Daily Dose Of Jazz…
Patrick John Halcox, born March 18, 1930 in Chelsea, London, was originally offered a band spot earlier but elected to continue his studies as a research chemist. Ken Colyer was invited to fill the vacancy in 1953, which became known as the Ken Colyer Jazz Band, playing in a New Orleans style with Chris Barber, Lonnie Donegan and Monty Sunshine.
The band effectively parted company with Colyer in 1954 after a dispute about its musical direction. Halcox took Colyer’s place, in what then become Barber’s group and as the original six-piece band eventually grew to eleven members, he remained present. Although primarily the trumpet player, he had a fine singing voice and led the band’s various renditions of Ice Cream, one of their most popular standards. He also played piano on the Lonnie Donegan recording of Digging My Potatoes.
The Pat Halcox Allstars did make a recording of their own during a Chris Barber Band summer break, now re-released as a Lake Records CD. Trumpeter and vocalist Pat Halcox announced his retirement from the Chris Barber Band at the age of 78, effective in 2008 and passed away on February 4, 2013 at the age of 82.
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Daily Dose Of Jazz…
Joseph Robichaux, born March 8, 1900 in New Orleans, Louisiana and played piano from a young age and went on to study at New Orleans University. After working in the O.J. Beatty Carnival, he played with Tig Chambers briefly in 1918 before returning to New Orleans and played with Oscar Celestin, Earl Humphrey, Lee Collins, and The Black Eagles in 1922 and 1923.
He arranged music for and recorded with the Jones-Collins Astoria Hot Eight in 1929 and accompanied Christina Gray on a recording session that same year. In 1931 he formed his own ensemble, featuring Eugene Ware on trumpet, Alfred Guichard on clarinet and alto saxophone, Gene Porter on tenor sax, and Ward Crosby on drums.
They journeyed to New York City to record for Vocalion in August 1933, laying down 22 mostly stomping, uptempo sides and two alternate takes in a marathon 5-day recording schedule. Vocalion issued 10 records over the next year and 2 tracks with vocalist Chick Bullock were issued under his name on Banner, Domino, Oriole, Perfect, and Romeo record labels.
Unfortunately for the musicians and potential audiences problems with the musicians’ union in New York prevented them from being able to play live there, so they returned to New Orleans not long after recording. Robichaux expanded the size of his ensemble over the course of the 1930s and Earl Bostic was among those who joined its ranks.
The band toured Cuba in the mid-1930s and recorded for Decca Records in 1936, recording 4 sides in New Orleans, however, they were all rejected. By 1939 Robichaux’s ensemble disbanded, and he found work performing solo, mostly in New Orleans. He recorded as an accompanist on R&B recordings in the Fifties and played with Lizzie Miles.
Late in his life, he played with George Lewis from 1957 to 1964, Peter Bocage in 1962, and performed at Preservation Hall. Bandleader and pianist Joe Robichaux passed away from a heart attack at the age of 64 in 1965 in his hometown of New Orleans.
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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…
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…
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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