Annette Hanshaw, vocals
b. New York (Manhattan), NY, USA.
d. March 13, 1985
Catherine Annette Hanshaw (October 18, 1901 – March 13, 1985) was one of the first popular female jazz singers. In the late 1920s she ranked alongside Ethel Waters, Bessie Smith and the Boswell Sisters.
Her singing style was relaxed and suited to the new jazz-influenced pop music of the late 1920s. Although she had a low opinion of her own singing, she continued to have fans because she combined the voice of an ingenue with the spirit of a flapper. Hanshaw was known as "The Personality Girl," and her trademark was saying "That's all," in a childish voice at the end of many of her records.
Between September 1926 and February 1934, she recorded prolifically. From 1926–28 she recorded for Pathe (her sides were released on both the Pathe and Perfect labels). Starting in June 1928, she recorded for Columbia; most of these were issued on their dime store labels Harmony, Diva, Clarion and Velvet Tone. A handful were also released on their regular price Columbia and OKeh. Although most were released under her own name, she was renamed Gay Ellis (for sentimental numbers) and Dot Dare or Patsy Young (for her Helen Kane impersonations). She recorded under a number of other pseudonyms which included Ethel Bingham, Marion Lee, Janet Shaw, and Lelia Sandford. Starting in August 1932, she began recording for the ARC with her recordings issued on their Melotone, Perfect, Conqueror, Oriole and Romeo. Her final session, February 3, 1934 was placed on ARC's Vocalion label.
Hanshaw made her one and only appearance on film in the 1933 Paramount short Captain Henry's Radio Show, "a picturization" of the popular Thursday evening radio program Maxwell House Show Boat, in which she starred from 1932 to 1934.
Having grown tired of show business, in the late 1930s Hanshaw retired and settled into married life with her husband, Pathé Records executive Herman "Wally" Rose. Later in life, in a would-be comeback, she recorded two demo records, but they were never released. She died of cancer in 1985 at New York Hospital after a long illness; she was living in Manhattan at that time.
Collections of Hanshaw's recording were released on Audio CD in 1999 by Sensation Records. Another revival of interest occurred in 2008 with the indie animated feature Sita Sings the Blues, which retold the Indian epic poem the Ramayana from Sita's perspective by setting scenes from it to performances by Hanshaw. More recently, her 1929 song "Daddy Won't You Please Come Home" was featured in the video game Bioshock 2 in 2010.
For many years it was believed that Annette had been born in 1910 and began her recording career shortly before her 16th birthday. However, it has recently come to light that she was in fact born nine years earlier, making her 24 at the time of her first commercial recording in September 1926. Her nephew, Frank W. Hanshaw III, has confirmed 1901 as the date on her birth certificate.
Annette's Birthdate Accessed January 30, 2007.
"Boogie Woogie Red"
(né: Vernon Harrison), piano
b. Rayville, LA, USA. Though a Louisiana native, Vernon Harrison has been associated with the Detroit blues sound as long as anyone. A Motor City resident since 1927, he began performing in the local clubs as a teenager. As a sideman he worked locally with Sonny Boy Williamson, Baby Boy Warren, and John Lee Hooker. Despite Red's renown for the blues and boogie-woogie style that earned him his nickname, he has recorded only a few times as a featured artist, and aside from a bit of European touring in the '70s, he has remained a local Detroit treasure, rarely appearing outside the area.

"Stump" Evans
Alto Sax/clarinet
b. Lawrence, KS, USA.
d. August 29, 1928, USA. Age: 24
This resident of the jazz city of Evansville is sometimes confused with the cornetist Doc Evans, real name Paul Wesley Evans. Yet the Paul Evans who picked up the nickname of Stump Evans and is credited thusly on most of his sides came along about a decade earlier than Doc Evans, who also pretty much laid off the reed instruments after his high school band days. Not so Stump Evans, who brandished a full array of saxophones through his many band jobs, even getting in a few licks on the justifiably obscure C-Melody saxophone.
He was largely taught music by his father, an alto horn player named Clarence Evans.
Son started out on the same instrument, stretching into trombone for a position in the Lawrence High School Band. Switching to alto saxophone not too far into his professional career, Evans soon became known as one of the better baritone sax players on the scene. He moved to Chicago and gigged with a variety of groups including King Oliver's Original Creole Orchestra and Erskine Tate. He had to quit the latter band due to tuberculosis; while his nickname originated in his petite size, it also could have been coined to summarize the truncated nature of his career.
Stump Evans - Wikipedia

Conrad Lanoue
b. Cohoes, NY, USA.
d. Oct. 15, 1972
With a surname that looks a result of a jumble sale on vowels, Conrad Lanoue was active in the overlapping musical worlds of big band jazz and dance bands for a half a century. His best-known role was as an accompanist to the one-armed trumpeter Wingy Manone, with whom he worked pretty steadily between 1936 and 1940. By the time this gig started the pianist was closing in on his 30th birthday. He began playing when he was ten-years-old, undertook formal studies at the Troy Conservatory, and began performing professionally at hotels in his hometown of Cohoes, New York in the early '20s. His initial associations were with bandleaders whose territory was upstate New York, a far cry from the manic intensity of the Big Apple jazz scene.
Lanoue picked up the pace somewhat when he began gigging with the goofy singer and bandleader Louis Prima in the mid-'30s. Shortly thereafter he fell in with Manone's band; up until the '40s he was also collaborating with fellow pianist and arranger Joe Haymes, and was quite likely to have several arrangements on commission for various big bands. The second half of Lanoue's career, a period roughly spanning the early '40s up to his retirement in 1968, was mostly spent in dance bands led by Lester Lanin, Hal Landsberry and Charles Peterson. Ill health finally forced Lanoue away from the ivories and he died four years after retiring.
~ Eugene Chadbourne
Conrad Lanoue - Wikipedia

Lotte Lenya, Actress/singer.
b: Penzing, Austria-Hungary. (now in Austria)
d. Nov. 27, 1981,New York, NY, USA (cancer).
née: Karoline Blamauer.
Best known as a stage performer and recording artist, and the wife of composer Kurt Weill -- whose songs made up the repertory for which she was most widely recognized as an interpreter -- Lotte Lenya also made a handful of notable film appearances across her six-decade career. Born Karoline Blamauer in Hitzing, Austria, to a working-class Catholic family, her childhood associations with music were somewhat harrowing, centered on her physically abusive father who, in his drunken rages, would pull her out of bed to have her sing to him and then berate her; she was forced to go to work at an early age and did her best, mostly out of love for her mother Johanna. It was her mother and her aunt, Sophie, who conspired to get the girl out of the household and away to Zurich, where she went to work as a maid to a couple who, by chance, were photographers.
It was a chance look at a photo of ballet dancer Steffi Herzeg that stimulated her interest in dance, and she became a pupil of Herzeg's. She was good enough at age 13 to get engaged as an apprentice ballerina in Zurich, which enabled her -- though officially an Austrian national -- to remain in Switzerland at the outbreak of World War I. The next year allowed her to experience all of the exposure to art and music that she had missed growing up under her father's abusive regimen, and she began to get known as a dancer, and a protégée of Richard Revy, the chief director of the Schauspielhaus. By 1916, after a period as an apprentice, she became a full-fledged member of the ballet company at the Stadttheater in Zurich; and by 1918 she was giving solo performances, and also taking on acting roles, in plays by Ludwig Anzengruber and George Bernard Shaw.
Her ballet work extended to appearances in operetta productions, such as Franz Lehar's The Merry Widow, and she'd even made an appearance as an extra in one opera production. Among those she crossed paths with professionally was Elisabeth Bergner, the future film star and then an apprentice actress, with whom she worked in supporting roles in Franz Wedekind's Kammersanger. Her work had forced her to choose a stage name -- eventually she came around to "Lotte," an informal shortening of her middle name, and "Lenja," a variation on "Jalena" from Uncle Vanya, a play that had special personal resonance to her and to Revy; "Lenja" eventually became "Lenya" after she moved to the United States. By 1921, she'd made the leap from Zurich to Berlin, which was the center of a multitude of new, modernistic, forward-looking artistic visionaries. Alas, the only audition she could get at first -- despite Revy's best efforts -- was in a Russian touring ballet company doing a children's pantomime, with music by a composer named Kurt Weill. The two met during the audition, but she never did return for the rehearsal, and -- on Revy's advice, after he failed to get the job as director -- walked away from the production without a word. Instead, she made her Berlin debut in an acting role, as Maria in Shakespeare's Twelfth Night.
As her career moved forward, and toward acting much more than dance, Lenya crossed paths again with Weill in 1924, and this time the sparks flew and the little, bespectacled composer fell in love with the actress. By the spring of 1925, they were living together and in the first month of the following year they were married. She was part of his life when he saw his first major success, with the opera Der Protagonist in 1926, but by 1928, Weill, his playwright collaborator Bertolt Brecht, and Lenya would constitute a creative/performing triumvirate that would be immortalized for decades to come, with Die Dreigroschenoper (The Threepenny Opera), a modernization and "musicalization" of John Gay's The Beggar's Opera.
Lenya was immortalized in the role of Jenny, which became her breakthrough -- from the premiere of the work, on the final day in August of 1928, until the rise of the Nazi Party in Germany in 1933, she was the star of the moment. This was also the work that afforded Lenya her first screen role -- G.W. Pabst's film version of The Threepenny Opera outraged Brecht, because of changes to the libretto, but it proved an extraordinary vehicle for Lenya, who appeared in both the French and German versions of the movie (a planned English version was never shot).
Unfortunately, the worsening political situation in Germany was to cut short any benefit that Lenya, Weill, Brecht, or anyone else might have seen from the movie -- their Seven Deadly Sins (1933) saw its premiere in Paris, not Berlin, as she and Weill became cultural and political refugees from the Nazi-run government. Not all was happy or easy during this period between them personally, and they were divorced that same year. But barely two years later, after both emigrated to the United States, they reconciled, and in 1937 were remarried, this time for keeps -- they were together until Weill's death 15 years later, eventually settling in New City, New York. Lenya did contribute some recordings to the American war effort, and to the Voice of America, but she was primarily a creature of the stage for the next decade, and not even that for a time, following an unhappy experience in Weill's The Firebrand of Florence (1945), which convinced her to give up the theater temporarily. She re-emerged in the years following Weill's death, and in 1956 won a Tony Award for her performance as Jenny in Marc Blitzstein's English-language adaptation of The Threepenny Opera. This, in turn, led to a revived recording career and to cabaret work; Lenya, in turn, became the keeper of her late husband's work, and eventually founded a music society to help foster performances and recordings.
In 1961, she returned to feature film work for the first time in 30 years with a role in the movie The Roman Spring of Mrs. Stone, starring Vivien Leigh and Warren Beatty and based on a work by Tennessee Williams. Then, in 1963, came Lenya's breakthrough to mass exposure, when she accepted the co-starring role of Rosa Klebb, the murderous lesbian spy master in Terence Young's From Russia With Love. It was a role that people would refer to for the rest of her life, and one of those career oddities that would amuse her from time to time.
Lenya's three subsequent movie appearances would range from supporting roles in Ten Blocks on the Camino Real (1966) and North Dallas Forty (1976) to a starring role in Sidney Lumet's The Appointment (1969). In the midst of this sudden revival of her movie career, Lenya returned to the Broadway stage in a very prominent manner, originating the role of Fraulein Schneider in the musical Cabaret. Lenya cut a striking figure during her final years, both onscreen and on talk shows, which she did occasionally. She was arguably, along with Marlene Dietrich, the most enduringly popular performing star to come out of pre-war/pre-Nazi Germany. She died of cancer in 1981 in New York City.
~ Bruce Eder

Wynton Marsalis, Trumpet
b. New Orleans, LA, USA.
Wynton Learson Marsalis (born October 18, 1961) is a trumpeter, composer, bandleader, music educator, and Artistic Director of Jazz at Lincoln Center. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and a jazz recording of his was the first of its kind to win the Pulitzer Prize for Music.
Marsalis is the son of jazz musician Ellis Marsalis, Jr. (pianist), grandson to Ellis Marsalis, Sr., and brother to Branford (saxophonist), Delfeayo (trombonist), Mboya, and Jason (drummer).
Wynton Marsalis - Wikipedia
Wynton Marsalis Official Website

Anita Belle O'Day, Vocalist
b. Chicago, IL, USA.
née: Anita Belle Colton.
Raised largely by her mother, While still a teenager, she was on the road participating in dancing contests and later moving from dancing to singing at the contests. In 1941, after brief tenures with Benny Goodman (she toured Europe Oct '59 with Benny Goodman) and Raymond Scott, she landed a place in Gene Krupa's band. (best record: 1941s "Let Me Off Uptown" -with Roy Eldridge on trumpet and vocal) Left Krupa to briefly play with Woody Herman's band and then returned to Krupa who disbanded in 1943. Then joined Stan Kenton ('44-5) (best record with Kenton "And Her Tears Flowed Like Wine").
During the 1950s and '60s, she recorded over a dozen LPs for the Verve label. During her most productive period, O'Day was hampered by heavy drinking and, later, drug addiction, but happily overcame it and has continued singing into the 1990s. O'Day has appeared in two films, the 'biopic' 'Gene Krupa Story' and 'Jazz On A Summer's Day'. The impact of her vocal style can be heard in the work of such other vocalists as Chris Connor and "The Misty Miss" June Christy.

Johnnie "Geechie" Temple, vocal/bass
b. Canton, MS, USA, d. 1968
Johnnie Temple is one of the great unsung heroes of the blues. A contemporary of Skip James, Son House, and other Delta legends, Temple was one of the very first to develop the now-standard bottom-string boogie bass figure, generally credited to Robert Johnson.
Born and raised in Mississippi, Temple learned to play guitar and mandolin as a child. By the time he was a teenager, he was playing house parties and various other local events. Temple moved to Chicago in the early '30s, where he quickly became part of the town's blues scene. Often, he performed with Charlie and Joe McCoy. In 1935, Temple began his recording, releasing "Louise Louise Blues" the following year on Decca Records.
Although he never achieved stardom, Temple's records -- which were released on a variety of record labels -- sold consistently throughout the late '30s and '40s. In the '50s, his recording career stopped, but he continued to perform, frequently with Big Walter Horton and Billy Boy Arnold. Once electrified post-war blues overtook acoustic blues in the mid-'50s, Temple left Chicago and moved to Mississippi. After he returned to his homestate, he played clubs and juke joints around the Jackson area for a few years before he disappeared from the scene. Johnny Temple died in 1968.
~ Cub Koda

Ambrose Thibodeaux
(cajun) accordion
b. Eunice, LA, USA.
d. Nov. 1996.
Age: 76. aka: "Ambrose Sam"
During the 1950s and '60s, he was a well known accordionist playing "La La" or "Creole music" in and around St. Landry Parish, LA. His was a truly musical family. Brother Herbert Sam Thibodeaux also played in Ambroses band, and Ambrose Sam's nephews were all a part of 'The Sam Brothers Five. (Bassist Kenneth David often played with Thibodeaux's groups.)
Ambrose Thibodeaux: Information from Answers.com

William Robert "Bobby" Troup
b. Harrisburg, PA
d. Feb. 7, 1999, Age 80 
Bobby Troup is not strictly a jazz performer but he has made several important contributions to the music. As a composer he has written "Daddy," "Snooty Little Cutie," "Baby, Baby All the Time," and the major hit "Route 66." Troup has long been a fine pianist (having a regular jazz trio in the 1950s), a personable singer (although some of his early records were overly mannered), and an actor, and during 1956-1958 he moderated a legendary television series (Stars of Jazz) that featured a who's who of jazz players. He also produced some best-selling records for his wife, Julie London.
~ Scott Yanow
Bobby Troup - Wikipedia

Arthur Gibbs' Orchestra: Savoy Ballroom, NY (June 1927 to January 1928)
and Arcadia Ballroom, NY (February 1928 to June 1928)
From left to right, back row: Sam Hodges (drums), George Washington (trombone), Leonard Davis (trumpet), Billy Taylor (tuba). Front row: Edgar Sampson (alto sax), Happy Caldwell (tenor sax), Gene Michael (alto sax), Arthur Gibbs (piano) and Paul Bernet (banjo).
George Washington, Trombone
b. Brunswick, GA, USA.
Washington played with and/or arranged for many of the top bandleaders of the '30s and '40s, including Don Redman, Fletcher Henderson, Louis Armstrong, and Count Basie. Born in southeast Georgia, Washington was raised across the Florida line in Jacksonville. He took up the trombone at age ten; in 1922 he studied at Edward Waters College in Jacksonville. He moved to Philadelphia in 1925, working briefly with J.W. Pepper's band before relocating to New York City, where he studied at the New York Conservatory with the classical composer, conductor, and educator Walter Damrosch.
He worked with a variety of obscure bands in New York over the next several years before landing gigs with Don Redman in 1931 and Benny Carter in 1932. He then worked as a staff arranger for impresario Irving Mills and his Mills Blue Rhythm Band, also working with the trumpeter Henry "Red" Allen. Washington played in Henderson's orchestra in 1936. He was with Armstrong from 1937-43 before moving to the West Coast, where he worked with Fletcher's brother Horace Henderson, Basie, and Carter. After 1947 he led his own bands in Las Vegas and California. He played with drummer Johnny Otis for an extended period, and worked with Joe Darensbourg in 1960. Thereafter Washington worked freelance as a trombonist and arranger.
~ Chris Kelsey

Notable Events Occurring
On This Date Include:

Gussie Lord Davis
died in New York (Whitestone), NY, USA.
Age: 35

British Broadcasting Corporation (BBC) established.

Thomas Alva Edison
phonograph inventor
died in West Orange, NJ, USA.
Age: 84.

Hoppy Jones, bass vocals
died in New York (East Elmhurst), NY, USA.
Age: 39
Member: The Ink Spots.
Hoppy Jones

Songs Recorded/Released
On This Date Include:


Marion Harris - After You've Gone


James P. Johnson - Carolina Shout
  • Keep Off The Grass


Frank Westphal and his Orchestra
  • Forgetful Blues
  • Stack O'Lee Blues

*Varsity Eight (*The Varsity Eight was a pseudonym for the California Ramblers)
  • Mama Loves Papa (Papa Loves Mama)


Harlem Trio
  • “Bass Clarinet Blues”
  • “Meddlin’ With The Blues”


Sol Hoopii's Novelty Trio - Farewell Blues

Sol Hoopii's Novelty Trio - Stack O'Lee Blues


Harry Reser and his Orchestra

Victoria Spivey


Elmer Schoebel and his Friars Society Orchestra - “Copenhagen”

Elmer Schoebel and his Friars Society Orchestra - “Prince Of Wails”

Lee Morse and her Bluegrass Boys - If I Can't Have You (If You Can't Have Me)

Lee Morse and her Bluegrass Boys - Look What You've Done To Me

Paul Whiteman and his Orchestra - A Bundle of Old Love Letters


Tommy Dorsey Orch. - "I'm Getting Sentimental Over You" - (His theme song.)


Eddie Duchin and his Orch.
  • "All The Things You Are"


I'm Getting Sentimental Over You

Never thought I'd fall, 
but when I hear you call,
I'm getting sentimental over you.
Things you say and do 
just thrill me through and through, 
I'm getting sentimental over you. 
I thought I was happy 
I could live without love, 
Now I must admit, 
love is all I'm thinking of. 
Won't ypu please be kind, 
and just make up your mind 
That you'll be sweet and gentle, 
be gentle with me 
`Cause I'm getting sentimental over you.

brought to you by... ~confetta
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