Daily Dose Of Jazz…
David Buckley Wilborn was born April 11, 1904 in Springfield, Ohio, on April 11, 1904. He started on piano at the age of 12 but switched to banjo soon after. He played with Cecil and Lloyd Scott in 1922, then joined William McKinney’s Synco Septet, which became the Cotton Pickers soon after. He sang and played banjo for the group until its dissolution in 1934, and when it reformed a short time later he remained in the group until 1937.
After 1937, Dave worked as a bandleader until 1950, after which he left full-time performance. When David Hutson formed the New McKinney’s Cotton Pickers, Wilborn also played in this ensemble. He sang and played on their albums New McKinney’s Cotton Pickers released in 1972 and their 1973 You’re Driving Me Crazy.
Banjoist and vocalist Dave Wilborn, who recorded with Louis Armstrong in 1928, transitioned during a performance in Detroit, Michigan on April 25, 1982.
Daily Dose Of Jazz…
Sharkey Bonano was born Joseph Gustaf Bonano on April 9, 1904 in the Milneburg neighborhood of New Orleans, Louisiana near Lake Pontchartrain. In the 1920s he was in the local bands of Freddie Newman and Chink Martin. After moving to New York City he found work as a member of the Wolverines and with Jimmy Durante.
He worked next to Frankie Trumbauer and Bix Beiderbecke as a member of the Jean Goldkette orchestra. At the end of the 1920s, he led a band which included Louis Prima. During the 1930s he formed the Sharks of Rhythm and played in the Original Dixieland Jass Band. His sidemen during this period included Santo Pecora and Thurman Teague.
After World War II he toured Europe, Asia, and South America, played residencies in Chicago and New York, and then was a regular on Bourbon Street in the New Orleans French Quarter. In 1949, he appeared at the Roosevelt Hotel’s Blue Room and the Famous Door Bar.
Trumpeter Sharkey Bonano transitioned on March 27, 1972, at the age of 67.
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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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