Wingy Manone was born Joseph Matthews Manone on February 13, 1900 in New Orleans, Louisiana. He lost an arm in a streetcar accident, which resulted in his nickname of “Wingy”. He used prosthesis so naturally and unnoticeably that his disability was not apparent to the public.
After playing trumpet and cornet professionally with various bands in his hometown, Manone began to travel across America in the 1920s, working in Chicago, New York City, Texas, Mobile, California, St. Louis and other locations; he continued to travel widely throughout the United States and Canada for decades.
Wingy’s was a frequently recruited musician for recording sessions. He played and recorded with Benny Goodman and recorded fronting various pickup groups under pseudonyms like “The Cellar Boys” and “Barbecue Joe and His Hot Dogs.” His hit records included “Tar Paper Stomp” was later used as the basis for Glenn Miller’s “In The Mood” and a hot 1934 version of a sweet ballad of the time “The Isle of Capri”.
In 1943 he recorded several tunes as “Wingy Manone and His Cats”, performed in Soundies movie musicals and his autobiography, Trumpet on the Wing, was published in 1948. From the 1950s he was based mostly in California and Las Vegas, although he also toured through North America and Europe appearing at jazz festivals. In 1957, he attempted to break into the teenage rock-and-roll market with his version of Party Doll but never rose higher than 56 on the Billboard pop charts.
He composed numerous songs and in 2008, “There’ll Come a Time (Wait and See)” was used in the soundtrack to the Academy Award-nominated movie The Curious Case of Benjamin Button. Trumpeter, vocalist, composer and bandleader Wingy Manone remained active until his passing on July 9, 1982 in Las Vegas at the age of 82.
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Charlie “Fess” Johnson was born on November 21, 1891 in Philadelphia, Pennsylvania. He led an ensemble called the Paradise Ten and played in Harlem clubs like Small’s Paradise between 1925 and 1935.
Though Charlie was an accomplished pianist very rarely did he eve solo on his recording sessions and as a unit never achieved the reputation is so deserved. It was noted later that the band rivaled Duke Ellington and anyone else and employed a number of notables like Sidney DeParis, Charlie Irvis, Dicky Wells, Benny Waters and Benny Carter, who also wrote arrangements for the band.
He led the ensemble until 1938 then his musical endeavors freelancing in various ensembles around New York City until he retired in the 1950s due to health issues. Pianist and bandleader Charlie Johnson, who nickname “Fess” it is assumed was shortened from Professor, passed away in Harlem Hospital on December 13, 1959 in New York City.
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Bennie Moten was born on November 13, 1894 in Kansas City, Missouri. By the time he reached his mid-twenties he was leading the Kansas City Orchestra that was the most important of the itinerant, blues-based orchestras active in the Midwest at the time. The band helped develop the riffing style that would come to define many of the 1930s Big Bands.
Moten first recorded with Okeh Records in 1923 influenced by New Orleans and ragtime. His Victor Records sessions had a more sophisticated sound similar to Fletcher Henderson but featured a hard stomp popular to Kansas City.
By 1928 Bennie’s piano was showing some Boogie Woogie influences, but the real revolution came in 1929 when he recruited Count Basie, Walter Page and Oran “Hot Lips” Page. Walter Page’s walking bass lines gave the music an entirely new feel compared to the 2/4 tuba, colored by Basie’s understated, syncopated piano fills.
Their final session comprised of 10 recordings made in 1932 were made during a time when the band was suffering significant financial hardship but had added Ben Webster and Jimmy Rushing as their primary vocalist. These recordings showed the early stages of what became known as the “Basie Sound” some four years before Basie would record under his own name.
Pianist and bandleader Bennie Moten passed away after an unsuccessful tonsillectomy on April 2, 1935.
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Jimmy Harrison was born on October 17, 1900 in Louisville, Kentucky and began on trombone at age 15, playing locally in the Toledo, Ohio area. He also played semi-pro baseball but chose music over a career in sports when he joined a traveling minstrel show in the late 1910s.
By 1919 Harrison was leading his own jazz ensemble in Atlantic City, New Jersey and played in the bands of Charlie Johnson and Sam Wooding. Moving to Detroit he played with Hank Duncan and Roland Smith. After returning to Toledo, he played gigs with June Clark and James P. Johnson. He followed this period with a stint in New York City with Fess Williams.
Giving leadership of his ensemble to June Clark in 1924, Jimmy continued to play with the group, worked with Duke Ellington during this period and in 1925 was working with Billy Fowler then with Elmer Snowden, Fletcher Henderson and Benny Carter’s Chocolate Dandies. While on tour with Henderson he took ill with a stomach ailment and though he continued to play for several months with Chick Webb. Trombonist Jimmy Harrison passed away on July 23, 1931 in New York City at the age of 30.
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Dewey Jackson was born on June 21, 1900. A trumpeter and cornetist, he began playing professionally at an early age, with the Odd Fellows Boys’ Band in 1912, then Tommy Evans from 1916-17 and George Reynold’s Keystone Band.
He played the riverboats with Charlie Creath and then led his own Golden Melody Band from 1920 to 1923. He continued to be a regular performer on riverboats into the early 1940s, heading his own groups and working as a sideman for Creath and Fate Marable. His only major stint off boats during this time was in 1926, when he played for four months with Andrew Preer at the Cotton Club in New York City.
Jackson played little in the 1940s but returned to work in the 1950s with Singleton Palmer and Don Ewell. He recorded only four sides as a leader in 1926. Among his sidemen were Pops Foster, Willie Humphrey, Don Stovall, Morris White and Clark Terry.
Dewey Jackson passed away on January 1, 1994.