Daily Dose Of Jazz…
Wild Bill Davison: The Cornetist Who Played by Ear and Lived by Fire
William Edward Davison entered the world on January 5, 1906, in the small town of Defiance, Ohio—a fitting birthplace for a man who would spend his life defying musical conventions. From his earliest days, young Bill displayed both a deep love for music and an uncanny ability to master whatever instrument he touched.
A Musical Prodigy Finds His Voice
His journey began with the mandolin, guitar, and banjo, but Bill had his sights set higher. Ever resourceful, he joined the Boy Scouts specifically to learn the bugle. By age 12, he had graduated to the cornet—the instrument that would become his lifelong companion and voice.
What made Davison truly remarkable wasn’t technical training—his ability to read music remained limited throughout his career. Instead, he possessed something far rarer: a photographic musical ear. After hearing a song just once, he could reproduce its melody with perfect accuracy, then spontaneously weave in complex chord progressions and harmonic improvisations that left audiences spellbound.
From Obscurity to Icon
Though Davison emerged as a fiery jazz cornetist during the roaring 1920s, widespread recognition eluded him for two decades. When it finally arrived in the 1940s, it was explosive. His distinctive sound—marked by tonal distortions, heavy vibrato, and an almost urgent intensity—proved remarkably versatile. Whether playing alongside the mercurial Sidney Bechet or in more traditional settings, Davison’s cornet could adapt while losing none of its power.
His greatest musical partnership came when he joined forces with Eddie Condon. From the mid-1940s through the 1960s, this association produced some of Davison’s finest work, capturing both his hot, powerful attack and his surprisingly delicate melodic sensibility.
The Man Behind the Legend
On the bandstand, Wild Bill cut an unforgettable figure: seated in a chair with legs casually crossed, playing his horn from the side of his mouth with nonchalant mastery. But his colorful nickname didn’t come from his blazing cornet style—it was earned through his equally legendary appetite for whiskey and women, living the jazz life to its fullest and most reckless extent.
Wild Bill Davison brought his distinctive sound to audiences for over six decades before passing away on November 14, 1989, in Santa Barbara, California. He left behind a legacy that proved you don’t need to read music to speak its language fluently—you just need to listen with your whole soul.
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Daily Dose Of Jazz…
Joe Marsala: A Clarinet Voice That Bridged Two Eras
Born in the vibrant jazz landscape of Chicago on January 4, 1907, Joe Marsala picked up the clarinet as a young boy and never looked back. What emerged was a distinctive voice—one that would help shape the sound of American music across multiple decades.
Beyond Dixieland
While Marsala came of age during the big band era and shared stages with traditional “Dixieland” musicians, his musical vision reached far beyond convention. His playing was richer, more graceful, and decidedly more adventurous than many of his contemporaries—a style he credited largely to the influence of the masterful Jimmy Noone.
As a bandleader, Marsala helmed ensembles with memorable names like “His Chosen Seven” and “His Delta Four.” He had an eye for talent, too: he was among the first leaders to recognize the explosive potential of a young drummer named Buddy Rich. Throughout his career, Marsala collaborated with an impressive roster of musicians including Joe Buskin, Jack Lemaire, Carmen Mastren, and even the legendary Etta James.
A Pioneer for Integration
Beyond his musical contributions, Marsala stood on the right side of history. During the 1940s, he was at the forefront of breaking down racial barriers in jazz, working alongside Dizzy Gillespie and other Black musicians at a time when such collaborations required both courage and conviction.
Reinvention and Resilience
As bebop swept through the jazz world, Marsala faced a harsh reality: clarinetists were increasingly sidelined in the new sound. Work became scarce, both on stage and in the studio. But rather than fade away, Marsala reinvented himself.
He turned his creative energies to songwriting, crafting what we now call classic pop standards. His compositions found their way to two of the era’s biggest voices: Frank Sinatra and Patti Page. Songs like “Don’t Cry, Joe” and “And So To Sleep Again” showcased a different side of his artistry—proof that a true musician can adapt without losing their soul.
Despite battling chronic colitis throughout his later years, Marsala continued contributing to American music until his passing on March 4, 1978, in Santa Barbara, California. His legacy remains a testament to versatility, courage, and the enduring power of a clarinet played with grace and conviction.
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Daily Dose Of Jazz…
Henry Goodwin: A Globetrotting Trumpet Voice of Early Jazz
Born in the nation’s capital on January 2, 1910, Henry Goodwin was a musical explorer from the start. As a young boy in Washington, D.C., he didn’t limit himself to just one instrument—he experimented with drums and tuba before the trumpet ultimately captured his heart.
A Teenage Talent Goes International
Goodwin’s talent blossomed early. By 1925, while still a teenager, he was already performing professionally with the bands of Sam Taylor and Claude Hopkins. His youthful career took a dramatic turn at just 15 years old when he traveled to Europe with Hopkins as part of the glamorous Josephine Baker Revue. Though the adventure led him to Berlin, the pull of home proved stronger, and young Henry made his way back to New York.
A Life of Musical Adventure
What followed was a career marked by constant motion and collaboration. Goodwin soon found himself sailing to Argentina with Paul Wyer’s ensemble. Upon returning to New York, he worked with Elmer Snowden and laid down tracks with Cliff Jackson’s Krazy Kats. In 1933, Europe called again—this time with Lucky Millinder—before Goodwin returned stateside to perform with Willie Bryant and settle into a two-year tenure with Charlie Johnson.
The late 1930s brought new chapters: a brief but memorable stint with the legendary Cab Calloway, followed by three years with Edgar Hayes. Finding a comfortable artistic home with Sidney Bechet’s distinctive style, Goodwin went on to collaborate with Cecil Scott, Gene Sedric, and Art Hodes. His freelancing years included a memorable return to Europe for the Nice Jazz Festival with Mezz Mezzrow, and by the mid-1950s, he was swinging on the West Coast with Earl Hines in San Francisco.
Throughout the 1960s, Goodwin remained active in various Dixieland bands before eventually retiring. Though he never led his own recording session—a curious footnote for such a well-traveled musician—Henry Goodwin’s trumpet voice graced countless stages across three continents during jazz’s formative decades.
Henry Goodwin passed away on July 2, 1979, leaving behind a legacy of musical wanderlust and dedication to his craft.
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Daily Dose Of Jazz…
Jerome Darr was born on December 21, 1910 in Baltimore, Maryland. His first major professional affiliation was a jug band, the Washboard Serenaders. As a member of this group from 1933 through 1936, the guitarist enjoyed a well-received European tour.
During the 1940s he focused on work as a studio musician showing up on sessions from blues to bebop. His incredibly versatile and prolific career had him playing behind Frankie Lymon & The Teenagers.
Between 1935 and 1973 Jerome participated in roughly twenty jazz recording sessions. in total for this artist. Such a thin statistic indicates that the hefty, complete list of recordings Darr appears on include many other styles besides jazz.
He recorded and/or performed with the Marlowe Morris Trio, Paul Quinichette All-Stars and his Quartet, Rex Stewartand the Charlie Parker Quintet. In his final years, Darr was mostly swinging in the busy band of trumpeter Jonah Jones, in a sense coming full circle with the type of playing he had started out with.
Guitarist Jerome Darr died October 29, 1986 in Brooklyn, New York.
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Daily Dose Of Jazz…
Clancy Hayes was born Clarence Leonard Hayes on November 14, 1908 in Caney, Kansas. As a child he learned the drums before switching to guitar and banjo.
Being part of a vaudeville troupe in the Midwest after 1923, Hayes lived in San Francisco from 1927. He became more popular in the 1930s through radio and club performances. From 1938 to 1940 he played in a big band led by Lu Watters, after which he spent a decade with the Yerba Buena Jazz Band, playing rhythm banjo and, on occasion, drums.
Spending almost all of the 1950s singing with Bob Scobey’s band, in the 1960s he led his own bands, which also recorded for various labels. Hayes played with the Firehouse Five Plus Two, Turk Murphy, and a group that evolved into the World’s Greatest Jazz Band. As a vocalist he was noted for his straightforward singing of ballads and his flamboyant delivery of livelier songs.
Banjoist and vocalist Clancy Hayes, who recorded eleven albums as a leader and six with Bob Scobey, died in San Francisco, California on March 13, 1972.
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