Daily Dose Of Jazz…
Lawrence Duhé was born April 30, 1887 in La Place, Louisiana. He played with Kid Ory in his youth, and followed Ory to New Orleans, Louisiana. There he played clarinet with Ory, King Oliver, Frankie Duson, and led his own band in Storyville.
Duhé moved to Chicago, Illinois in 1917 and his band became popular in the clubs and dance halls. They played in the stands at the notorious 1919 World Series. During the Roaring Twenties he led Sugar Johnnie’s New Orleans Creole Orchestra comprised of Lil Hardin, Sidney Bechet, King Oliver, Freddie Keppard, tubby Hall and Mutt Carey among others.
By the mid-1920s he had returned to New Orleans and for a time played with Armand J. Piron. After touring with the Rabbit Foot Minstrel Show, Lawrence worked out of Lafayette and New Iberia in Southwest Louisiana with such musicians as Evan Thomas and Bunk Johnson before retiring from music in the 1940s.
Clarinetist and bandleader Lawrence Duhé, passed away in Lafayette, Louisiana in 1960.
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Daily Dose Of Jazz…
Abram Lincoln was born March 29, 1907 in Lancaster, Pennsylvania, one of six brothers, and began playing trombone at age five, instructed by his cornet playing father John. His older brother Bud, would also become a professional musician, as would brothers Roy and Chet.
He began working professionally in the early 1920s and 1930s spending time playing with Adrian Rollini’s California Ramblers, replacing Tommy Dorsey. Lincoln also performed with Arthur Lange, Ace Brigode, Roger Wolfe Kahn, Paul Whiteman, and Ozzie Nelson.
As a studio musician, Abe most prominently performed occasional solos and dixieland-stylings during the musical portions on the Old Time Radio show on NBC. In the 1930s and into the 1940s he work primarily in Los Angeles, California studios as a sideman. He played on Fibber McGee and Molly from the mid-40s until 1953 with the Billy Mills Orchestra.
During the Dixieland revival of the 1950s Abe’s career saw a resurgence, playing with Wingy Manone, the Rampart Street Paraders, Red Nichols, Bob Scobey, Pete Fountain, Jack Teagarden, and Matty Matlock.
Lincoln played his trombone for music and sound effects for Walter Lantz Woody Woodpecker cartoons and some Buster Keaton comedies. He recorded with Wild Bill Davison and did freelance work into the 1970s, though he went into semi-retirement by the 1980s. Trombonist Abe Lincoln, who played weddings and special occasions, passed on June 8, 2000 in Van Nuys, California.
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Daily Dose Of Jazz…
Bix Beiderbecke was born Leon Bismark Beiderbecke on March 10, 1903 in Davenport, Iowa and began playing piano at age two standing on the floor and playing with his hands over his head. At seven he was lauded in the Davenport Daily Democrat tas being able to play any selection he hears. At age ten he slipping aboard one or another of the excursion boats to play the Calliope or at home trying to duplicate the silent matinee melodies.
His love of jazz came from listening to records by the Original Dixieland Jazz Band his brother brought him and from the excursion boats that stopped on the Mississippi. Bix taught himself to play cornet largely by ear listening to Nick LaRocca’s horn lines, leading him to adopt a non-standard fingering creating his original sound.
While attending Davenport High School from 1919 to 1921 he played professionally with various bands, including those of Wilbur Hatch, Floyd Bean and Carlisle Evans, and in 1920 Beiderbecke performed for the school’s Vaudeville Night, singing in a vocal quintet called the Black Jazz Babies and playing his horn. However, due to his inability to read music he never got his union card.
Enrolled at the exclusive Lake Forest Academy, north of Chicago, Bix would often jump a train into Chicago, Illinois to catch the hot jazz bands at clubs and speakeasies, sometimes sit in with the New Orleans Rhythm Kings and go to the Southside to listen to Black musicians who he referred to as real jazz musicians. Soon after, Beiderbecke began pursuing a career in music, moved to Chicago, joined the Cascades Band and gigged around the city until the fall of 1923.
He first recorded with Midwestern jazz ensembles, The Wolverines and The Bucktown Five in 1924, after which he played briefly for the Detroit-based Jean Goldkette Orchestra before joining Frankie “Tram” Trumbauer for an extended gig at the Arcadia Ballroom in St. Louis. In 1926 Beiderbecke and Trumbauer joined Goldkette, touring widely and famously played a set opposite Fletcher Henderson at the Roseland Ballroom in New York City. He made his greatest recordings Singin’ the Blues and I’m Coming, Virginia in 1927 and the following year the pair left Detroit for New York City and the best-known dance orchestra in the country: the Paul Whiteman Orchestra.
During the Whiteman period Bix suffered a precipitous decline in his health, brought on by the demand of the bandleader’s relentless touring and recording schedule in combination with his persistent alcoholism. Support from family and Whiteman along with rehabilitation centers did not help to stem his drinking or decline.
Cornetist, jazz pianist, and composer Bix Beiderbecke, one of the most influential jazz soloists of the Twenties, along with Louis Armstrong and Muggsy Spanier, passed away of lobar pneumonia in his apartment in Sunnyside, Queens, New York on August 6, 1931 at the age of 28.
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Ronald Maxwell Jones was born on February 28, 1917 in London, England and together with his brother Cliff, taught himself to play the saxophone, before the two of them founded the semi-professional Campus Club Dance Band in 1930. Dissolved in 1935 he tried to establish himself as a professional musician, becoming a member of a combo led by trumpeter Johnny Claes, with musicians who played in the style of Coleman Hawkins.
In 1942 and 1943, Max worked for the BBC radio program Radio Rhythm Club; and in 1942, together with authors Albert McCarthy and Charles Fox, founded the magazine Jazz Music, which became meritorious as it set out to reassert the pioneering role of the African-American, to emphasize the music’s social dimensions, and to attack the glossy commercialism of big-band swing.
Since 1944, Jones had a full-time job writing features for the Melody Maker in the column Collectors’ Corner. In the following years he gained more and more high recognition as a proven expert of New Orleans Jazz, swing, and mainstream jazz.
In 1971 Jones published a Louis Armstrong biography, Louis: The Louis Armstrong Story, together with John Chilton. He also wrote a number of liner notes, such as for the CD edition of the Kenny Clarke/Francy Boland Big Band, the Spirits of Rhythm, and wrote the preface for the Lee Collins, Mary Spriggs Collins, Frank Gillis, John W. Miner book Oh, Didn’t He Ramble: The Life Story of Lee Collins. A collection of his articles on musicians such as Coleman Hawkins, Johnny Hodges, Billie Holiday, and Mary Lou Williams was published as a book entitled Talking Jazz in 1987.
Jones was the first jazz musician to become a professional journalist and exclusively dealt with jazz in his publications. He was a model and a mentor for a younger generation of rock music critics and authors. Author, radio host, and journalist Max Jones passed away on August 1, 1993 in Chichester, England.
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Hugues Panassié was born on February 27, 1912 in Paris, France and when he was fourteen, he was stricken with polio, limiting extracurricular physical activities. So he took-up the saxophone and fell in love with jazz in the late Twenties. In 1932 he was the founding president of the Hot Club de France.
During the Germans occupation of northern France the Nazi’sbanned American jazz because they regarded jazz as low music from an inferior people. However Hugues got past the censors by submitting alternate and obscure French titles and continue to broadcast. One example was La Tristesse de Saint Louis, which translates to Sadness of Saint Louis, but in reality it was Louis Armstrong’s The Saint Louis Blues.
Panassié would go on to produce several jazz records by artists that include Sidney Bechet and Tommy Ladnier, author thirteen books about jazz, was an ardent exponent of Dixieland and Black players and a controversial critic of bad musicians such as Benny Goodman’s clarinet being inferior to the likes of Jimmy Noone and Omer Simeon. He dismissed bebop as a form of music distinct from jazz and held in esteem a lone example of a white musician who played jazz authentically in Mezz Mezzrow.
But he was not without his critics and historians who saw him creating a wedge between Black and Caucasian musicians by insisting that Black jazz was superior. He penned the liner notes for a 1956 RCA Victor compilation Guide to Jazz that included 16 recording by prominent jazz artists. After spending five months in New York City, critic, record producer and impresario Hugues Panassié met his assistant Madeleine Gautier, married, returned and settled in Montauban, France until his passing away on December 8, 1974.
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