Daily Dose Of Jazz…
Lauderic Caton was born on August 31, 1910 in Arima, Trinidad and Tobago was the fourth son and last of the eight children. An autodidact on guitar, which he played professionally from the age of 17, however, he was also proficient on saxophone, double bass, and banjo.
After spending time in Guadeloupe and Martinique, he moved to Europe in 1938, playing in Paris, France with guitarist Oscar Alemán. Soon he was in Brussels, Belgium playing with Ram Ramirez, Jean Omer, Harry Pohl, and Jamaican Joe Smith. While in Antwerp, Belgium he played with Gus Clark and Tommy Brookins.
Influenced by Lonnie Johnson and Charlie Christian, he first began using an amplifier in 1940. Lauderic played in England with Don Marino Barreto and saxophonist Louis Stephenson, with whom he became a frequent collaborator. Together they led a house band at Jig’s Club.
He has worked with Cyril Blake, Johnny Claes, Bertie King, Harry Parry, Dick Katz, and Coleridge Goode. Late in the 1940s Caton played with Ray Ellington and Ray Nance, playing under the pseudonym “Lawrence Rix” for legal reasons. Later in his life he also taught and built custom amplifiers.
Leaving music at the end of the 1950s, he was the musical arranger for Walking on Air. Guitarist Lauderic Caton, who was an early proponent of the use of electric guitar in Britain, particularly in jazz, passed away in London, England on February 19, 1999. He is buried in Port of Spain, Trinidad.
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Daily Dose Of Jazz…
Louis “King” Garcia was born on August 25, 1905 in Juncos, Puerto Rico and played early in his life in the Municipal Band of San Juan, whose director was Juan Tizol’s uncle, Manuel Tizol. This led to some work with the Victor Recording Orchestra.
Moving to the United States in the early 1920s during the Jazz Age, he played with the Original Dixieland Jazz Band and the Emil Coleman Orchestra. The Thirties saw him increasingly working in the studios, including his most important association, Jimmy and Tommy Dorsey, which he recorded with both together and separately. He also played with the Vic Berton Orchestra, Richard Himber, Nat Brandwyne, Amanda Randolph, Louis Prima, and vocalist Amanda Randolph.
In the 1940s he returned to play with Coleman again, and led his own Latin ensemble that decade. By the 1960s he had moved to California and faded from the scene, essentially retiring due to failing health.
Trumpeter and bandleader King Garcia, who spent most of his career in the United States, passed away in Los Angeles, California on September 4, 1983.
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Daily Dose Of Jazz…
William James “Count” Basie was born on August 21, 1904 in Red Bank, New Jersey. His father played the mellophone, his mother played the piano and gave him his first piano lessons. Taking in laundry and baking cakes for sale for a living, she paid 25 cents a lesson for his piano instruction. The best student in school, he inished junior high school and spent much of his time at Red Bank’s Palace Theater, where he quickly learned to improvise music appropriate to the acts and the silent movies.
A natural pianist but preferring drums he was discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington’s drummer in 1919, He let the idea of drumming go and concentrated on the piano exclusively at age 15. He and Greer played together in venues until Greer set out on his professional career. By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, and Harry Richardson’s Kings of Syncopation.
By 1920 Basie was in Harlem where he bumped nto Greer and started meeting the musicians making the scene like Willie “The Lion” Smith and James P. Johnson. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. This provided an early training that was to prove significant in his later career.
Back in Harlem in 1925, he met Fats Waller, who taught him how to play that instrument. As he did with Duke Ellington, Willie “the Lion” Smith helped Basie out during the lean times by arranging gigs at house-rent parties, introducing him to other leading musicians, and teaching him some piano technique.
In 1928, Basie joined Walter Page and his Famous Blue Devils. It was at this time that he picked up the moniker of Count. The next year saw him in Kansas City holding down the piano chair with Bennie Moten. After a couple of re-organizations of the band, Basie formed his own nine-piece band, Barons of Rhythm who played regularly at the Reno Club and on the radio. Moving to Chicago, Illinois the band eventually became the Count Basie Orchestra where they did their first recordings for Vocalion under the name Jones-Smith, as Basie had already signed with Decca.
Over the course of the fifty years he led the band he was instrumental in creating innovations like the use of two “split” tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, which any other bands copied. He also brought to prominence such players as Lester Young, Herschel Evans, Freddie Green, Buck Clayton, Harry “Sweets” Edison, Al Grey, Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.
Pianist, organist, bandleader, and composer Count Basie, who recorded close to two hundred albums and in 1958 became the first Black man to win a Grammy Award, passed away on April 26, 1984.
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Daily Dose Of Jazz…
Jack Teagarden was born Weldon Leo Teagarden on August 20, 1905 in Vernon, Texas into a musical family, two brothers, a sister and father all musicians. His father started him on baritone horn but by age seven he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.
By 1920, Teagarden was playing professionally in San Antonio, Texas with the band of pianist Peck Kelley. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. 1927 saw him in New York City where he worked with several bands and by 1928 he was playing with the Ben Pollack band.
In the late 1920s, he recorded with such bandleaders and sidemen as Louis Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, and Eddie Condon. Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams’ “Basin Street Blues”, which in that amended form became one of the numbers that Teagarden played until the end of his days.
Seeking financial security during the Great Depression, Jack signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. In 1946, he joined his lifelong friend Louis Armstrong and his All Stars. In late 1951, he left to again lead his own band.
Suffering from pneumonia, trombonist and singer Jack Teagarden, considered the most innovative jazz trombone stylist of the pre-bebop era, passed away in New Orleans at the age of 58 on January 15, 1964.
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Daily Dose Of Jazz…
Zinky Cohn was born on August 18, 1908 in Oakland, California. Little is known about his childhood but it has been speculated by many Jewish historians he descended from one of the so-called 12 tribes.
Moving to Chicago, Illinois in the late 1920s, he played around town and from 1928 to 1930 was a member of Jimmie Noone’s Apex Club Orchestra. He recorded extensively with Noone between 1929 and 1934, especially for Vocalion Records. Many of the tunes Noone recorded were written and/or arranged by Cohn, including Apex Blues, previously attributed to Earl Hines.
Cohn also recorded as a leader in the early 1930s, with a band that featured Leon Washington on tenor saxophone. Cohn recorded with Frankie Franko & His Louisianans in 1930, and also accompanied blues singers such as Georgia White.
Later in the 1930s he led the Chicago musicians’ union, and continued to play locally. Pianist Zinky Cohn passed away on April 26, 1952 in Chicago.