which would be possible, given the quite generous length of time, if you've ever actually counted it out. Possible HEAVEN!!

I guess, like a lot of the kids I grew up with, my dad's collection of jazz was pretty typical, Armstrong, Basie, Ellington, some Dixieland and vocalists of the forties and fifties. And like a lot of the kids I grew up with, I rejected it, as old-guys' music in favour of r&b, Elvis, Psychedlic, folk and other stuff for years. I also had a brief romance with classical music, despite my total lack of talent at both piano and violin lessons as a young child. I can pinpoint my original interest in jazz to the Brubeck hit, "Take Five", which was nothing like any of the jazz I had heard around the house and it intrigued me, along with Moe Kaufmann's "Swingin' Shepherd Blues". I wasn't totally hooked though, until about seven years ago. I happened to pick up a compilation of hits from the late forties and early fifties and thought that they were interesting and pursued the music, acquring several CD's and managing, through my associations on a couple of jazz boards to meet my two most important mentors. Since then I have been unstoppable, even getting a turntable in order to buy vinyl, along with an alarmingly exploding collection of jazz on CD as well. I have a lot of catching up to do, but that's OK. I seldom listen to anything but jazz nowadays, except for the occasional flamenco guitar, notably the great Canadian guitarist, Jesse Cook, who actually has a jazz slant to his Flamenco guitar recordings. So, I'm HOOKED IRREVOCABLY on the magic and the passion of JAZZ!!!!

My bias once again evident, I will now talk about the fabulous drummer, SHADOW [Rossiere] WILSON. Shadow was born in Yonkers, New York in 1919 and his first professional work was with Lucky Millinder. He then went to Jimmy Mundy in 1939. The forties brought Shadow into the bands of the greats of the day. He worked with virtually all of them, from big bands to small groups. Wilson worked with Benny Carter, Lionel Hampton, Earl Hines, Count Basie, Woody Herman, Illinos Jacquet, Georgie Auld and Louis Jordan as well as Billy Eckstine's band. Eckstine's organization had among it's satellites, Charlie Parker, Sarah Vaughan, Dizzy Gillespie and Freddie Webster. Shadow was also the drummer in Billy Eckstine's band in the forties, but was replaced by Art Blakey, apparently because Shadow did not want to tour in the south. Blakey said of that time, "I had the band at the Tic Toc in Boston. Meanwhile, Billy had organized his band, and it had Shadow on drums, and they had a certain clique that hung out together: Charlie Parker and Dizzy Gillespie and Freddie Webster and Sarah Vaughan...Shadow left, and in the meantime they had to get somebody to take Shadow's place. So somebody told Billy about me. Billy knew me, but he didn't know about what I was doing, and he sent for me and I came round and joined the band, and that was the turning point of my life." Along with his associations with all of the above, Wilson also kept himself busy freelancing. He was widely known as a quintissential drummer of great flexibility and versatile musicality. As the fifties rolled in, Shadow was still going strong, backing Errol Garner from 1950-1952, then the great Ella Fitzgerald from 1954-1955. Then came his stint with Thelonious Monk, from 1957-1958. After his sojourn with Monk, Shadow continued to take jobs around New York, until his death at only forty, in 1959.

Who remembers?? If it fits in a glass, it's good.

You SAVED that cake???

Thank you, EKE BBB. Terrific PEANUTS!!!! Next up......MUTT [Thomas] CAREY, who was born in Hahnville Louisiana in 1891 and was the younger brother of Jack Carey, who ran the Crescent Brass Band in New Orleans. Despite this musical connection, Mutt didn't take up his trumpet unit he was twenty-two years old. His first professional work was with Frankie Dusen, Joe Oliver, Jimmy Brown and Bebe Ridgeley in parades and in clubs. Starting in 1914 Mutt began a partnership with the great Kid Ory and it was a thirty year path, often strewn with contention, but the partnership endured. Mutt was acknowledged as one of the most popular New Orleans trumpetmen. His style is described as mellow-tone and mid-ranged. He had a special way of playing very softly, which reminded many of the muted techniques of King Oliver, who was a great friend. Dubbing himself "Blues King of New Orleans", Mutt re-located to California in 1919 in order to work with Kid Ory. I was amused to learn that when King Oliver moved to California in 1921, to step in for Ory, audiences referred to him as a Carey imitator!! King Oliver quickly went on to greater glory in his career in Chicago and in 1925 Carey took over Ory's small group, giving it the new name, the Jeffersonians. He then expanded it to big-band size and worked extensively in the silent film studios. Interestingly, but not all that unusual for the time, Mutt, during the 1930's worked at a couple of regular jobs, as a Pullman porter and as a mailman as well as his music. Then he got back to music, full-time again with the Standard Oil broadcasts which were narrated by Orson Welles and was a major part of the revivalism of Dixieland in the mid-1940's. MUTT CAREY remained a very popular performer until his death in 1948 at forty-seven years old. A short, but productive life in which he brought beautiful Dixieland music to thousands of people. Not such a shabby legacy.

Rare loss of composure. Sorry about that. Could have been that inadvisable third glass of wine. I'm as normal as I get, once again.

Our next honouree is the great PEANUTS [Michael Andrew] HUCKO. His nickname was a childhood one, acquired due to his uncommon love of the legume. Peanuts played smooth tenor saxophone, influenced by Bud Freeman and Eddie Miller. He played with trombonist, Jack Jenney and then later with Will Bradley, Joe Marsala Charlie Spivak and Bob Chester. When Peanuts joined the Air Force he played saxophone, although he also played clarinet. He switched to clarinet, because, as he said, "we did a lot of marching in sand which was awkward with the tenor." Peanuts joined Glenn Miller's Uptown Hall Gang and was featuring his new specialty, clarinet on "Stealin' Apples" at breakneck speed. He reverted to tenor, occasionally, with Benny Goodman's band, where his section mate was Stan Getz, as well as with Ray McKinley. Peanuts then played clarinet with Eddie Condon's band, when he filled in for Pee Wee Russell from 1947-1950. For the following five years he was a studo man for CBS and ABC and that was where he met Louis Armstrong and was with his All Stars for two years. Peanuts was with Dick Gibson's Colorado jazz parties, playing with the ten greats Of Jazz, which later came became The World's Greatest Jazz Band. When the 1970's came around he led the Glenn Miller Orchestra and played solos for Laurence Welk. At the same time, Peanuts opened a nightclub, Peanuts Hucko's Navarre which featured Ralph Sutten and his wife, the singer, Louise Tobin. In the 1980's Peanuts enjoyed renewed success with his Pied Piper quintet and with Syd Laurence's Miller-style orchestra. He also released several best-selling records. The 1990's were busy for Peanuts, touring and recording with his own Dixieland band, which had among it's personel, trumpeter, Randy Sandke. He continued to maintain a link between Benny Goodman and the post-war Bob Wilber. PEANUTS HUCKO died last year, at 85 years old.

I don't "keep" referring to Seinfeld. Read the whole thread, DOOFUS. Landsakes!!!. Give me strength.

OK "Eugene Chadbourne". Love it, especially the pictures. All I knew, previously, about Ish Kabibble was that it was a funny name, but none of the background. Disturbingly attractive haircut. A pox on Dizzy, for ripping off the horn idea. Thank you Berigan.

The line wasn't that funny on Seinfeld, much less so, regurgitated by you. You are as amusing as a baby's casket. As you said, life is too short........................

Thank you EKE BBB!!! Fabulous pictures. ..................................... Now we have a drummer, ALBERT "TOOTIE" HEATH, born in Philidelphia in 1935. Tootie is the younger brother of Jimmy and Percy Heath. He moved to New York in 1957 and made his debut with the great John Coltrane, who was a fellow Philidelphian. In the late fifties and early sixties he toured with J.J. Johnson. He then was in a trio, with Cedar Walton and Bobby Timmons. Then, in 1965, he moved to Europe to work with George Russell and the pianist, Friedrich Gulda. Heath accepted a residency in Copenhagen with Kenny Drew in the late sixties, and was there for two years. Tootie returned to the U.S. in 1968, joining Herbie Hancock's sextet. He then went to the Yusef Lateef quartet. He recorded with Kenny Drew and also with Anthony Braxton in Copenhagen in 1974. That was followed by his joining the Heath Brothers in 1975 and stayed with them for three years. He then left the group to freelance, although he did play with them occasionally. TOOTIE HEATH is known as a dynamic and driving drummer, often compared to Kenny Clarke. He is a team-player, never drawing attention to himself, but more of a supportive and versatile drummer, drawing the rest of the band into a cohesive unit.

ZIGGY ELMAN [Harry Finkleman] was not only a trumpet player, but a multi-instrumentalist, born in Philidelphia in 1914. Ziggy began his career with Alex Bartha's house band, playing trombone. Bartha's band played Atlantic City's Steel Pier ballroom. Benny Goodman replaced his lead trumpeter, Pee Wee Erwin with Ziggy in 1936 and Ziggy stayed with Goodman for four years. The triumvirate of Elman/James/Griffin was formed, in what many consider Goodman's greatest band. In 1938 Elman was featured soloist in Goodman's band and recorded sixteen very successful sides for Bluebird. Four songs, which became classics for Goodman's band were recorded during that period. They were, "Fraulich In Swing", "Bublitchki", "And The Angels Sing" with words by Johnny Mercer and "Who'll Buy My Bublitchki?" It's interesting that Elman apparently learned to play clarinet in one day, in order to perform a live version of "Bach Goes To Town" with Goodman's band in the late thirties. In 1940 Elman was with Tommy Dorsey's band, usually leading the trumpet section. He then moved to Los Angeles, trying, unsuccessfully, a couple of times to run his own big band. The timing was wrong in that the popularity of big bands was at a low period. Couple that with the second American Federation Of Musicians recording ban and it's not difficult to see his dilemma. That is not to say that Elman wasn't playing. He was doing good work for film studios, radio and TV. He did record one album, "Tribute To Benny Goodman" by Jess Stacy and the Famous Sideman. Elman also appeared in The Benny Goodman Story. Oddly, his playing was dubbed by Manny Klein. Unfortunately, Ziggy was downed by a series of nervous breakdowns, combined with his well-known drinking problems. ZIGGY ELMAN died at only forty-six years old in June of 1968.

Ah, don't be so quick to judge, patricia. I have said album on vinyl already. CD is just more convinient. My humblest apologies. You are absolved.

And now we have another New Orleans jazzer, "PAPA" [Oscar] CELESTIN, born in 1884 in La Fourche, Louisiana. Papa Celestin played trumpet and also sang. Papa Celestin had what is described as an off-centre embouchure and was with the Algiers Brass Band in the early 1900's. Soon after, he played with Henry Allen Sr.'s Olympia band and led that band from 1910-1913. It wasn't long before he led his Tuxedo Brass Band in becoming one of New Orleans' most popular bands in 1917. This band included the wonderful trombonist, William "Bebe" Ridgely, playing dances for the lucrative white society dance market. His band featured star names, like Zutty Singleton, Kid Shots Madison, Manuel Manetta and Paul Barnes. The OKeh label recorded Celestin in the 1920's as well as did Columbia and he remained a big New Orleans attraction. The Depression put a temperary halt to Celestin's musical endeavors and he worked in shipyards during the war. When the war was over, Dixieland enjoyed a revival and Celestin's band was at the forefront. His reorganized band had another burst of success and recorded again, this time for the De Luxe label in 1947. By 1949 the band was starring on Bourbon Street at the Paddock Lounge. They were also recording regularly, as well as appearing on TV and doing radio work. In 1953, Papa Celestin performed for Dwight Eisenhower and a bust of Papa was bought by the New Orleans Jazz Foundation. This bust stands today in the Delgado Museum in New Orleans. PAPA CELESTIN died in 1954 at seventy years old.

B-3r, I'm SHOCKED that you did not replace the Jimmy Smith CD. Put on your coat, go to a purveyer of items musical, and do so, even if you have to pay regular price.

Thank you EKE BBB. Great picture.

The name, BUDDY [boniface Ferdinand Leonardo] DEFRANCO comes up frequently, due to his associations with so many legendary musicians and bands throughout his long career. He plays clarinet, alto saxophone and bass clarinet. Buddy began his career in the early forties, with several name bands, including those of Gene Krupa, Charlie Barnet and Tommy Dorsey, with whom he served three stints, from 1944-1948. When he was with Dorsey he was featured on clarinet. Defranco, when he was not with name bands, did a lot of small group work in Chicago, New York and California. He was also with Count Basie's octet in 1950-1951. Interesting to me was that, while with Basie's organization, Defranco played in a film short, but was not allowed to be seen with the all-black group, being replaced on-screen by Marshall Royal. In 1951 he formed his own big band, then a quartet in 1952, for three years. The quartet included Art Blakey and Kenny Clark. Later Sonny Clark was part of his group. In 1966 Buddy Defranco became leader of the Glenn Miller ghost band for eight years. Then came the late seventies and, along with occasional solo work, Buddy became involved with jazz education. At the same time, he continued to accept work as a soloist and made several tours of Europe in the 1980's. In the early eighties, Defranco formed a partnership with Terry Gibbs, who is described as a consummate technician. Now, there has always been criticism of Buddy Defranco that he has technique with no taste, but this salvo has also been levelled at such giants as the great Oscar Peterson and Buddy Rich. The most frequent slam against Defranco has been that his technique is so perfect, that he lacks spontenaety. Those who love jazz because of it's improvisational aspect may have a point, but I don't think that a standard, beautiful approach to his instrument, compared to a more creative, spontaneous expression, used by other players is necessarily a bad thing. Buddy Defranco, IMO, simply appeals to an audience that likes familiarity, rather than constant change.

Kid looks great and, if I might dare to be irreverant, perhaps he was called "Kid" because he had to wear somebody else's pants. Holy moly!! Either he is shrinking, right before our eyes, or he had a really bad tailor. "Break at the shoelaces" means nothing to whoever sold him those pants. But, I digress. Great picture. .......................................... I know that you were wondering if there were very many musicians who played alto sax, clarinet, trombone, trumpet AND recorder. Well, the wait is over. The man is "LAZY ADE" MONSBOURGH [Adrian Herbert} who began his career with Graham Bell, in Australia, while he was still in his early teens. He became a major figure on the Australian jazz scene in the forties, right through the seventies. He worked with Roger Bell, Don Roberts and Dave Dallwitz. For over thirty years he led his own band, Lazy Ade's Late Hour Boys starting in 1944, near the end of the war. They played Eastern Europe in 1947, and Britain in 1951 and 1952. It was during his period in Britain that he met Humphrey Lyttleton and produced such classic recordings as "Don't Monkey With It" and "Hoppin' Mad" in 1951. After his success in Britain, Lazy Ade returned to Australia and gradually faded from the international scene. But, that doesn't mean that he quit playing. On the contrary. He continued to play in jazz clubs, conventions and making recordings. His best known recording was the Brighton Jazz Parade sessions in 1984. Have a look around for "Wild Life" [1971 Swaggie] which is a compilation of sessions from 1956-1970. Roger Bell describes it as "an object lesson in the performance of a small-group back-room musicians" type of jazz. Lazy Ade is on alto saxophone and clarinet . Worthwhile.

Good for you, Dan. I LOVE the yard!!!

Thank you so much, EKE BBB for the great pictures. I think that BABS is out of the frame, somehow though. ***later edit*** Babs is now back and he looks MAHVELOUS!!!! ................................. We now have the trumpet player, KID [Avery] HOWARD, born in New Orleans in 1908. Originally, Kid was a drummer in several bands, including those of Andrew Morgan and trumpeter, Chris Kelly. Kelly's playing blew Howard away and he took up the trumpet. He then became a regular player with the Young Tuxedo Brass Band, Allen's Brass Band, at the same time playing with small groups, as well as a brass band of his own. Kid continued his career in the thirties, playing regularly in clubs and in theatres. In 1943, he recorded with George Lewis, then worked regularly with Lewis later, in 1952 onward. By the time the 1960's came around, Kid Howard was a familiar figure at Preservation Hall. His style was described as hot and driving and he was held in very high regard by Dixieland aficianadoes. In 1966, KID HOWARD's funeral was held in his hometown and was attended by the Eureka, Olympia and also the Onward brass bands and was one of the biggest and best-attended funeral processions ever held, at least to that point in New Orleans.

And now, we have BABS GONZALES [Lee Brown] who was a singer, in various clubs on both the East and West coasts, before organizing his own group. His group was known as Three Bips And A Bop and was very popular from 1946-1948. I was interested to discover that this group included Tadd Dameron and Rudy Williams and that they were the first ones to record "Oop Pop A Da", which was covered, later, by Dizzy Gillespie. Babs was the vocalist and also road-managed the James Moody band brom 1951-1953. He also was involved in record sessions with Jimmy Smith, Bennie Green and Johnny Griffin. For the rest of his career Babs worked as a soloist and performed in Europe. He was one of the very first U.S. performers to appear at Ronnie Scott's in 1962. He published his own albums on a miriad of labels, as well as distributing a two volume set of his autobiography. Babs Gonzales is probably better known as a rabid promoter of JAZZ, in the most unlikely outlets. If he could get people to listen to jazz, he did. He continued to be involved in many activities on the fringes of jazz and show business. There was even a short period in which he worked as Errol Flynn's chauffeur!!! BABS GONZALES died in 1980 at sixty-one.

My diet approximates Scott's. (Just about! ) Well, don't take this the wrong way, but your caskets will, eventually, have to be loaded with a crane. POP TARTS ONCE A WEEK, MAXIMUM!!! I COMMAND IT AND I WILL BE MONITORING COMPLIANCE. I only say this because I care.

Just when you think it's safe to abandon all the voo-doo hocus-pocus of the un-enlightened past, this happens. I'm sure that thousands will see this as A SIGN.