Daily Dose Of Jazz…
Dick Lammi was born on January 15, 1909 in Red Lodge, Montana. Early in his career he played violin and banjo, playing as a banjoist in various dance bands and orchestras in the Pacific Northwest in the late 1920s. Settlling in Portland, Oregon in the early Thirties, and played bass in a group there.
After a move to San Francisco, California in 1936 he began playing tuba alongside bass. His best-known work was as a member of Lu Watters’s rehearsal band, which evolved into the Yerba Buena Jazz Band, playing regularly at the Dawn Club.
With World War II interrupting his tenure with the ensemble, after his discharge he rejoined the YBJB and stayed with them until they disbanded in 1950. The Fifties saw Dick working with Bob Scobey, Turk Murphy, Wally Rose, and Clancy Hayes. He recorded little after the early 1960s.
Tubist and bassist Dick Lammi, who was the first tuba player to record during the San Francisco revival, died on November 29, 1969 in San Francisco.
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Daily Dose Of Jazz…
Otis Johnson was born on January 13, 1908 in Richmond, Virginia. He began his career in the late 1920s, working with Gene Rodgers, Henri Saparo, Eugene Kennedy, and Charlie Skeete. In 1929 he joined Luis Russell’s band, and rejoined Kennedy’s group before working with Benny Carter in 1934. He played with Charlie Turner and Willie Bryant in the mid-1930s.
Toward the end of the decade he performed with Louis Armstrong and Don Redman. On December 30, 1940 Otis enlisted in the 369th Coast Artillery of the New York Army National Guard. He was discharged on October 13, 1945.
Trumpeter Otis Johnson, who never returned to active performance after leaving the military, died on February 28, 1994.
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Daily Dose Of Jazz…
Vernon Brown was born on January 6, 1907 in Venice, Illinois. He began his career as a jazz trombonist playing in St. Louis, Missouri with Frankie Trumbauer in 1925, and then moved through a variety of groups at the end of the 1920s and into the 1930s, including those of Jean Goldkette, Benny Meroff, and Mezz Mezzrow.
In 1937 Brown joined Benny Goodman’s orchestra, remaining there until 1940. While only soloing occasionally with Goodman, this association got him well known. The Forties saw him performing with Artie Shaw, Jan Savitt, Muggsy Spanier, and the Casa Loma Orchestra. In the 1940s, Brown switched focus from swing to Dixieland, playing often in studio recordings and working with Sidney Bechet.
Brown performed with Louis Armstrong and his All Stars for the ninth Cavalcade of Jazz concert in 1953 at Wrigley Field in Los Angeles, California. The concert also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat “King” Cole, and Shorty Rogers and his Orchestra.
He led his own band in the Pacific Northwest in 1950 and did reunion tours with Goodman in that decade. He worked with Tony Parenti in 1963, and remained a studio musician into the early-1970s
Trombonist Vernon Brown, who later in his life lived in Roslyn Heights, New York, died in Los Angeles on May 18, 1979.
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Daily Dose Of Jazz…
Clyde Lee McCoy was born December 29, 1903 in Ashland, Kentucky to the family that feuded with the Hatfields. He began mastering the trumpet without formal instruction, after the family moved to Portsmouth, Ohio in 1912. This led him to perform regularly at church and school affairs. Five years later he was performing on the Cincinnati riverboats, and on the Mississippi River side-wheelers the Island Queen and the Bernard McSwain. He became one of the youngest musicians on the river at age 14.
In 1920, accepting an invitation for a small band to play at a Knoxville, Tennessee resort, his Chicago Orchestra rehearsed on the train and won the approval of George Whittle and the patrons of the Whittle Springs Hotel and Spa. After a two month engagement the band officially became known as the Clyde McCoy Orchestra.
In the late 1920s McCoy developed the signature “wah-wah” sound by fluttering a Harmon mute in the bell of his trumpet. In 1967, a similar effect was made for electric guitar with the introduction of the Vox Clyde McCoy Wah-Wah Pedal. Having nothing to do with the use or development of the pedal,Clyde’s name was only used for promotion.
Over the course of a seven decade career Clyde was based at various times in New York City, Los Angeles, California and Chicago, Illinois. He is best remembered for his theme song Sugar Blues, written by Clarence Williams and Lucy Fletcher, and also as a co-founder of Down Beat magazine in 1935. The song was performed with vocals by Bob Wills and his Texas Playboys, Fats Waller and Ella Fitzgerald.
Trumpeter and bandleader Clyde McCoy, who has a star on the Holywood Walk of Fame, transitioned on June 11, 1990 in Memphis, Tennessee.
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Daily Dose Of Jazz…
Rupert Theophilus Nurse was born the only child in Port of Spain, Trinidad on December 26, 1910. He spent some of his childhood in Venezuela before returning to the island to complete his education. He absorbed local calypso music traditions, and started working as a teacher in Tobago.
He taught himself piano, and learned arranging skills from a mail order Glenn Miller book, before returning around 1936 to Trinidad where he worked in an electronics business. He also learned to play the tenor saxophone and with Guyanese saxophonist Wally Stewart, formed the Moderneers or Modernaires, the first American-style big band in Trinidad. During the Second World War he played with visiting Americans on the island, and began writing jazz arrangements of calypsos.
Travelling to London, England in 1945, he began playing double bass with guitarist Fitzroy Coleman and pianist Cyril Jones in the Antilles jazz club near Leicester Square. He joined trumpeter Leslie “Jiver” Hutchinson’s mostly-black band, with whom he played on radio and toured in Europe, before working with entertainer Cab Kaye in the Netherlands. He also increasingly worked with musicians newly arriving in Britain from the West Indies, including popular pianist Winifred Atwell, and Lord Kitchener and his band. He began experimenting with electronic instruments along with Lauderic Caton.
By 1953, Nurse was appointed as musical director of the Melodisc record label, which increasingly sought to release records to appeal to Britain’s growing Afro-Caribbean community. He led the label’s house band, arranged and produced Kitchener’s recordings, and recorded many other musicians of Caribbean origin, including jazz saxophonist Joe Harriott. He continued to perform as a pianist, and became bandleader at the Sunset Club in Carnaby Street and then at the more upscale Sugar Hill club in St James’s, where he met and later recorded with pianist Mary Lou Williams.
He increasingly used an electric piano and organ, and worked widely in clubs and restaurants in London as a solo performer and with other musicians including steel pan player Hugo Gunning, bassist Coleridge Goode, and pianists Iggy Quail and Russ Henderson. He taught, devised arrangements for other musicians, and worked as a library cataloguer in London until 1976.
Retiring to Arima, Trinidad he continued to mentor musicians and write arrangements for them. Pianist, tenor saxophonist and double bassist Rupert Nurse, who was influential in developing jazz and Caribbean music in Britain, particularly in the 1950s, transitioned there on March 18, 2001 at the age of 90.
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