Daily Dose Of Jazz…
Hot Lips Page was born Oran Thaddeus Page on January 27, 1908 in Dallas, Texas. His main trumpet influence was Louis Armstrong as well as early influence from Harry Smith and Benno Kennedy. In his early teens he moved to Corsicana, Texas and traveled across the Southwest and toured as far East as Atlanta and north to New York City. He played in circuses and minstrel shows and backed blues singers Ma Rainey, Bessie Smith and Ida Cox.
In 1926 he caught the eye of the bassist Walter Page (no relation) who had recently assumed leadership of the Oklahoma City Blue Devils and by 1928 was playing and touring. In 1931 he left to join the Bennie Moten Orchestra in Kansas City.
Hot Lips went on to occasionally appear as vocalist, emcee and trumpet soloist with Count Basie’s Reno Club orchestra after Moten’s sudden death disbanded the group. It was during this period that Page embarked upon a solo career, playing with small pick up bands from Kansas City. At the behest of Armstrong’s manager Joe Glaser, he moved to New York City in 1936.
His career as a bandleader got off to an auspicious start in 1937 with sold-out appearances and an extended run at Harlem’s Smalls Paradise, but struggling by 1939 he was struggling to maintain a regular working band, he led small combos and bands on 52nd Street through the Fifties. Page was known as “Mr. After Hours” to his many friends for his ability to take on all comers in late night jam sessions, recorded for the Mezzrow-Bechet Septet in 1945, as Pappa Snow White, with Mezz Mezzrow, Sidney Bechet, Pops Foster, Chu Berry, Sid Catlett and vocalist Pleasant Joe.
Over the course of his short career Hot Lips made over 200 recordings, most as a leader, for Bluebird, Vocalion, Decca and Harmony Records, among others. He toured extensively throughout the southern and northeast states and Canada, led as many as thirteen different big bands, appeared with Bud Freeman and Artie Shaw, recording over 40 sides with the latter. His band backed the singer Wynonie Harris was the leader of the Apollo Theater, recorded duets with Pearl Bailey on The Hucklebuck and Baby It’s Cold Outside and twice toured Europe.
Known as Hot Lips to the public and Lips by fellow musicians, the bandleader and trumpeter heralded as one of the giants of the Swing Era and a founder of what became rhythm and blues, passed away due to mysterious circumstances in New York on November 5, 1954 at the age of 46.
Inspire A Young Mind
Review: Denise Donatelli | Find A Heart
Singers come and go but vocalists are that rare breed who understand how to get inside the lyric and claim it as their own, regardless of the composer. The vocalist is a storyteller, a vehicle to transport you to faraway destinations that you may have nestled in the forgotten regions of your memory or have yet to be fortunate enough to visit. This is the voyage I book every time I sit down to listen to Denise Donatelli.
With her latest release, Find A Heart, Denise has compiled a cache of eleven compositions that speak To one of her favorite subjects… Love! She has the unique ability to discover rare gems that easily translate to jazz and she delivers each song with the fluidity of a seasoned concierge.
Denise surrounds herself with incomparable talent that is enviable to say the least. Her quartet is comprised of pianist and music director Geoffrey Keezer, drummer Marvin “Smitty” Smith, bassist Carlitos Del Puerto, guitarist Leonardo Amuedo. Beyond this is her ability to know when less is more as with Not Like This and Day Dream where her voice is one instrument in the duet.
Like the innovators who challenged the status quo to evolve the music, Denise knows when to enlist the right voices to translate her vision for songs composed by Sting, Crosby, Ferrante and Beck, to name a few, that sit easily alongside Hampton, Mercer, Burke and Strayhorn in the Great American Songbook. As with Fagen’s Big Noise, New York she brought in the fiery tenor saxophone of Bob Sheppard only to offset the more gentle Love and Paris Rain with the mellow tones of Christine Jensen’s soprano.
She also knows when to bring in the sensuality of the Chris Botti trumpet and the lush strings of Alma Fernandes, Matt Funes, Darrin McCann and Giovanna Clayton to ease you through the exposé of my personal favorite Practical Arrangement. If that isn’t enough incentive for one to lend an ear, without any fanfare she pours out her heart to pen lyrics to Billy Child’s In This Moment.
One will notice that the arrangements equally invite the listener into the conversation between the musicians which compliments the listening experience. Each time you listen past her wonderful voice you will hear a nuance you did not notice in prior encounters. This is a key component to great musicianship and why she has been nominated once again for a Grammy.
Setting aside any prejudice one may think I harbor as a longtime fan and musical supporter, I take my listening seriously and there is no price on my musical enjoyment. Suffice it to say, I may not know where the journey will lead me but I am excitedly anticipatory of the beauty I will encounter. Denise Donatelli may not promise me the moon, but she always delivers the poetry of the stars.
carl anthony | notorious jazz | january 23, 2016
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Daily Dose Of Jazz…
José James was born January 20, 1978 in Minneapolis, Minnesota and has been referenced as a jazz singer for the hip-hop generation. Blending modern jazz and hip-hop, his influences come from John Coltrane, Marvin Gaye and his “musical mother” Billie Holiday.
José attended The New School for Jazz and Contemporary Music and in 2008 he released his debut album, The Dreamer, on the Brownswood label. Blackmagic followed in 2010 and the same year For All We Know came out on the Impulse label, winning both the Edison Award and L’Académie du Jazz Grand Prix for best Vocal Jazz Album of 2010. His styling on his early singles and in live performances borrowed from the soul jazz of Terry Callier and the crossover of Gil Scott-Heron to make his sound distinct.
2012 was the year James signed to Blue Note Records issuing Trouble, his first single for the label. His fourth album, No Beginning, No End, followed and he began composing while on the road, reflecting the music of Nirvana and Radiohead that he grew up with as well as newer artists like Frank Ocean and James Blake. This led him to a recording session for While You Were Sleeping, blending rock, R&B and jazz.
In commemoration of Billie Holiday’s 100th birthday, he recorded nine songs written or associated with Billie Holiday, titled Yesterday I Had The Blues and utilizing the talents of Jason Moran, John Patitucci and Eric Harland. To date he has six albums as a leader and seven collaborations with Junior Mance, Jef Neves, J.A.M., Kris Bowers and the Soil & Pimp Sessions. Vocalist José James continues to compose and perform, record and tour.
Inspire A Young Mind
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Daily Dose Of Jazz…
Irving Harold Mills was born Isadore Minsky on January 16, 1894 in Odessa, Ukraine and emigrated with his parents and brother to the lower east side of New York City. After his father died in 1905, he worked a number of odd jobs until relocating with his wife to Philadelphia. By 1918 he was working for publisher Leo Feist and his brother Jack was working for music publishing firm McCarthy & Fisher.
In 1919 the brothers founded Jack Mills Music, later renamed Mills Music in 1928. Together the brothers discovered a number of great songwriters, including Sammy Fain, Harry Barris, Gene Austin, Hoagy Carmichael, Jimmy McHugh and Dorothy Fields. He was responsible for greatly advancing and even starting a few of the careers of Cab Calloway, Duke Ellington, Ben Pollack, Jack Teagarden, Benny Goodman, Will Hudson, Raymond Scott and many others. He was instrumental in getting Duke Ellington hired by the Cotton Club.
Although he only sang a little, Irving put together his own studio-recording group, Irving Mills and His Hotsy Totsy Gang. The group was comprised of Tommy and Jimmy Dorsey, Joe Venuti, Eddie Lang, Arnold Brillhardt, Arthur Schutt and Manny Klein. Over the years Glenn Miller, Benny Goodman and Red Nichols would also be members.
Mills was one of the first to record black and white musicians together, using twelve white musicians and the Duke Ellington Orchestra on a recording of St. Louis Blues on one side and a medly of songs called Gems from Blackbird of 1928 with Mills singing with Ellington’s orchestra. One of his most significant innovations was the “band within a band” concept, recording small groups to record hot small group sides for the various dime store labels.
He also started an artist booking company, a publishing subsidiary, record labels that recorded Cab Calloway, Hudson-DeLange Orchestra, Raymond Scott, Adrian Rollini, Barney Bigard, Cootie Williams, Rex Stewart,, Johnny Hodges, Noble Sissle, Frankie Newton, Johnny Hodges, Chu Berry, The Three Peppers, Billy Kyle and other minor jazz and pop acts in New York.
He produced one picture, Stormy Weather for 20th Century Fox in 1943 with Calloway, Lena Horne, Zutty Singleton, the Nicholas Brothers, Bill “Bojangles” Robinson and Fats Waller. Though Hollywood wanted him to produce more film he chose to return to publishing and recording.
Music publisher Irving Mills, who put his name on the compositions of numerous Black musicians including Duke Ellington and Barney Bigard, and whose estate to this day reaps the financial benefit of all the musicians whose music he stole, passed away on April 21, 1985 in Palm Springs, California.
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Daily Dose Of Jazz…
Thelma Carpenter was born January 15, 1922 in Brooklyn, New York. As a child performer she had her own radio show on WNYC in New York and won an amateur night at the Apollo Theatre in 1938. She would go on to play such 52nd Street clubs as Kell’s Stables and the Famous Door and was discovered by John Hammond.
Carpenter subsequently made her debut as a band vocalist with Teddy Wilson’s short-lived orchestra in 1939, recording Love Grows On the White Oak Tree and This Is The Moment on the Brunswick label. She joined Coleman Hawkins’ orchestra in 1940 and recorded the RCA/Bluebird Records classic album He’s Funny That Way. She followed Helen Humes as Count Basie’s vocalist and over two years recorded several sessions with the band such as More Than You Know, Do Nothing Till You Hear From Me and My Ideal.
Thelma replaced Dinah Shore as vocalist on Eddie Cantor’s radio show for the 1945-46 season, marking the first time that a black artist had become a permanent member of an all-white show without playing a character. She would also sing with Duke Ellington in concerts and on television. She was a top nightclub and major theater attraction for most of her career, performing regularly at such chic clubs as Chez Bricktop in Paris and Rome and the Capitol and Palace Theater on Broadway among others.
As a Broadway performer she appeared with Bill “Bojangles” Robinson, replaced Pearl Bailey in Hello Dolly!, performed along with Avon Long in Shuffle Along, co-starred in Barefoot In The Park and created the role of Irene Paige in Bubbling Brown Sugar. She toured nationally in Bob fosse’s Pippin and was the Good Witch of The North in Sidney Lumet’s film The Wiz. So in demand was she that Fosse and Lumet arranged their schedules so she could do both projects simultaneously. She was the mother of Maurice and Gregory Hines in the film The Cotton Club.
She also had a critically acclaimed album Thinking of You Tonight and Sepia Records posthumously released a 26-song compilation title Seems Like Old Times. Carpenter performed on television with Jackie Gleason, Eddie Condon, Duke Ellington, Diana Ross, Sammy Davis Jr. and Eric Clapton, as well as appearing on the Ed Sullivan, Merv Griffin, Paul Lynde and Cosby shows. Jazz vocalist and actress Thelma Carpenter passed away of cardiac arrest on May 14, 1997 in New York City.
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