Al Hall (musician)
Alfred Wesley Al Hall was an American jazz bassist. Hall grew up in Philadelphia, where he played cello and tuba early in life before settling on bass at age 17 and he moved to New York in 1936, where he played with Billy Hicks, Skeets Tolbert and Teddy Wilson in both big band and small ensemble format. Following time with Ellis Larkins and Mary Lou Williams, Hall took a job as a musician at CBS. He worked in Broadway pit orchestras for the several decades. He founded his own label, Wax Records, in 1946, Hall had an extended partnership with Erroll Garner, playing with him intermittently from 1945 to 1963. He played in life with Benny Goodman, Hazel Scott, Tiny Grimes, Alberta Hunter and he led five numbers on his own label in 1946-47 and four on Columbia Records Europe in 1959. Contributed to Paul Curry Presents the Friends of Fats LP,1959 Golden Crest Label, with Paul Quinichette Moods With Billy Strayhorn Cue for Saxophone Scott Yanow, Al Hall at Allmusic
Charles William Billy Butterfield was an American jazz bandleader, trumpeter and cornetist. Butterfield was born Charles William Butterfield in Middletown and attended school in Wyoming. Although he studied medicine at Transylvania College, he preferred playing in bands and he discontinued his studies after finding success as a trumpeter. Early in his career he played in the band of Austin Wylie and he gained attention working with Bob Crosby, and performed with Artie Shaw, Les Brown, and Benny Goodman. While with Bob Crosby, he played third trumpet behind the legendary Charlie Spivak. When those two left Crosby to join Tommy Dorseys band in 1938, Butterfield was given the opportunity to solo on a written by Crosby bassist Bob Haggart. When lyrics were added, it became the well-known standard Whats New, crosbys version, featuring Butterfields brilliant performance, is regarded as one of the great recordings of the Big Band era. On October 7,1940, during his stay with Artie Shaws orchestra. Between 1943 and 1947, taking a break to serve in the United States armed forces, on September 20,1944, Capitol recorded the jazz standard Moonlight In Vermont, which featured a vocal by Margaret Whiting and trumpet solos by Butterfield.
Butterfield recorded two albums with arranger-conductor Ray Conniff, Conniff Meets Butterfield and Just Kiddin Around, in the 1960s he recorded two albums with his own orchestra for Columbia Records. The trumpeter He was a member of the Worlds Greatest Jazz Band, led by former Crosby bandmates Yank Lawson and Bob Haggart, from the late 1960s until his death in 1988. He freelanced as a guest star with many bands all over the world, Butterfield was seen in the film Second Chorus as a member of an orchestra led by Artie Shaw. Butterfield was married to singer Dotty Dare Smith, Butterfield died March 18,1988, in North Palm Beach, Florida
The ukulele, sometimes abbreviated to uke, is a member of the lute family of instruments, it generally employs four nylon or gut strings or four courses of strings. Some strings may be paired in courses, giving the instrument a total of six or eight strings and it gained great popularity elsewhere in the United States during the early 20th century and from there spread internationally. The tone and volume of the instrument vary with size and construction, ukuleles commonly come in four sizes, concert and baritone. The ukulele is commonly associated with music from Hawaii where the name translates as jumping flea. Legend attributes it to the nickname of the Englishman Edward William Purvis, one of King Kalākauas officers, because of his size, fidgety manner. According to Queen Liliʻuokalani, the last Hawaiian monarch, the means the gift that came here, from the Hawaiian words uku. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, one of the most important factors in establishing the ukulele in Hawaiian music and culture was the ardent support and promotion of the instrument by King Kalākaua.
A patron of the arts, he incorporated it into performances at royal gatherings,50,000 schoolchildren and adults learned ukulele through the Doane program at its peak. Today, a program created by James Hill and J. Chalmers Doane continues to be a staple of music education in Canada. The ukulele came to Japan in 1929 after Hawaiian-born Yukihiko Haida returned to the country upon his fathers death and his brother Katsuhiko formed the Moana Glee Club, enjoying rapid success in an environment of growing enthusiasm for Western popular music, particularly Hawaiian and jazz. During World War II, authorities banned most Western music, but fans and players kept it alive in secret, in 1959, Haida founded the Nihon Ukulele Association. Today, Japan is considered a home for Hawaiian musicians. Demand surged in the new century because of its simplicity and portability. The ukulele was popularized for an audience during the Panama Pacific International Exposition. The Hawaiian Pavilion featured a guitar and ukulele ensemble, George E. K.
Awai and his Royal Hawaiian Quartet, the popularity of the ensemble with visitors launched a fad for Hawaiian-themed songs among Tin Pan Alley songwriters. The ensemble introduced both the lap steel guitar and the ukulele into U. S. mainland popular music, where it was taken up by vaudeville performers such as Roy Smeck and Cliff Ukulele Ike Edwards. On April 15,1923 at the Rivoli Theater in New York City, Smeck appeared, playing the ukulele, in Stringed Harmony, a short film made in the DeForest Phonofilm sound-on-film process. On August 6,1926, Smeck appeared playing the ukulele in a short film His Pastimes, made in the Vitaphone sound-on-disc process, the ukulele soon became an icon of the Jazz Age
Leon Bismark Bix Beiderbecke was an American jazz cornetist, jazz pianist, and composer. With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s and his turns on Singin the Blues and Im Coming, Virginia, in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz style and hinted at what, in the 1950s. In a Mist, one of a handful of his piano compositions, a native of Davenport, Beiderbecke taught himself to play cornet largely by ear, leading him to adopt a non-standard fingering some critics have connected to his original sound. Beiderbecke and Trumbauer joined Goldkette in 1926, the band toured widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City in October 1926. He made his greatest recordings in 1927, in 1928, Trumbauer and Beiderbecke left Detroit to join the best-known dance orchestra in the country, the New-York-based Paul Whiteman Orchestra.
Beiderbeckes most influential recordings date from his time with Goldkette and Whiteman, a few stints in rehabilitation centers, as well as the support of Whiteman and the Beiderbecke family in Davenport, did not check Beiderbeckes decline in health. He left the Whiteman band in 1930 and the following summer died in his Queens apartment at the age of 28 and his death, in turn, gave rise to one of the original legends of jazz. In magazine articles, musicians memoirs and Hollywood films, Beiderbecke has been reincarnated as a Romantic hero, the Young Man with a Horn. His life has been portrayed as a battle against such common obstacles to art as family and commerce, the musician-critic Benny Green sarcastically called Beiderbecke jazzs Number One Saint, while Ralph Berton compared him to Jesus. Beiderbecke remains the subject of controversy regarding his true name, the cause of his death. Beiderbecke was born on March 10,1903, in Davenport, there is disagreement over whether Beiderbecke was christened Leon Bismark or Leon Bix.
His father was nicknamed Bix, as, for a time, was his older brother, Burnie Beiderbecke claimed that the boy was named Leon Bix and subsequent biographers have reproduced birth certificates to that effect. However, more recent research—which takes into account church and school records in addition to the will of a relative—has suggested that he was originally named Leon Bismark, his parents called him Bix, which seems to have been his preference. In a letter to his mother when he was nine years old, Beiderbecke signed off, Beiderbeckes father, the son of German immigrants, was a well-to-do coal and lumber merchant, named after the Iron Chancellor of his native Germany. Beiderbeckes mother was the daughter of a Mississippi riverboat captain and she played the organ at Davenports First Presbyterian Church, and encouraged young Bixs interest in the piano. Beiderbecke was the youngest of three children and his brother, was born in 1895, and his sister, Mary Louise, in 1898. He began playing piano at age two or three and his sister recalls that he stood on the floor and played it with his hands over his head
Brunswick Records is an American record label founded in 1916. The company first began producing phonographs in 1916, began marketing their own line of records as an after-thought and these first Brunswick records used the vertical cut system like Edison Disc Records, and were not sold in large numbers. They were recorded in the US but sold only in Canada, in January 1920, a new line of Brunswick Records was introduced in the US and Canada that employed the lateral cut system which was becoming the default cut for 78 discs. Brunswick started its standard popular series at 2000 and ended up in 1940 at 8517, when the series reached 4999, they skipped over the previous allocated 5000s and continued at 6000. Also, when they reached 6999, they continued at 7301, the parent company marketed them extensively, and within a few years Brunswick became one of the USAs Big Three record companies, along with Victor and Columbia Records. The Brunswick line of home phonographs were commercially successful, Brunswick had a hit with their Ultona phonograph capable of playing Edison Disc Records, Pathé disc records, and standard lateral 78s.
In late 1924, Brunswick acquired the Vocalion Records label, audio fidelity of early-1920s, acoustically-recorded Brunswick discs is above average for the era. They were pressed into good quality shellac, although not as durable as that used by Victor, in the spring of 1925 Brunswick introduced its own version of electrical recording using photoelectric cells, which Brunswick called the light-ray process. Then based in Chicago, many of the citys best orchestras, the labels jazz roster included Fletcher Henderson, Duke Ellington, King Oliver, Johnny Dodds, Andy Kirk, and Red Nichols. Brunswick initiated a 7000 race series as well as the Vocalion 1000 race series and these race records series recorded hot jazz and rural blues, and gospel. Brunswick had a successful business supplying radio with sponsored transcriptions of popular music, comedy. Few orchestra records were approved for issue and those that did appear on the often combined excellent performances with execrable sound. Brunswick found it expedient and ultimately cheaper to contract with European companies to fill their electrical classical catalogue, some of these recordings have been reissued on CD.
Brunswick itself switched to a conventional microphone recording process in 1927. Prior to this, they had introduced the Brunswick Panatrope and this phonograph met with critical acclaim, and composer Ottorino Respighi selected the Brunswick Panatrope to play a recording of bird songs in his composition The Pines of Rome. Jack Kapp became the company executive of Brunswick in 1930. In April 1930, Brunswick-Balke-Collender sold Brunswick Records to Warner Bros. Warner Bros. hoped to make their own soundtrack recordings for their sound-on-disc Vitaphone system. A number of interesting recordings were made by actors during this period, actors who made recordings included Noah Beery, Charles King, and J. Harold Murray
Weldon Leo Jack Teagarden, was a jazz trombonist and singer. Born in Vernon, his brothers Charlie and Clois Cub and his father was an amateur brass band trumpeter and started him on baritone horn, by age seven he had switched to trombone. His first public performances were in theaters, where he accompanied his mother. Teagardens trombone style was largely self-taught, and he developed many unusual alternative positions, chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a blue feeling into virtually any piece of music. By 1920 Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley, in the mid-1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands, by 1928 he played for the Ben Pollack band. Within a year of the commencement of his career, he became a regular vocalist, first doing blues material.
He is often mentioned as one of the best jazz vocalists of the era, his style is like his trombone playing. His singing is best remembered for duets with Louis Armstrong and Johnny Mercer, in the early 1930s Teagarden was based in Chicago, for some time playing with the band of Wingy Manone. He played at the Century of Progress exposition in Chicago, Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. The contract with Whitemans band provided him financial security but prevented him from playing an active part in the musical advances of the mid-thirties swing era. Teagarden started leading his own big band, in 1946 Teagarden joined Louis Armstrongs All Stars. In late 1951 Teagarden left to lead his own band, co-led a band with Earl Hines. Teagarden appeared in the movies Birth of the Blues, The Strip, The Glass Wall, and Jazz on a Summers Day and he recorded for RCA Victor, Decca, and MGM Records.
As a jazz artist he won the 1944 Esquire magazine Gold Award, was rated in the Metronome polls of 1937-42 and 1945. Teagarden was the performer at the Newport Jazz Festival of 1957. In 1969, Jack Teagarden was inducted into the Down Beat Jazz Hall of Fame and he was inducted into the Big Band and Jazz Hall of Fame in 1985. Other honors have included induction in the ASCAP Jazz Wall of Fame in 2005 and inclusion in the Houston Institute for Cultures Texas Music Hall of Fame
Thomas Wright Fats Waller was an American jazz pianist, composer and comedic entertainer. His innovations in the Harlem stride style laid the groundwork for modern jazz piano and his best-known compositions, Aint Misbehavin and Honeysuckle Rose, were inducted into the Grammy Hall of Fame in 1984 and 1999. Waller was the youngest of 11 children born to Adeline Locket Waller and he started playing the piano when he was six and graduated to playing the organ at his fathers church four years later. His mother instructed him when he was a youth, at the age of 14 he was playing the organ at the Lincoln Theater, in Harlem, and within 12 months he had composed his first rag. Wallers first piano solos were recorded in October 1922, when he was 18 years old and he was the prize pupil and the friend and colleague of the stride pianist James P. Johnson. Against the opposition of his father, a clergyman, Waller became a professional pianist at the age of 15, working in cabarets, in 1918 he won a talent contest playing Johnsons Carolina Shout, a song he learned from watching a player piano play it.
Waller became one of the most popular performers of his era, finding critical and commercial success in the United States and he was a prolific songwriter, and many songs he wrote or co-wrote are still popular, such as Honeysuckle Rose, Aint Misbehavin and Squeeze Me. Fellow pianist and composer Oscar Levant dubbed Waller the black Horowitz, Waller is believed to have composed many novelty tunes in the 1920s and 1930s and sold them for small sums, attributed to another composer and lyricist. Standards attributed to Waller, sometimes controversially, include I Cant Give You Anything but Love and he further supports the conjecture, noting that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of Spreadin Rhythm Around are in Wallers hand. Machlin comments that the Singer conjecture has considerable justification, maurice Wallers biography similarly notes his fathers objections to hearing On the Sunny Side of the Street playing on the radio. The anonymous sleeve notes on the 1960 RCA Victor album Handful of Keys state that Waller copyrighted over 400 songs, many of them co-written with his closest collaborator, Razaf described his partner as the soul of melody. A man who made the piano sing, both big in body and in mind.
After a balance had been taken, wed just need one take to make a side, on one occasion his playing seemed to have put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926, four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone. Waller was ordered inside the building, and found a party in full swing, gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the surprise guest at Capones birthday party and it is rumored that Waller stayed at the Hawthorne Inn for three days and left very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips. After sessions with Ted Lewis, Jack Teagarden and Billy Banks Rhythmakers, he began in May 1934 the voluminous series of recordings with a band known as Fats Waller. This six-piece group usually included Herman Autrey, Gene Sedric or Rudy Powell, Waller wrote Squeeze Me, Keepin Out of Mischief Now, Aint Misbehavin, Blue Turning Grey Over You, Ive Got a Feeling Im Falling, Honeysuckle Rose and Jitterbug Waltz
Henry James Red Allen was a jazz trumpeter and vocalist whose style has been claimed to be the first to fully incorporate the innovations of Louis Armstrong. Allen was born in the Algiers neighborhood of New Orleans, Louisiana and he took early trumpet lessons from Peter Bocage and Manuel Manetta. Allens career began in Sidney Desvignes Southern Syncopators and he was playing professionally by 1924 with the Excelsior Brass Band and the jazz dance bands of Sam Morgan, George Lewis and John Casimir. After playing on riverboats on the Mississippi River, he went to Chicago in 1927 to join King Olivers band, around this time he made recordings on the side in the band of Clarence Williams. In 1929 Allen joined Luis Russells Orchestra, in which he was a featured soloist until 1932 and he took part in recording sessions that year organized by Eddie Condon, some of which featured Fats Waller and Tommy Dorsey. He made a series of recordings in late 1931 with Don Redman, in 1933 he joined Fletcher Hendersons Orchestra, in which he stayed until 1934.
He played with Lucky Millinders Mills Blue Rhythm Band from 1934 to 1937, Allen seldom received any solo space on recordings with Armstrong but was prominently featured in the bands live performances, even getting billing as a featured attraction. As a bandleader, Allen recorded for Victor from 1929 through 1930, a number of these were popular at the time. He did a session for Decca in 1940 and two sessions for OKeh in 1941. After World War II, he recorded for Brunswick in 1944, Victor in 1946, Allen continued making many recordings under his own name and with Fats Waller and Jelly Roll Morton and accompanied such vocalists as Victoria Spivey and Billie Holiday. After a short stint with Benny Goodman, Allen started leading his own band at the Famous Door in Manhattan and he toured with the band around the United States into the late 1950s. In December 1957, Allen made an appearance along with Pee Wee Russell on the television program Sound Of Jazz. In 1959 he made his first tour of Europe when he joined Kid Orys band and he led the house band at New Yorks famous Metropole Cafe from 1954 until the club ceased its jazz policy in 1965.
Allen returned to working under his own name and made tours of the United States. He was diagnosed with cancer in late 1966. After undergoing surgery, he made a tour of England. He was survived by his widow, Pearly May, and a son, Red Allens trumpet style has been described, by some critics, as the first to fully incorporate the innovations of Louis Armstrong and to develop an emphasis on phrasing. Allens recordings received much favorable attention and his versatility is shown by his winning of Down Beat awards in both the traditional jazz and the modern jazz categories
Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield.
His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his years Armstrong gave the credit to Oliver. It has given me something to live for and he worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs.
They took him in and treated him like family, knowing he lived without a father and he wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River.
He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
Commodore Records was an American independent record label known for producing Dixieland jazz and swing. It is remembered for releasing Billie Holidays hit Strange Fruit, the bulk of Commodores issues were Dixieland and swing. Commodores biggest hit was Strange Fruit by Billie Holiday, the label was most active from 1939 to 1946 when it recorded many of the biggest names in jazz. Commodore was one of the first labels to list the personnel of bands on the label. As with his United Hot Clubs of America label, Gabler arranged for recording and pressing to be done by the American Record Corporation, Reeves Transcription Services, both Commodore and UHCA used various matrix number series depending on the location of the sessions recording. After World War II, Gabler worked for Decca and his Commodore label was used by Decca for reissuing jazz recordings. In the early 1960s, a series of Commodore albums was compiled by Gabler, in the late 1980s Mosaic Records issued Commodores complete recordings on three box sets.
On the Sept.7,2016 episode of comedian Marc Marons WTF. podcast and actor Billy Crystal gave numerous details and anecdotes about the founding of the record label and music store
Goodland is a town in Grant Township, Newton County, United States. The population was 1,043 at the 2010 census, Goodland was laid out in 1861. The town was named from the quality of its soil, a post office has been in operation at Goodland since 1861. The Goodland-Grant Township Public Library and McCairn-Turner House are listed on the National Register of Historic Places, Goodland is located at 40°45′52″N 87°17′42″W. According to the 2010 census, Goodland has an area of 0.78 square miles. The Kentland crater, a meteorite impact crater, is located between Goodland and Kentland. As of the census of 2010, there were 1,043 people,426 households, the population density was 1,337.2 inhabitants per square mile. There were 469 housing units at a density of 601.3 per square mile. The racial makeup of the town was 97. 5% White,0. 7% African American,0. 4% Native American,0. 5% from other races, hispanic or Latino of any race were 2. 1% of the population. 27. 9% of all households were made up of individuals and 13. 4% had someone living alone who was 65 years of age or older, the average household size was 2.45 and the average family size was 2.99.
The median age in the town was 42.3 years. 22. 7% of residents were under the age of 18,7. 7% were between the ages of 18 and 24,23. 4% were from 25 to 44,30. 1% were from 45 to 64, and 16. 1% were 65 years of age or older. The gender makeup of the town was 50. 2% male and 49. 8% female, as of the census of 2000, there were 1,096 people,434 households, and 291 families residing in the town. The population density was 1,397.1 people per square mile, there were 476 housing units at an average density of 606.8 per square mile. The racial makeup of the town was 99. 27% White,0. 09% Native American,0. 09% Asian,0. 09% from other races, hispanic or Latino of any race were 0. 82% of the population. 29. 0% of all households were made up of individuals and 15. 4% had someone living alone who was 65 years of age or older, the average household size was 2.53 and the average family size was 3.13. In the town, the population was out with 28. 3% under the age of 18,6. 1% from 18 to 24,29. 6% from 25 to 44,20. 8% from 45 to 64.
The median age was 36 years, for every 100 females there were 98.2 males