Daily Dose Of Jazz…
Joe Deniz was born José William Deniz on September 10, 1913 in Butetown, Cardiff, Wales to a Black American mother and a Cape Verdean father. He learned the ukulele first, before upgrading to the fuller fretboard and along with his two brothers they all made their mark on the UK jazz dance scene. He started playing on the docks in Butetown, now known as Tiger Bay, where he played impromptu calypsos for the sailors for small change. As his skill increased so he would join other vagrant musicians traveling through the ethnic centers of Cardiff, playing engagements at houses in exchange for drinks. Eventually a nucleus of black musicians came together with Victor Parker, George Glossop and Don Johnson, finding work in Soho clubs.
After a brief sojourn to his home town, Deniz returned as drummer at the Nest, an after hours London club visited by Afro-Caribbean musicians and where he met Fats Waller and his idol, Django Reinhardt. He went on to join Ken ‘Snakehips’ Johnson’s Black Orchestra as his guitarist, remaining until 1941 when Johnson was killed in a Café De Paris bombing. He was injured at the time and had lifelong discomfort in his leg from shrapnel. He found session work with many top-flight band leaders, as well as violinist Stéphane Grappelli. His personal fame also rose via solos with Harry Parry’s Radio Rhythm Club Sextet.
Turning away from jazz, he joined his brothers in the Latin-styled Hermanos Deniz, before joining the West End run of Ipi Tombi, a South African musical which featured his duets with his brother Frank. He retired from music in 1980, contenting himself with his memories, passion for DIY and running a successful business. Guitarist and drummer Joe Deniz, never recorded as a leader but as a member of the Hermanos Deniz group, passed away April 24, 1994.
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Daily Dose Of Jazz…
Lauderic Rex Caton was born on August 31, 1910 in Arima, Trinidad and Tobago, the fourth son and last among the eight children of Robert Caton, who was of Saint Lucian descent, and Margaret Caton. An autodidact on guitar, he was also proficient on saxophone, double bass, and banjo, and began playing professionally at the age of 17.
After spending time in Guadeloupe and Martinique, he moved to Europe in 1938, playing in Paris with Martinican musician Oscar Alemán. He then moved to Brussels and played with Ram Ramirez, Jean Omer, Harry Pohl, and Jamaican Joe Smith. While in Antwerp, Caton played with Gus Clark and Tommy Brookins.
Influenced by Lonnie Johnson and Charlie Christian, he began amplifying his guitar in 1940. Lauderic played in England with Don Marino Barreto and during his tenure met and befriended saxophonist Louis Stephenson, who became a frequent collaborator. He led a house band at Jig’s Club working with Cyril Blake, Johnny Claes, Bertie King, Harry Parry, Dick Katz, and Coleridge Goode. By the 1940s he played with Ray Ellington and Ray Nance, playing under the pseudonym Lawrence Rix for legal reasons.
Guitarist Lauderic Caton went on to teach and build custom amplifiers. He passed away in London, England on February 19, 1999 at age 88 and was interred in Port Of Spain, Trinidad.
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James Andrew Rushing was born on August 26, 1901 in Oklahoma City, Oklahoma into a family with musical talent and accomplishments. His father, Andrew, was a trumpeter and his mother, Cora and her brother were singers. He studied music theory with Zelia N. Breaux at Douglass High School, and was unusual among his musical contemporaries, having attended college at Wilberforce University.
Rushing was inspired to pursue music and eventually sing blues by his uncle Wesley Manning and George “Fathead” Thomas of McKinney’s Cotton Pickers. Touring the midWest and California as an itinerant blues singer in 1923 and 1924, he eventually moved to Los Angeles, California, where he played piano and sang with Jelly Roll Morton. He also sang with Billy King before moving on to Page’s Blue Devils in 1927. He, along with other members of the Blue Devils, defected to the Bennie Moten band in 1929.
When Moten died in 1935 Jimmy joined Count Basie for what would be a 13-year tenure. Due to his tutelage under his mentor Moten, he was a proponent of the Kansas City jump blues tradition as heard in his versions of Sent For You Yesterday and Boogie Woogie for the Count Basie Orchestra. After leaving Basie,, as a solo artist and a singing with other bands.
When the Basie band broke up in 1950 he briefly retired, then formed his own group and his recording career soared. He also made a guest appearance with Duke Ellington for the 1959 album Jazz Party. In 1960, he recorded an album with the Dave Brubeck Quartet, known for their cerebral cool jazz sound. Rushing appeared in the 1957 television special Sound of Jazz, singing one of his signature songs I Left My Baby backed by many of his former Basie band compatriots. In 1958 he was among the musicians included in an Esquire magazine photo by Art Kane, later memorialized in the documentary film A Great Day in Harlem.
In 1958 Jimmy toured the UK with Humphrey Lyttelton and his band, appeared in the 1969 Gordon Parks film The Learning Tree, and by 1971 was diagnosed with leukemia, that sidelined his performing career. On June 8, 1972 vocalist Jimmy Rushing, who was known as a blues shouter, balladeer and swing jazz singer, passed away in New York City. He was one of eight jazz and blues legends honored in a set of United States Postal Service stamps issued in 1994. Among his best known recordings are “Going to Chicago” with Basie, and “Harvard Blues”, with a famous saxophone solo by Don Byas.
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Daily Dose Of Jazz…
Buster Smith was born Henry Smith on August 24, 1904 Alsdorf, Texas, the third boy of five and earned the name “Buster” from his parents as he was an overweight baby when his mother gave birth. His early musical influences were his mother, and his father, who played guitar. At the age of four years, Buster and his brother Boston, a pianist, were playing organ, he played the keys and his brother stepped on the pedals. Soon thereafter, believing it would lead to a life of sin, his grandfather gave away the organ.
In 1919, Smith picked cotton for a week to earn himself the money to buy a $3.50 clarinet. He went on to learn to play several instruments by the time he was eighteen years old. Moving to Dallas in 1922, he joined the Voodie White Trio, playing alto saxophone and clarinet. The following year he began his professional career as an alto saxophonist with the medicine shows, though he had to play very loudly to draw in more customers. This experience defined his musical style, becoming known for being loud.
This period led to Oran “Hot Lips” Page inviting Smith to join his group, the Oklahoma City Blue Devils, in 1925. Over the next few years Buster wrote much of the group’s music, learning from banjo player Johnny Clark, writing lyrics with co-workers from the bank that he worked in.
As a Blue Devils he worked alongside Walter Page, Oran Page, Lester Young, Count Basie, Jimmy Rushing, and Emir “Bucket” Coleman. They toured the Kansas City area and the Midwest, playing jazz for a year, bringing all of its members into prominence. Basie and Page both left the group; and shortly afterwards so did Smith. He and Basie formed the Buster Smith-Count Basie Band of Rhythm, where the two innovated a louder style of jazz. Buster’s contribution to the unique sound was by using a tenor saxophone reed in his alto saxophone to achieve a louder, “fatter” sound. Young opted for a heavier reed, using a baritone saxophone reed on his tenor saxophone. This sound was later labelled the Texas Sax Sound.
Smith gained influence in the Texan music community and industry. He mentored saxophonist Charlie Parker during the 1930s, developing a father-son relationship. He played with a host of musicians including Duke Ellington, Ella Fitzgerald and Earl Hines but in 1941 he returned to Dallas and ceased touring but remained active in the local music scene. In the years that followed he wrote for jazz and blues bands, played often, and known as Professor Smith, taught many young Texan musicians, including Aaron “T-Bone” Walker and Red Garland among others. He also performed session work with Pete Johnson’s Boogie-Woogie Boys, Eddie Durham, Leo “Snub” Mosley, Bon and His Buddies, and the Don Redman Orchestra.
In the 1960s, Smith was involved in auto accident, his injuries causing him to give up the saxophone. Not to be dissuaded from performing he took up the bass guitar, led a dance band and played into the mid-Eighties with the Legendary Revelations. Alto saxophonist Buster Smith, who recorded only one album as a leader in 1959, passed away on August 10, 1991 of a heart attack in Dallas, Texas.
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Bumps Myers was born Hubert Maxwell Myers on August 22, 1912 in Clarksburg, West Virginia. Influenced by Coleman Hawkins he played the tenor saxophone but also the alto and baritone. Growing up in California he began his musical career at the age of 17 in the Los Angeles area, playing with Curtis Mosby and His Dixieland Blue Blowers,
By 1927 he had recorded for the first time and two years later was playing in Seattle, Washington with Earl Whaley. The mid-1930s saw him with Buck Clayton and Teddy Weatherford, with whom he went on tour. From 1934 to 1936 he lived in Shanghai, China where he worked in Canidrome with Weatherford’s band and Buck Clayton. After returning to the United States in 1937 he played with Lionel Hampton and Les Hite .
The early Forties had Bumps working with the short-lived band of Lee and Lester Young. In 1942 and again in 1945 he worked at Jimmie Lunceford and 1943-48 in Benny Carter’s big band. Mid-1940s he performed several times with Jazz at the Philharmonic and in 1945 he played with Sid Catlett on.
1947 saw him playing with Benny Goodman and recording the hit Call It Stormy Monday (But Tuesday Is Just as Bad). Under his own name he released Bumps Myers & His Frantic Five in 1949 on the Blu, Selective and RPM labels.
In the 1950s, Myers worked as a studio musician, played with Red Callender, and Harry Belafonte in 1958 . After touring with Horace Henderson from 1961-62, Myers retired from music because of issues with his health.
In the field of swing and jazz, he was involved from 1927 to 1960 on some 90 recording sessions with Irving Ashby, Kay Starr, Lee Richardson, Ernestine Anderson, Freddie Slack, Mel Powell, Dan Grissom, Fletcher Henderson, Russell Jacquet, Louis Bellson and Maxwell Davis, Not limiting himself to jazz he also played on a number of rhythm and blues recordings by T-Bone Walker, George Vann, Amos Milburn, Jimmy Witherspoon, Helen Humes, Percy Mayfield, Tony Allen and B. B. King.
Swing saxophonist Bumps Myers, who never gained the notoriety or popularity of his contemporaries, due possibly to working mainly in the Los Angeles music scene, passed away on April 9, 1968 in Los Angeles, California.
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