Daily Dose Of Jazz…
Herb Jeffries was born Umberto Alexander Valentino on September 24, 1913 in Detroit, Michigan of mixed heritage. Never knowing his father who died in World War I and grew up in a rooming house in a mixed neighborhood without encountering severe racism as a child. Showing great interest in singing and intensely musical from boyhood, during his formative teenage years he was often found hanging out with the Howard Buntz Orchestra at various Detroit ballrooms. After the Wall Street Crash of 1929, he dropped out of high school to earn a living as a singer.
He began performing in a local speakeasy where he caught the attention of Louis Armstrong, who gave the teenager a note of recommendation for Erskine Tate at the Savoy Ballroom in Chicago, Illinois. Knowing that Tate fronted an all-black band, Jeffries claimed to be a Creole, and was offered a position as a featured singer three nights a week. Later he toured with the Earl Hines Orchestra through the Deep South.
The 1940s and 1950s saw Herb record for a number of labels, including RCA Victor, Exclusive, Coral, Decca, Bethlehem, Columbia, Mercury and Trend. His album Jamaica, recorded by RKO, is a concept album of self-composed calypso songs. He often used makeup to darken his skin in order to pursue a career in jazz and to be seen as employable by the leading all-black musical ensembles of the day.
He also starred in several low-budget race Western feature films aimed at black audiences from 1937 to 1939, Harlem on the Prairie, Two-Gun Man from Harlem, Rhythm Rodeo, The Bronze Buckaroo and Harlem Rides the Range. He also acted in several other films and television shows billed as Herbert Jeffrey, Herbert Jeffries or the Sensational Singing Cowboy.
Singer and actor Herb Jeffries, who was the only Black singing cowboy star in Hollywood has a star on the Hollywood Walk of Fame, was inducted into the and a Golden Palm Star on the Palm Springs Walk of Stars, passed away on May 25, 2014 in Los Angeles, California.
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Daily Dose Of Jazz…
Dottie Dodgion was born Dorothy Rosalie Giaimo on September 23, 1929 in Brea, California. Growing up in the San Francisco Bay Area as a child, she sang in the band led by her drummer father and as a teenager sang with Charles Mingus. She began playing drums in the 1950s though she was discouraged by her husband Monty Budwig, but receiving encouragement to play from Jerry Dodgion, she subsequently divorced Budwig to marry Dodgion.
She worked with Carl Fontana in Las Vegas, Nevada toward the end of the decade and then relocated to New York City in 1961. There she played in Benny Goodman’s ensemble for about a week, then moved on to work with Marian McPartland and Eddie Gomez, Billy Mitchell and Al Grey, Wild Bill Davison, and Al Cohn and Zoot Sims over the course of the 1960s. In the early 1970s she worked with Ruby Braff and Joe Venuti, then played alongside her husband in Germany with Walter Norris and George Mraz.
Dottie and Jerry separated in the late Seventies and she moved to p style=”text-align: justify;”>Washington, D.C. for a time, where she was musical director for the club The Rogue and Jar. After moving back to New York City she worked in the 1980s with Melba Liston, George Wein, Michael and Randy Brecker, Frank Wess, Jimmy Rowles, Carol Sloane, Pepper Adams, Tommy Flanagan, Roland Hanna, Sal Nistico, Herb Ellis, Chris White, Bob Cranshaw, Joe Newman, and Harold Danko. After returning to the Bay Area in 1984 she played regularly at the Monterey Jazz Festival.
Drummer and singer Dottie Dodgion stopped being active in jazz at age 87. She died five years later on September 17, 2021, in a hospice in Pacific Grove, California, after suffering a stroke.
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The Jazz Voyager
This week the Jazz Voyager is in Madison, New Jersey and tonight will be sitting in a jazz spot established in 1995 by Martha Chang and David Nui called Shanghai Jazz. Inspired by Shanghai of the 1920s and 1930s, they are reputed to host acclaimed jazz musician performances six days a week with no cover except for special events. Located at 24 Main Street, 07940 if you need to map quest it but this jazz voyager is going to Uber my way over there.
Looking forward to sampling the Asian cuisine that is inspired by the seasons while enjoying Elias Bailey and Avalon Jazz Band in one of the top 100 jazz clubs in the world. Take precaution on Friday and Saturday by calling 973-822-2899 for a required reservation if you want seating at the 6:30 or 8:35 performance. #jazzvoyager #wannabewhereyouare
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Daily Dose Of Jazz…
William Overton Smith was born on September 22, 1926 in Sacramento, California and grew up in Oakland, California, where he began playing clarinet at the age of ten. He put together a jazz group to play for dances at 13, and at the age of 15 he joined the Oakland Symphony. Idolizing Benny Goodman, after high school he completed a brief cross-country tour with a dance band that ended his romance for the life of a traveling jazz musician. He gave two weeks’ notice when the band reached Washington, D.C. and encouraged by an older band member to get the best education he could, he headed to New York.
Beginning his formal music studies at the Juilliard School of Music, he played New York jazz clubs like Kelly’s Stables at night. However, uninspired by the Juilliard faculty, he returned to California and at Mills College he met pianist Dave Brubeck, and became a member of the Dave Brubeck Octet, and later occasionally subbed for saxophonist Paul Desmond in the Dave Brubeck Quartet.
Winning the Prix de Paris presented Smith the opportunity for two years of study at the Paris Conservatory, and in 1957, he was awarded the prestigious Prix de Rome and spent six years in that city. He has since received numerous other awards, including two Guggenheim grants.
As an educator at the University of Southern California, he began a thirty-year career at the University of Washington School of Music in Seattle, where he taught music composition and performance. He co-led the forward-thinking Contemporary Group, first with Robert Suderburg and then with trombonist Stuart Dempster, from 1966 to 1997 and at 91 clarinetist Bill Smith is currently professor emeritus.
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Daily Dose Of Jazz…
Jerry Hahn was born on September 21, 1940 in Alma, Nebraska and began playing the guitar at age 7. By 11 he was playing professionally with the Bobby Wiley Rhythmaires, appearing daily on Wichita’s first television station, KEDD.
He went on to study music at Wichita State University. Moving to San Francisco, California in 1962, he played with John Handy in 1964 and recording a live album with him at the Monterey Jazz Festival in 1966, then toured with the 5th Dimension in 1968 before joining Gary Burton in 1968 with Roy Haynes and Steve Swallow, With Burton he recorded three albums and toured the United States, Europe, Canada and Japan.
He began his recording career with his debut album Ara-Be-In as a leader in 1967 and led the Jerry Hahn Brotherhood in 1970, a country-blues jazz-rock ensemble, that was one of the trailblazers of the jazz-rock movement. In 1972, Jerry went back to Wichita, Kansas, where he became a full-time member of the Wichita State University faculty and established the degree program in jazz guitar.
1986 saw him relocating to Portland, Oregon where he joined the Bennie Wallace Quartet, recording and touring the United States, Europe and Japan. In 1992 he moved to Denver, Colorado, where he taught at the Colorado Institute of Art and in 1995 Jerry returned to Portland and joined the faculty of Portland State University and developed the curriculum for the Jazz Guitar program.
Jerry wrote a five-year monthly column for Guitar Player magazine titled Jerry Hahn’s Guitar Seminar, penned The Jerry Hahn Method for Jazz Guitar, published by Mel Bay Publications in 2003 and can also be heard on the movie sound track for White Men Can’t Jump.
He has recorded eight albums as a leader and over the years has been seen working with Michael White, Jack DeJohnette, Noel Jewkes, Ron McClure, Paul Simon and Ginger Baker among others. Guitarist Jerry Hahn is a contributor to the emerging fusion movement and continues to conduct clinics and work on new publications and recordings.
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