Daily Dose Of Jazz…
Bud Scott was born Arthur Budd Scott on January 11, 1890 in New Orleans, Louisiana. He played guitar and violin as a child and performed professionally from an early age. His first job was with New Orleans dance band leader John Robichaux in 1904 and as a teenager he played with Buddy Bolden. In 1911 he was playing guitar with Freddie Keppard’s Olympia Orchestra. In 1912 he left New Orleans with a large travelling show.
As a violinist he performed with James Reese Europe’s Clef Club Orchestra at a historic 1912 concert at Carnegie Hall, and the following year worked with Europe’s ensemble on the first jazz recordings on the Victor label.He would go on to play on a number of Victor Talking Machine Company ragtime recordings with James Reese Europe’s Society Orchestra in 1913.
A graduate of the Peabody School of Music, he was a notable rhythm guitarist in Chicago, Illinois’s Jazz Age nightclubs of the 1920s. Moving there in 1923, he became a member of King Oliver’s Creole Jazz Band, originating the now traditional shout, Oh, play that thing!, on Oliver’s recording of Dippermouth Blues. He also worked with Johnny Dodds and Jimmy Blythe, Erskine Tate, Jelly Roll Morton’s Red Hot Peppers and Richard M. Jones’ Jazz Wizards.
Scott was the first person to use a guitar in a modern dance orchestra, in Dave Peyton’s group accompanying Ethel Waters at Chicago’s Cafe de Paris. After performing and recording with Jimmie Noone’s Apex Club Orchestra in 1928 he moved to California. Making a living as a professional musician through the 1930s, when traditional jazz was eclipsed by big-band swing music, he formed his own trio. In 1944 Scott joined an all-star combination that evolved into Kid Ory’s Creole Jazz Band. This was an important force in reviving interest in New Orleans-style jazz in the 1940s, and he wrote the majority of the band’s arrangements.
In 1944 Bud joined an all-star traditional New Orleans band that was a leader of the West Coast revival, put together for the CBS Radio series The Orson Welles Almanac. He arranged most of the songs for Kid Ory’s band, of which he was a part. His talent for arranging earned him the title of The Master.
A stroke in 1948 forced his retireent from music. Guitarist, banjoist, violinist and vocalist Bud Scott, whose obituary ran on the front page of the Los Angeles Sentinel, transitioned in Los Angeles, California on July 2, 1949, aged 59.
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Daily Dose Of Jazz…
Willie Dennis wsa born William DeBerardinis on January 10, 1926 in Philadelphia, Pennsylvania. After working with Elliot Lawrence, Claude Thornhill, and Sam Donahue, he went to work with Charles Mingus, appearing on two of Mingus’s albums in 1959, Blues & Roots and Mingus Ah Um. In 1953, due to his relationship with Mingus he recorded Four Trombones (on the bassist’s Debut Records label and was released in 1957. The other three trombones were J. J. Johnson, Kai Winding and Bennie Green.
In 1951, Dennis began studying with Lennie Tristano. To make ends meet, he worked as an attendant at the Museum of Modern Art. The fullest recorded example of Dennis’s solo work is on a little-known 1956 Savoy disc by English pianist Ronnie Ball, who was also a Tristano student. The album was titled All About Ronnie, and included Ted Brown and Kenny Clarke.
He toured with Mingus in 1956, published an essay, The History of the Trombone, in Metronome. By the late 1950s Willie had returned to his big band roots and joined Buddy Rich in 1959 after stints with Benny Goodman and Woody Herman. During the 1960s, he often performed with Gerry Mulligan.
He had an extremely fast articulation on the trombone, which he obtained by means of varying the natural harmonics of the instrument with minimal recourse to the slide, a technique known as crossing the grain. He recorded with Cannonball Adderley, Manny Albam, Al Cohn, Mundell Lowe, Gary McFarland, Gerry Mulligan, Oliver Nelson, Anita O’Day, Shirley Scott, Zoot Sims and Phil Woods.
Known for his big band musicianship but who could also execute as an excellent bebop soloist, trombonist Willie Dennis, who was married to Morgana King in 1961, transitioned due to an automobile accident in Central Park on July 8, 1965 in New York City.
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Daily Dose Of Jazz…
Abbey “Chinee Bébé” Foster was born on January 9, 1902 in New Orleans, Louisiana. A self-taught jazz drummer, he played in Storyville with William Ridgley’s Tuxedo Orchestra, and with Buddie Petit in the Eagle Band.
He recorded with Celestin’s Original Tuxedo Jazz Orchestra in 1927. After years of retirement, he made a comeback with Punch Miller’s Band at Preservation Hall in 1961.
On September 12, 1962 drummer Abbey Foster transitioned in his hometown.
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Daily Dose Of Jazz…
Georg Riedel was born January 8, 1934 in Karlovy Vary, Czechoslovakia, and in 1938, when he was four years old, the family fled to Sweden following the German annexation of the Sudetenland. He attended school in Stockholm, Sweden and at the Adolf Fredrik’s Music School.
The best known recording featuring Riedel is probably Jan Johansson’s Jazz på svenska (Jazz in Swedish), a minimalist-jazz compilation of folk songs recorded between 1962–1963. He recorded with other leading Swedish musicians including trumpeter Jan Allan and Arne Domnérus.
As a composer, George worked almost exclusively writing music for Astrid Lindgren movies, including the main theme from the Emil i Lönneberga (Emil of Maple Hills) movies. He also composed the music for several films by Arne Mattsson in the 1960s as well as for film adaptations of novels by Stig Dagerman.
Double bassist and composer George Riedel, played on Jazz at the Pawnshop in 1977, at 87 continues his involvement with jazz.
Bestow upon an inquiring mind a dose of a Karlovy Vary double bassist to motivate the perusal of the genius of jazz musicians worldwide whose gifts contribute to the canon…
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Daily Dose Of Jazz…
Dave Schildkraut was born on January 7, 1925 in New York, New York and started playing professionally in 1941, first with Louis Prima. He followed this five year residency with Buddy Rich and Anita O’Day through the end of the decade and into the Fifties.
He moved on to hone his craft further by working with Stan Kenton, Pete Rugolo, Oscar Pettiford, Miles Davis, George Handy, Tony Aless, Ralph Burns, Tito Puente, Johnny Richards, and Kenton again in 1959. During the 1960s, Dave freelanced around New York City, appearing regularly with Eddie Bert at the West End Cafe. Later in his life he went into semi-retirement.
His playing was fluid and brilliant in pure bebop style but Schildkraut only recorded one album as a leader, in 1979. However, the album wasn’t released until 2000 by Endgame Records as Last Date. As a sideman he recorded sixteen albums.
Alto saxophonist Dave Schildkraut, whose style mimicked Charlie Parker but later showed influences of John Coltrane, Warne Marsh and Lee Konitz, transitioned on January 1, 1998 in Darien, Connecticut.
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