Daily Dose Of Jazz…
James Wesley “Bubber” Miley was born April 3, 1903 in Aiken, South Carolina into a musical family. At the age of six, he and his family moved to New York City, New York where, as a child, he occasionally sang for money on the streets, and later, at the age of 14, studied the trombone and cornet.
In 1920, after having served in the Navy for 18 months, he joined a jazz formation named the Carolina Five, and remained a member for the next three years, playing small clubs and boat rides all around New York City. After leaving the band at the age of 19, Miley briefly toured the Southern States with a show titled The Sunny South, and then joined Mamie Smith’s Jazz Hounds, replacing trumpeter Johnny Dunn. They regularly performed in clubs around New York City and Chicago, Illinois. While touring in Chicago, he heard King Oliver’s Creole Jazz Band playing and was captivated by Oliver’s use of mutes. Soon Miley found his own voice by combining the straight and plunger mute with a growling sound.
Miley’s talent and unique style were soon noticed in New York’s jazz scene by Duke Ellington who wanted him to jump in for trumpeter Arthur Whetsel. His collaboration with Ellington has secured his place in jazz history. Early Ellington hits, such as Black and Tan Fantasy, Doin’ the Voom Voom, East St. Louis Toodle-Oo, The Mooche, and Creole Love Call, prominently featured Miley’s solo work.
After leaving Ellington’s orchestra in 1929, Bubber joined Noble Sissle’s Orchestra for a one-month tour to Paris, France. After returning to New York, he recorded with groups led by King Oliver, Jelly Roll Morton, Hoagy Carmichael, Zutty Singleton and with Leo Reisman’s society dance band. In 1930, he recorded six songs for Victor Records under the name Bubber Miley and his Mileage Makers, a formation of thirteen musicians including clarinetist Buster Bailey.
His alcoholism terminally affected his life. Trumpet and cornetist Bubber Miley who specialized in the use of the plunger mute, transitioned from tuberculosis on May 20, 1932 on Welfare Island in New York City.
Daily Dose Of Jazz…
Abe Bolar was born on March 26, 1909 in Oklahoma City, Oklahoma. From 1932-1936 he was a member of the Oklahoma City Blue Devils. During the late Thirties he moved to New York City where he played with Hot Lips Page, then with Lucky Millinder from 1940 to 1941.
In the early 1940s he was a member of the Count Basie’s orchestra. In 1939 and 1940 he made recordings with Pete Johnson.
Double bassist Abe Bolar, who was married to pianist Juanita Bolar, transitioned on February 29, 2000 in Portland, Oregon.
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Daily Dose Of Jazz…
Frank Teschemacher was born on March 13, 1906 in Kansas City, Missouri. A was a member of the Austin High School Gang, a group of young, white musicians from the Chicago, Illinois West Side, they all attended Austin High School during the early 1920s. They rose to prominence as pioneers of the Chicago Style in the 1920s, which was modeled on a faster version of New Orleans jazz.
Strongly influenced by cornetist Bix Beiderbecke, he was mainly self-taught on his instruments, clarinet and saxophone. Early on he also doubled on violin and banjo. He started playing the clarinet professionally in 1925. He began recording under his own name in 1928 and made what are believed to be his final recordings two years later, although there is now reason to believe (via sine wave recording research, aka Smith/Westbrook Method) that he appeared on unidentified recordings as late as 1932.
He first recorded with Red McKenzie and Eddie Condon’s Chicagoans in 1927 for Okeh Records. Two sessions produced Sugar, China Boy, Nobody’s Sweetheart and Liza. The players included Jimmy McPartland, Bud Freeman, and Jim Lanigan, as well as Chicagoans Eddie Condon, Gene Krupa and Joe Sullivan, led by Red McKenzie.
1928 saw him recording with two other Red McKenzie and Eddie Condon groups, the Chicago Rhythm Kings and the Jungle Kings. The same year he made his debut as a leader recording for Brunswick Records. The group recorded under the name Frank Teschmacher’s Chicagoans. Frank’s solo work laid the groundwork for a rich sound and creative approach that is credited with influencing a young Benny Goodman and a style of which Pee Wee Russell. He also made recordings on the saxophone and would later return to the violin during the Great Depression. Although well known in the world of jazz, he did not live to enjoy popular success in the swing era.
Clarinet and alto saxophonist Frank Teschemacher, who was killed in an automobile accident while being driven by Wild Bill Davison, transitioned on March 1, 1932 at the age of 25.
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Daily Dose Of Jazz…
Max Gordon was born on March 12, 1903 in Svir, Russian Empire, now Belarus. His family emigrated to the United States in 1908 at age five and settled in Portland, Oregon, where he later attended Reed College. As a young man, he was interested in Russian and French novels and saw himself as a romantic type. Pursuing his parents’ wish that he become a lawyer, he moved to New York in 1926 to attend Columbia Law School, but began working in nightclubs and dropped out, choosing to get his education where he could find it.
In 1932 Gordon opened his first venue, Village Fair, in the tradition of Viennese coffee houses as a place for artists and writers. He relocated the venue once in 1934 and opened the Village Vanguard in 1935. The Vanguard initially offered poetry and was frequented by poets Maxwell Bodenheim and Harry Kemp. Over time, the club segued into cabaret acts, comedy, folk music and jazz before going exclusively jazz in 1957. That year Sonny Rollins was the first jazz musician to record in the venue.
The club subsequently hosted a who’s who of jazz greats from the 1940s to the 1980s including John Coltrane, Sidney Bechet, Dinah Washington, Albert Ayler, Miles Davis, Wynton Marsalis, Henry Threadgill and Thelonious Monk, who at the time an unknown, discovered by Gordon’s wife Lorraine. The club’s artistic direction was in part guided by Lorraine who had a keen interest in jazz. Over time the club became a popular recording spot and over 100 jazz albums have been recorded there.
Max sought new talent and gave younger performers a platform to showcase their work. In doing so he played a role in helping launch the careers of Judy Holliday, Betty Comden, Adolph Green, Barbra Streisand, Pearl Bailey, Woody Allen, Dick Gregory, Lenny Bruce, Irwin Corey, Woody Guthrie, and Lead Belly. He had a reputation for fairness and honesty among the performers.
In addition to the Vanguard, in 1943 Gordon opened the Blue Angel Supper Club in midtown Manhattan and was involved in its operation for fourteen years. He actively managed the Vanguard club well into his 80s. In 1982 he authored a memoir titled Live at the Village Vanguard which chronicles the history of the club.
Jazz promoter and founder of the Village Vanguard, Max Gordon, whose wife Lorraine continued the work and took an active role in managing the Vanguard club until her passing in 2018, transitioned at 86 on May 11, 1989.
Daily Dose Of Jazz…
Joe Daniels was born in Zeerust, South Africa on March 9, 1909 and left his native South Africa for England as a young boy. In 1922 at 14 years of age he was already part of the 1920s London club scene, playing in bands led by Harry and Burton Lester, Billy Mason and Fred Elizade.
Daniels went on to play with Sid Roy before forming his own band with trumpeter Max Goldberg in 1926. Around 1930, he started recording as Joe Daniel’s Hot Shots, and they became a popular recording band. The band, with Bobby King as the vocalist, performed on early BBC radio shows many times, and recorded on Parlophone.
At the outbreak of the Second World War, Joe joined the Royal Air Force, where he organized an air force band, and produced shows for the troops. After the war and throughout the 1950s, 1960s and 1970s, he played in both small and in big bands, including recording under the name Washboard Joe and His Scrubbers. Their recording of I Love Onions / Paper Kisses was released on Parlophone in 1955.
In 1957, he toured as the Big DixieLand Group, while Joe Daniels and the Hot Shots were his ballroom band for Butlin’s Holiday Camp during the mid 1960s. He often played to a full house and was in tune with the campers’ frivolity: one of the most popular dances that got everyone on the floor was the March of the Mods.
Among his more popular numbers was Experiments with Mice. Drummer Joe Daniels, who continued to play Dixieland until 1990, transitioned on July 2, 1993, in Northwood, Middlesex, England, at the age of 84.
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