Daily Dose Of Jazz…

Todd Washington Rhodes was born in Hopkinsville, Kentucky on August 31, 1899 and was raised in Springfield, Ohio. He attended the Springfield School of Music and the Erie Conservatory, studying as pianist and songwriter. After graduating in 1921, he began performing with drummer William McKinney in the jazz band McKinney’s Cotton Pickers, and played with Benny Carter, Coleman Hawkins, Fats Waller, Rex Stewart, Doc Cheatham, and Don Redman.

Leaving McKinney’s Cotton Pickers in 1934, he lived and played in Detroit, Michigan from then on. He formed his own small group in 1943, expanding it into the Todd Rhodes Orchestra by 1946. The orchestra made its first recordings for Sensation Records in 1947.

Turning more towards rhythm and blues music, the band became known as Todd Rhodes & His Toddlers, and their recordings were distributed by the Vitacoustic label. His instrumental Blues for the Red Boy reached number 4 on the R&B chart late in 1948, and the following year Pot Likker, made number 3 on the R&B chart. “Blues for the Red Boy” was later famously used by Alan Freed as the theme song for his Moondog radio show; Freed referring to the song as “Blues for the Moondog” instead of its actual title.

With his Toddlers, Rhodes also recorded Your Daddy’s Doggin’ Around and Your Mouth Got a Hole in It. After signing with King Records in 1951, he also worked with Hank Ballard, Dave Bartholomew, and Wynonie Harris. He featured singers such as Connie Allen, who recorded “Rocket 69” in 1952. After she left the band in early 1952, her position was taken by LaVern Baker. Rhodes made his last recordings in the late 1950s.

Developing diabetes, which was untreated for several years, pianist, arranger and bandleader Todd Rhodes transitioned following the amputation of a leg in Inkster, Michigan on June 4, 1965, at the age of 65.

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Daily Dose Of Jazz…

Tony Crombie was born Anthony John Kronenberg on August 27, 1925 in London, England’s East End Jewish community. A self-taught musician, he began playing the drums at the age of fourteen. He was one of a group of young men from the East End of London who ultimately formed the co-operative Club Eleven bringing modern jazz to Britain. He went to New York with his friend Ronnie Scott in 1947, witnessing the playing of Charlie Parker and Dizzy Gillespie, he and like-minded musicians such as Johnny Dankworth, and Scott and Denis Rose, brought be-bop to the UK. This group of musicians were the ones called upon if and when modern jazz gigs were available.

In 1948, Crombie toured Britain and Europe with Duke Ellington, who had been unable to bring his own musicians with him, except for Ray Nance and Kay Davis. Picking up a rhythm section in London, he chose Crombie on the recommendation of Lena Horne, with whom Crombie had worked when she appeared at the Palladium.

By 1956 Tony temporarily left jazz to set up a rock and roll band he called The Rockets, modeling themselves after Bill Haley’s Comets and Freddie Bell & the Bellboys. They released several singles for Decca and Columbia. He is credited with introducing rock and roll music to Iceland, performing there in 1957.

The next year the Rockets had become a jazz group with Scott and Tubby Hayes. During the following year, Crombie started Jazz Inc. with pianist Stan Tracey. During the Sixties he scored for television and film and established a residency at a hotel in Monte Carlo. He toured the UK with Conway Twitty, Freddy Cannon, Johnny Preston, and Wee Willie Harris.

In the early 1960s, Crombie’s friend, Victor Feldman, passed one of his compositions to Miles Davis, who recorded the piece on his album Seven Steps to Heaven. The song, “So Near, So Far”, has been recorded by players including Joe Henderson, who named a tribute album to Miles Davis using the title.

Over the next thirty years, Crombie worked with many American jazz musicians, including Ben Webster, Coleman Hawkins, Illinois Jacquet, Joe Pass, Mark Murphy and Eddie “Lockjaw” Davis.

After breaking his arm in a fall in the mid-1990s he stopped playing the drums, but continued composing until his death. Drummer, pianist, vibraphonist, bandleader and composer  Tony Crombie, was regarded as one of the finest English jazz drummers and bandleaders, transitioned on October 18, 1999, aged 74.

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DUETS: DIANNE REEVES, CHUCHO VALDÉS, JOE LOVANO

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Three Wishes

Pannonica was continuing her search for answers about three wishes when she ran into Hyler Jones and he told her:

1. “Make T. Monk proud of me in all ways. That’s it! That’s all!”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

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Daily Dose Of Jazz…

Jeannie Cheatham was born Jean E. Evans on August 14, 1927 and grew up in Akron, Ohio. At the age of five, she started having lessons on her aunt’s newly-acquired piano, which was soon moved to her home when it transpired that she had a talent for music her aunt lacked. Not long after, she began playing for services at the church her family attended. Throughout her school years, her piano teacher also took her to play at weddings and social events, as well as giving recitals

She first played jazz music at age 14 when she was requested to join a local 15-piece rehearsal orchestra. Still in high school Jeannie began playing in smaller groups and found herself in demand professionally as most younger male musicians were drafted into the US Army during World War II. In 1944, she was accepted as a student at the University of Akron but was unable to complete more than one year for financial reasons.

She met and married Jimmy Cheatham, with whom she formed the Sweet Baby Blues Band in 1984. Her autobiography, Meet Me With Your Black Drawers On: My Life In Music, was published in 2006, the same year they received a lifetime achievement award at the San Diego Music Awards, and in 2022, were inducted into the San Diego Music Hall of Fame.

It was noted by Los Angeles Times contributor Dirk Sutro that Jeannie Cheatham remains one of the under-appreciated greats of jazz and blues, both for her spare, tasteful piano playing, which ranges from boogie-woogie to Monk‑ish surprises, and for her earthy but sensuous voice.

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