patricia

The next musician to be honoured is EGGY [Derek] LEY, who played soprano and alto saxophones, sang and was also a leader. Germany was the starting point for Eggy, where he led a Dixieland band in the mid-fifties to the early sixties. He was born in London in 1928. Eggy returned to London in the early sixties where he joined Radio Luxembourg, playing resident at the Tatty Bogle Club. Freelancing followed, as well as producing for BFBS, from 1969-1983. He co-led Jazz Legend with Hugh Rainey. From 1983 Eggy fronted the Hot Shots, as well as running a jazz magazine called Jazzin' Around. In addition to those achievements, he also toured abroad and recorded. Eggy is recognized as one of the pioneers of the classic soprano saxophone in Britain. In the late 1980's Eggy moved to Canada, but unfortunately soon after, suffered a crippling stroke. EGGY LEY died in December of 1995. He was sixty-seven years old.

I didn't HATE Aunt Bea, but I thought she was a santimonious stereotype, but that could be said of just about the whole cast. In fact the entire show was a spoof about small-town life. Anyone who ever lived in a small town knows that. The one thing that is true about small towns is that everyone knows everyone. That's why people moved from them to cities, among other reasons.

Back in the 1930's RED NORVO [Kenneth Norville] played in Paul Whiteman's band and his instrument, the xylophone was considered a novelty instrument. Red also played the vibraharp and after a time with Whiteman's organization, he formed his own band. His band was popular during the mid-thirties, and into the early forties, with it's low-key approach engineered by his arranger, Eddie Sauter. The band was, some say, held back by Red's attempt to showcase the limited voice of his wife at the time, Mildred Bailey. When the band rolled into the mid to late forties, Norvo followed in the footsteps of Lionel Hampton and Adrian Rollini and ramped up his xylophone and while retaining the rhythmically choppy style he had developed combined with the terminal tremolos and many described him as the Jess Stacy of the vibes. Norvo's style evolved with jazz's development and Norvo, while with Benny Goodman's orchestra in the mid-forties, for an all-star session which introduced the work of Dizzy Gillespie and Charlie Parker. In 1946, Norvo was with Woody Herman's band. Following that, he settled on the West Coast and formed a drummerless trio with Ted Farlow and Charles Mingus. This group was clearly influenced by BeBop, but was the first of the chamber music outfits, which sprang up in the 1950's. In 1959 the Red Norvo quintet backed a live performance, featuring Frank Sinatra in Australia. This collection has great versions of "Perdido" and "Between The Devil And The Deep Blue Sea", as well as wall-to-wall Sinatra. Norvo was still up and around in the 1980's, after he suffered a stroke and often played Las Vegas. He also toured Europe with Ted Farlow, several times during the same period. RED NORVO died in April of 1999 at eighty-one.

The Royal Portrait. What happened to the picture?? The Royal portrait poster dropped the ball.

Those of you who thought that Tiny Tim and Miss Vicki were doing something original by marrying on the Tonight Show, some years ago, they weren't. Back in 1916, BUTTERBEANS [Jodi Edwards] and SUSIE [susie Hawthorne] did just that, but not on the Tonight Show, but on stage, during their act. Now, Butterbeans and Susie worked with a comedian named [budd]"Stringbeans" LeMay, until he died in 1917. They then branched out with their own act in the St. Louis area. In 1924 they were signed by the legendary label, OKeh. The pair recorded more than sixty sides for the label in the mid to late thirties. They also toured extensively, playing theatres, cabarets and music halls and were a very successful duo. Their accompanist was Eddie Heywood Sr. The act was a hit, mainly because they didn't just sing, although Butterbeans had a fine, fine voice, but were a complete act, with tremendous charisma and hilarity, two qualities that served them well, throughout their more than thirty year career. They were a regular act at the Apollo. In 1960 Butterbeans and Susie recorded again and this time, Eddie Heywood Jr. played piano in the band.

Now, around the corner comes LOUIS "BIG EYE" NELSON, who was born in, where else, New Orleans in 1885 and played clarinet. Now, I don't think that Nelson had a particularly big eye, but he was one of the best clarinet-players in New Orleans, at the dawn of JAZZ. His musical beginnings were with Tio, as a pupil. His style has been described as warm-toned and his associations were with the very best in New Orleans jazz, including with the legendary Buddy Bolden. This experience was before 1900. While with Bolden's band, Nelson played bass. He also was with other groups, and played violin, as well as guitar. By 1904, Nelson had settled on clarinet and gave his reason for switching that it was the easiest instrument to carry if he had to run. At the time, race riots were frequent in New Orleans. Nelson worked for about ten years with the Ninth Ward band, the Golden Rule orchestra and with the Imperial Band Superior Orchestra. He specialized for a long time on the C clarinet and then moved to the more familiar B-flat. George Russell preferred Nelson's B-flat. Excellence versis excellence, IMO though. Baby Dodds said of Nelson, "He'd show a youngster all he knew - but he knew how to be stern with those of us who were learning." I was facinated to learn that Nelson taught Sidney Bechet. He toured with Freddie Keppard's Original Creole Orchestra in 1916, but mostly he played in New Orleans. He worked constantly, in cabarets, function rooms and theatres. There was a short period in which his career plateaued, though he continued to play. In 1940 there was a revival of interest in New Orleans Jazz and along with it, a renewed interest in Nelson. He recorded eight sides for Delta with Kid Rena's Jazz Band, having been asked to do so by Heywood Broun. Two years after being passed over by Bill Russell to record with Bunk Johnson, he had been re-discovered. Apparently Russell had heard our guy on a bad night at Luthjen's cabaret. Then, in 1948 he continued his residency at Luthjen's and had been featured in an article by Robert Goffin in Jazz Record. The revival and the recognition of his talent and contribution to jazz happened just in time, because LOUIS "BIG EYE" NELSON, died the following year in August of 1949 at fifty-four years old.

B) I don't know if it's the guy on the left is, or the guy on the right, or either of them. Somebody help us out please. B) The next in our series is a trumpet-player named "DIZZY" [Alphonso] REECE, born in Jamaica, in 1931. Dizzy took up the trumpet at fourteen. He then moved to Europe and worked with Don Byas in the late forties and early fifties. Based in the UK, he made many recordings under his own name, which included a 1958 session in London, with Donald Byrd and Art Taylor. He also was with Dizzy Gillespie's big band in 1968. Reece was also with the Paris Reunion Band in 1985. DIZZY REECE is described as an extrovert who despite his nickname does not sound at all like Gillespie....., or Navarro, or Miles Davis either. There are hints of all three mentioned in his style, but his tone is his and his phraseology are very interestingly, his alone.

Thanking EKE BBB once again................and moving forward. BTW, those of you who are in the habit of reading only the last page of threads, should go back one, to see EKE BBB's pics of the "biographeed" so far. .......................................... Our next artist is the great NAPPY [Hilton Napoleon] LAMARE. His nickname was a childhood one. Apparently, he was fond of over-sleeping. Nappy was a New Orleans native, born in 1907 and played guitar, banjo and also did some singing. He played his banjo in bands led by Johnny Wiggs, Monk Hazel and Sharkey Bonano, as well as Johnny Bayerdorffer and Billy LUstig. In 1930, Nappy joined Ben Pollack's organization, which was the band which was the band that many of the jazzers cut their teeth in, before moving to other bands. Many of the former members of Ben Pollack's band joined Bob Crosby's band and stayed for eight years, becoming a part of his rhythm section. Nappy then worked with Eddie Miller's re-formed band, as well as doing studio work and spent a year with Jimmy Dorsey in 1948. During this period he also had bands of his own. A spell as a club-owner in Los Angeles, called the "47" lasted until 1951. There was also a weekly TV show in 1950, Lamare And His Straw Hat Strutters on KTLA. Nappy then toured for five years and then led the Riverboat Dandies with Ray Bauduc. With this group, he performed Dixieland which was well received and he also did some recording. In the early 1960's, Lamare was involved in a bad car-accident, but he bounced back, but slowly, working with Bauduc Joe Darensbourg. He also did Crosby reunions. In May, of 1988 NAPPY LAMARE died.

It does now!!

I take five hours off to sleep and EKE BBB has burned the midnight oil to bring us all these great photos of the honorees. I singled out this photo, because it shows clearly what Muggsy meant about Dave Tough being a scary-looking guy. Looks like he gussied for the portrait, but this captures his cadaverousness. Thank you EKE BBB. Yes, we can work in tandem to try to have the bio, then the photo from now on, which will be much less intense labour on your part. You must have been up all night.

Hey Late!!! Thanks for reminding me that I've meant to look for Lee Morgan's debut album. I couldn't remember the title, whenever I've been in a music store. You're a prince.

Hey EKE BBB!!! You know how I love this stuff!!! I'm rather like a convert to Catholicism, more Catholic than the born Catholics. As I've probably mentioned, although my dad was a huge jazz-addict, that was his music. I heard the old stuff around the house, but when I listened to MY music, it wasn't jazz. Then, along came "Take Five" and "Swingin' Shepherd Blues" and.........I was hooked, briefly. The real addiction didn't happen until about seven years ago. I have a lot of ground to make up. As I mentioned earlier, I don't take requests, but suggestions will be considered. Remember, just nicknamed jazzers. Otherwise, the task is too vast. And, my dear EKE BBB, don't try to sneak in bluesmen. They ALL have nicknames and most seem to be sight-challenged. Yes, pictures would be nice, if you want to post them, as the bios come up at random. A cyber-kiss on you. Glad you liked the Coleman Hawkins. He's one of my favourites too.

Hey wesbed!! HAPPY BIRTHDAY!!! What a coincidence!!! Didn't you have one of these last year on this very day?? I suppose next year it will be the same thing. MANY HAPPY RETURNS!!!

Having parents who are musicians is a real advantage for those who have natural talent and "DILL"[David] KATZ was lucky to have had both. His parents were both classical musicians. Dill plays bass guitar, double bass and acoustic guitar. He was born January 12, 1946 in London. In 1962 Dill became a professional musician and he began playing with Irish showbands. He also kept busy with session work. The mid-seventies brought work with Dave MacRae's Pacific Eardrum and after that he played with Nucleus, as well as with Barbara Thompson's Paraphernalia. He left Paraphernalia to form his own trio with Nic France and Colin Dudman on piano, called 20th Century Blues in 1982. Since then he has worked with African groups, such as Julian Bahula's Jazz Afrika as well as Brian Abrahham's District Six. He then re-joined Nucleus, until it broke up in 1988. But, while he was with that group, they did a South American tour that lasted six weeks. Dill has been very active in jazz education and has the title of Electric Bass Consultant [!!] at the Guildhall School Of Music in London. The Premises, a rehersal studio, is Dill's baby in East London and it contains a recording studio. He is a producer/engineer and has had tremendous success. The artists who are admired by Dill are Jaco Pastorius and Scott LaFaro.

One of the rare talents to emerge in the eighties is MARVIN "SMITTY" SMITH, born in 1961. His talent as a drummer popped up early and he was encouraged by his older brother to pursue this talent. By the time Smith was fifteen, he was already backing Sonny Stitt and Earl Hines at one of the local clubs in Waukegan Illinois, his home town. Studies at Berklee followed from 1979-1981, after which he turned pro with Jon Hendricks. He then began freelancing and has played with David Murray, Archie Shepp, Branford Marsalis, Roland Hanna, Art Farmer, Sonny Rollins and Bheki Mseleku. His work with Dave Holland, in his quintet and with Steve Coleman in the M-Base context have both been important in his rise to prominence . Smith's influences have been Max Roach and Jack DeJohnette, which is no surprise. Smitty Smith is a drummer with real magic, among the new players and his kind of talent is very gratifying to those who worry that there are no new talents to follow in the footsteps of the established stars of the genre. His rare abilty to be at home in all styles will assure Smith a long career in the coming decades.

One of my favourite trombone players, alongside Jack Teagarden, is the great MIFF [irving Milford] MOLE. I'd like to thank my second mentor at this point, for hipping me to this fabulous musician with a kiss, [very dry and off to the side]. Miff's work has brought me much joy and I always play one of his records when I'm feeling a little down. My favourite is "Dixieland - Chicago Style" in which Miff played with Max Kaminsky, Pee Wee Russell, Joe Sullivan, Jack Lasberg and the amazing George Wettling on drums. Side 2 is so much fun! Although my experience with Miff's style is listening to his work with Pee Wee Russell, Eddie Condon, George Brunies, Muggsy Spanier and George Wettling in a series of Dixieland recordings from the thirties, which I love, he was much more than that. Born in 1898, Miff started playing in a band led by Gus Sharp, whose piano player was Jimmy Durante. He was working with Phil Napoleon's Original Memphis Five by 1923 and recorded tons of chamber jazz classic sides with them. When Red Nichols heard Mole play with Napoleon he was greatly influenced and he and Mole got together and were a team for five years. Together they recorded "That's No Bargain", "Feeling No Pain" and "Boneyard Shuffle". They recorded under a variety of names, The Arkansas Travellers", "The Redheads" "Miff and Red's Stompers" among them. At the same time, Miff was working independantly, with large society orchestras and in 1927 he moved onto studio work. He worked at WOR and NBC. Miff was very versatile, working with both Bessie Smith AND Toscanini. He also worked with Benny Goodman, as well as leading a band at Nick's for about four years. Then, over the horizon came my other favourite trombonist, Jack Teagarden. For some reason, the public seemed to judge "T" 's style as being more refined, more elegant than Mole's and Miff's style went out of fashion. It didn't help that Miff's health started to suffer at the same time as the advent of Teagarden's popularity. Miff's dates started to wane and six hip operations followed. He ended up walking with a cane and compounding that, his performance in 1960, at Newport, with Red Allen was inexplicably cancelled. He went home, without having been heard. Such a letdown. That same winter, Miff was selling pretzels in a New York subway to support himself. The man who provided so much enjoyment with his playing for me now and for millions of others in his heyday was reduced to an anonymous used-to-be. So sad. Miff died in April of 1961, but lives on through the dozens of recordings he left us. Dicky Wells, I think, summed up just who MIFF MOLE was, when he said, "The J.J. Johnson of the 1920's, one of the first fine trombones I heard." Miff has been described as being a revolutionary trombonist, with a lightning-fast technique, a joyous sound which was totally unique and just fun to listen to. He was a musician who made a huge impression on black and white players, at the very beginning of jazz, setting the bar high. I still listen to his fabulous records and with every time, I hear something new and wonderful.

Now, let's talk about "TOOTS"[Jean Baptiste] THIELEMANS. I had never thought of whistles as being jazz instruments, but as well as playing harmonica and guitar, Toots made the sound of jazz whistles an international craze in the sixties, when his composition, "Bluesette" became a worldwide hit. But, long before his re-emergence, he had established his jazz credentials when he started playing harmonica at seventeen. His musical ability started at three, when he learned to play a homemade accordian. While studying maths at college, he heard Django Reinhardt and was inspired to take up the guitar. After the war, Thielmans gigged at American G.I. clubs where he became interested in the newly emerging BeBop. He was befriended by Charlie Parker and was on the same bill at the Paris jazz festival in 1949. Thielmans had visited the U.S. in the early fifties and sat in with various groups on 52nd St. He toured Europe with the Benny Goodman sextet, as well as working with Dinah Washington during that same period. After playing with George Shearing's quintet until the autumn of 1959, he freelanced and worked as a studio musician. In the 1960's he worked closely with Quincy Jones and two of the films on which he played on the soundtracks were "Midnight Cowboy" and "The Getaway" [the original, with Steve McQueen and Ali McGraw, not the travesty of a re-make.] Ever since the 1970's Thielemans has done studio work and playing at jazz clubs, both in the U.S. and in Europe. His is the harmonica which is heard on "Sesame Street" 's theme. Thielemans is mostly known for his work during the height if BeBop and his chief influence was said to be John Coltrane. Toots' has a reputation as an even-tempered, friendly man, with an unwavering passion for jazz. I found what Clifford Brown was quoted as saying about Thielemans very interesting. He said, "Toots, the way you play harmonica, they shouldn't call it a miscellaneous instrument." Nice.

Dixieland. Particularly the ones recorded in the thirties and forties. I have a few JazzTone compilations and LP's which feature Teagarden, Muggsy Spanier, Pee Wee Russell, George Wettling and all those wildmen of the period. They lift my spirits and tranport me to a less complicated time in history. I've also been listening to a lot of Jimmy Smith and kept playing "Christmas Cookin' long after the Season was over.

Born in Trinidad in 1917, "CURLEY" [Dillon] RUSSELL played bass with Don Redman's big band in 1941. He moved on to Benny Carter's in 1943. Dizzy Gillespie's band was the next to hire Curley, at BeBop's introduction to the jazz scene. Curley recorded with Dizzy, as well as with Charlie Parker in 1945, 1948 and 1950. He then moved on to work with Tadd Dameron's group from 1947-1949 then with Buddy DeFranco's quartet after that. His associations in the early to mid-fifties, as a bassist includes most of the greats of the time, He recorded with Bud Powell, Horace Silver, Thelonious Monk and Art Blakey when Clifford Brown was part of Blakey's group. Russell, although he worked steadily, was not all that remarkable as a bassist in that he seemed to be uninterested in the possibilities of his instrument as melodically mobile. He was, however, an extremely propulsive rhythm player, which served him quite well. Because of his limitations though, he was never featured as a soloist and he dropped out of the jazz scene in the late fifties. I included this bio, not only because Russell had a nickname, but also to illustrate that not all jazz artists are standouts, much like in any other profession. But, all musicians cannot be big stars. Some are simply technicians, who make it possible for others in the bands in which they play shine. CURLEY RUSSELL was one of those. He died in 1986 at sixty-nine, having been out of the jazz scene for about thirty years.

Next up, we have CHUBBY [Greig Stewart] JACKSON, a fine bass player, born in 1918, who played with the Herman band in the forties. He began his musical life, playing the clarnet at sixteen. He then switched to bass and started his professional career with Charlie Barnet's organization in 1941. In 1943 Chubby joined Woody Herman's band and stayed with it until 1946 and then again in 1948. Many remember Chubby as a cheerleader of sorts, because he would shout encouragement, onstage, while playing with the Herman band. This was before Mingus did the same thing. He then went to Charlie Ventura's band in 1947, moving on, to lead his own big band, briefly in 1948 and 1949. Studio work followed throughout the fifties and he also wrote songs and became something of a TV personality. In 1963 he worked for a time with Harold Baker, as well as leading occasional groups in New York, Las Vegas, Los Angeles and Florida. Then, in the late seventies he was still up and around, musically and played with Lionel Hampton's all-star band. Jackson's work is still strongly associated with the Herman band and added a fresh aspect to their performances, mainly with his very vocal encouragement for the soloists. He was also known for his great scat-singing, which he continued to do, right up to his death at 84 years old, last year. Chubby's son, Duffy Jackson is a fine drummer, who played with both Lionel Hampton's band and also Count Basie's in the early eighties.

I would be remiss, if I didn't mention one of the few artists whose surname was a nickname, which is most unusual. DAVE TOUGH [David Jarvis]was one of the most interesting and controversial drummers in Jazz. Dave was born to upper middle-class parents in Oak Park Illinois in 1908. He started out as an associate of the Austin School Gang in Chicago. He was an intellectual and he read anything and everything he could get his hands on. One of the things that he studied extensively was playing the drums. He was almost uncomfortably brilliant in everything he set his hand to including drums. He was most generous with the knowledge he gleaned about timing and dynamics, when it came to the art of playing drums and music in general. Max Kaminsky said of Tough, "We all got some of that bite from Tough." There was a movement in Chicago in the pre-1920's against bad commercial music and Dave was right at the forefront of it. One night in Chicago he stalked off the stage after eight bars, while playing with B.A. Rolfe's showband. He was vibrating with anger and never returned to the stage that night. He was never shy about making his opinions known. Throughout the 1920's Tough was busy working with George Carhart's band and toured Europe as well as playing in Chicago and New York. By the mid-thirties he had suffered at least one serious illness and he moved to New York. While there he worked with the most well-known bands, such as Tommy Dorsey's, Benny Goodman's, Bunny Berigan's, Summa Cum Laude and with Artie Shaw's army band in 1941. Now comes the part that facinates me. Dave Tough was a gaunt, hollow-cheeked man who, according to Max Kaminsky, "was a sight to make the blood run cold." He often wore khaki fatigues and was like a spectre of death on the hoof up on the bandstand. But, his talent was undeniable and transended his personal eccentricities. Dave Tough was recognized as the drummer who could be compared to Sid Catlett and more talented than Gene Krupa, according to some, including me. He was a powerful, beautiful musician. Riveting, a perfect time-keeper and a spectacular soloist. He was capable of working in any surroundings. In 1944 Tough joined Woody Herman's modern big band. This was a huge, traumatic event for Dave. Tough was yanked asunder by the advent of BeBop and was unable to be flexible and evolve with the direction jazz had taken as Sid Catlett had done, by just going along. Tough was a very sensitive man and this abrupt change in jazz almost broke his mind. So intense was his anguish, that he would have fits, while with Herman, and sometimes even burst into tears. He would lash out at the other musicians, and was quoted as calling Georg Brunis and Wild Bill Davison "a clown and a gauleiter". I actually had to look up the meaning of "gauleiter". Dave Tough was just completing a residency with Muggsy Spanier in 1948, when, drunk, he fell and fractured his skull and, sadly died. So ended the life of the great DAVE TOUGH, who gave so much to jazz. He was just forty years old.

Next up we have SLIDE [Locksley] HAMPTON. Slide, no surprise, played the trombone, but he also played the tuba as well as being a great arranger. He was born in 1932 in Jeannette PA. His career first got attention in 1955, with his hiring by Buddy Johnson, followed by a period with Lionel Hampton in 1956. He then moved on to Maynard Ferguson's band and stayed with it from 1957 to 1959. After the stint with Ferguson's band he formed his own octet and led it from 1959-1962. One of my very favourite singers, Lloyd Price used Hampton as his musical director and Slide also did free-lance work. He went with Woody Herman and toured Europe with him in 1968. Hampton liked Europe so much that he settled there and did arranging for radio studio bands as well as playing with various all-star bands. Returning to New York in 1977 he formed yet another band, World Of Trombones, which was a twelve piece group. Not only that, but he also involved himself in jazz education, which gave him great satisfaction. Slide Hampton is one of the few left-handed trombonists who achieved greatness and possesses a fine melodic sense and an amazingly fluent technique. Check out "Roots", recorded in 1985 for Criss Cross. This is a very good quintet session which included Clifford Jordan and one of my favourite pianists, Cedar Walton. The solos by Hampton are, by themselves, worth the price of admission. A fine player.

How so??

And then there was CHARLIE "BIG" GREEN, who was born right on the turn of the last century, in 1900. Another Fletcher Henderson alumnus, Green, who played trombone, had cut his musical teeth with tent and carnival shows in and around Omaha. He has been characterized as one of the finest blues players of his time. His solos with Henderson's band were remarkable and his sense of humour was marvelous. His nickname was acquired because of his enormous appetite for food, drink and life itself. He was said to have been able to make a joke out of almost anything. His bandmates loved to have him around because there was a kind of light around him, in that he could bring joy to any surroundings. There are people like that and Big Green was one of them. He recorded some memorable sides with Bessie Smith, one of which was "Trombone Cholly". Henderson was the pianist in residence at the Black Swan, accompanying blues artists who performed there in the twenties. Big Green was a rare talent, able to play anything, in any key, read by sight, any score as well as being able to turn on a dime and play a waltz just as perfectly as he could play jazz. Sparring was common among the musicians and Big Green loved the trysts, keeping a feud going between the tuba player, Ralph Escudero and himself. Louis Armstrong was impressed at Escudero's ability to double Green's parts on his tuba. Green also duelled with Jimmy Harrison. Big Green left Henderson's band in 1930 and went with many other organizations, including Don Redman, Chick Webb, Benny Carter and many others. One night, in February of 1936, BIG GREEN was working with Kaiser Marshall's band and being very drunk, passed out on his own doorstep and froze to death. Such a sad end to the life and the career of a marvelous personality, and such a huge talent.

Well, PD is an elegant Englishman and they are quite reserved. The combination of his sensibilities with the "barbarians" on this side of the pond was sometimes a little uncomfortable to read, but I always enjoyed his view from another perspective.