Daily Dose Of Jazz…
Josiah “Cie” Frazier was born on February 23, 1904 in New Orleans, Louisiana. He studied drums under several New Orleans jazz musicians, including Louis Cottrell, Sr., Red Happy Bolton, and Face-O Woods. He joined the Golden Rule Band with cousin Lawrence Marrero in 1921, and played in Marrero’s Young Tuxedo Orchestra in the 1920s.
He recorded with Papa Celestin’s Tuxedo Brass Band in 1927 and played with A.J. Piron and Sidney Desvigne in the late 1920s and early 1930s. During the Great Depression, Frazier played in WPA bands and in Navy dance bands. In 1945, he recorded with Wooden Joe Nicholas and worked in the 1950s with Celestin, Percy Humphrey, George Williams, and the Eureka Brass Band. He played in the Preservation Hall Jazz Band in the 1960s, working there into the 1980s, and recorded in his last few decades with Kid Howard, De De Burke, George Lewis, Emile Barnes, Captain John Handy, and Don Ewell.
He appeared in the Steve McQueen film The Cincinnati Kid and drummed on a Helen Reddy session. Drummer Cie Frazier passed away on January 10, 1985 in New Orleans.
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Daily Dose Of Jazz…
Frederick L. Robinson was born in Memphis, Tennessee on February 20, 1901, and learned to play the trombone as a teenager. He studied music in Ohio before moving to Chicago, Illinois where he played in Carroll Dickerson’s orchestra. As a member of Louis Armstrong’s Hot Five, he played on recordings and continued working with both Dickerson and Armstrong until late 1929.
He went on to take a position in Edgar Hayes’s band and in the 1930s he worked extensively as a sideman, with Marion Hardy, Don Redman, Benny Carter, Charlie Turner, Fletcher Henderson, and Fats Waller. From 1939 to 1940 he was in Andy Kirk’s band, and in the later 1940s he worked with George James, Cab Calloway, and Sy Oliver. Early in the 1950s he was performing with Noble Sissle, but sometime after 1954 he became less active as a performer. Trombonist Fred Robinson passed away on April 11, 1984, in New York City.
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Daily Dose Of Jazz…
Harry Dial was born on February 17, 1907 in Birmingham, Alabama who became one of the classic drummers of the early jazz world. His specialty was keeping time behind artists known for their fun and pep. In fact, a glance at Dial’s discography is something like a partial scan of the most entertaining albums of all time, because such a list would surely include sides by two guys named Louis, Armstrong and Jordan, as well as Fats Waller and Ella Fitzgerald.
Harry was a solid, energetic drummer who pushed the beat forward without cluttering the airspace. His use of the sock cymbal and his fat, marching band snare drum sound are often imitated. He was also one of the rare breeds of singing drummers, the vocal side of his talents usually only exposed when he was in charge of the band. He was allowed to make comments on records with Fats Waller, the best example of which is the introduction to the upbeat Don’t Let It Bother You.
Dial’s career as a bandleader included a series of sides for Vocalion beginning in 1930. The group, whose recordings included the deadly “Poison,” was known as Harry Dial’s Blusicians, and included players such as banjoist Eursten Woodfork, trumpeter Shirley Clay, and the fine alto saxophonist Lester Boone. Some of this material has been reissued on the compilation Chicago 1929-1930: That’s My Stuff.
He was already recording with Armstrong around this time and began cutting tracks with Waller as a member of Fats Waller’s Rhythm before the middle of that decade. It might have taken him an additional ten years to master the art of playing the maracas since he seemed to find a way to include the delicate shakers on just about every funny style of music he played with Jordan beginning in the mid-’40s when he joined the Tympany Five.
In the late ’40s, he took another crack at recording under his own name, producing “Prince’s Boogie” for Decca with one of the earliest versions of the catchy “Diddy Wah Diddy” on the flipside. Dial liked to write as well, beginning with a song entitled “Don’t Play Me Cheap,” recorded by the famous Armstrong. His songs were also recorded by the merely infamous, a category that would not exist if it didn’t include a singer named Bea Booze, who cut Dial’s “Catchin’ as Catch Can” for Decca in 1942.
Many years later, the drummer published his All This Jazz About Jazz: The Autobiography of Harry Dial. The dapper, suave musician would have felt it important that he is most certainly not the Harry Dial who made it into the Guinness Book of World Records by claiming to have gone 78 years without bathing. Drummer Harry Dial passed away on January 25, 1987 in New York City.
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Daily Dose Of Jazz…
Arthur Francis Rollini was born February 13, 1912 in New York City into a musical family of Italian descent and grew up in Larchmont, New York with his multi-instrumentalist older brother Adrian. In 1929 he played in England for Fred Elizalde and worked for the California Ramblers and big band pioneer Paul Whiteman.
From 1934 to 1939 he was a member of the Benny Goodman Orchestra. The highlight of that period was a breakout performance for big band jazz at Carnegie Hall in 1938. He worked with Richard Himber and from 1941-1942 with Will Bradley. From 1943 to 1958 he worked as a studio musician for the American Broadcasting Company.
Rollini’s work can be found on recordings with the bands of Wingy Manone, Adrian Rollini, Benny Goodman, Joe Venuti, Bobby Hackett, Lionel Hampton, Harry James, Louis Armstrong and Brad Gowans. In 1939, he starred in an Allstar band of Goodman, Bunny Berigan and Jack Teagarden with Blue Lu.
In 1987, he published his autobiography Thirty Years With the Big Bands. Arthur Rollini, who played tenor saxophone and clarinet, and was nicknamed Schneeze, passed away on December 30, 1993 in Florida.
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Daily Dose Of Jazz…
Erskine Butterfield, born February 9, 1913 in Syracuse, New York and began playing piano at an early age when his family moved to Newark, New Jersey, where he later studied piano. In the 1930s, he regularly appeared on radio, including WOR in New York City, and played with Noble Sissle’s orchestra. He made his first sound recording and reproduction in 1937 on the Variety record label.
In 1938, he signed with Decca Records for which he recorded over forty titles between 1940 and 1942, many of which were released. Butterfield was called the Singing Vagabond of the Keys by the Chicago Defender in 1939. He was innovative in utilizing black and white musicians together in his combo, which included session musicians such as clarinetist Jimmy Lytell, guitarist Carmen Mastren, and Haig Stevens on bass.
1939 saw Butterfield signing with Joe Davis of Beacon Records, with whom he would maintain a long term relationship. However, in 1943 he was drafted but continued to play in a group, recorded eight titles for Joe Davis under the name Erskine Butterfield and his Blue Boys in ‘44 and cutting V-Discs in 1945.
After World War II, Erskine formed a trio and toured extensively, but his music style was less successful commercially. He recorded for a number of small labels in the late 1940s, after which his recording activity dropped off. In 1956, however, he again recorded a number of titles for Joe Davis with a reformed group, Butterfield and his Blue Boys, including musicians such as Sam “The Man” Taylor on saxophone and Panama Francis on drums. He made appearances on The Nat King Cole Show, The Tony Martin Program and The Jo Stafford Show.
His light swing and traditional piano phrases resulted in some of his songs, such as Lovin’ Man and Because Of You, being used in film soundtracks. Pianist, singer, bandleader and composer Eskine Butterfield, credited with helping to invent the style of cocktail piano, passed away on July 11, 1961 in New York City.
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