Sidney Arodin

Sidney Arnodrin was born in Westwego, Louisiana on March 29, 1901.
He began playing clarinet in his early teens and was soo working
professionally. He moved to New York in the early 20’s and joined
the Original New Orleans Jazz Band. He then returned to the south
and played in Texas and Louisiana. Arodin made records with Wingy Manone and others and in 1930 he wrote the music for "Lazy River" for which Hoagy Carmichael wrote the lyrics. Arodin played in many of the popular bands of the time, including that of Louis Prima.

Svend Asmussen

Was born in Copenhagen on February 28th, 1916. He began playing violin as a small child and first played professionally in 1933. In the mid-thirties Asmussen recorded with other Danish musicians and played on radio.
He also performed with visiting American stars, including Fats Waller.
During World War Two he continued in show business and in the early 60’s he worked with Alice Babs and Duke Ellington, among others.
In later years, Asmussen worked with many other jazz artists, including Stephan Grappelli, Lionel Hampton and Bucky Pizzarelli. Throughout the 70’s and 80’s he continued to record and to appear at International festivals and was still active on the scene into the 90’s.

Ray Bauduc

Ray Bauduc was born in New Orleans on June 18th, 1909,
and his home town instilled in him a love for two-beat drumming
which he retained even when he played with Bob Crosby’s swing
era big band. Long before, Bauduc had worked with Eddie
Lang, Joe Venuti and Freddie Rich, and , in 1928, joined
Ben Pollack’s band. After leaving Bob Crosby in 1942, Bauduc went to work with Jimmy Dorsey, Jack Teagarden, and others, and in the 50’s became co-founder of a popular west coast band.

Buster Bailey

William C. (Buster) Bailey was born in Memphis, Tennessee July 19th, 1902.
His teacher was the same man who taught Benny Goodman—Franz Schoepp.
After working with the bands of W.C. Handy and Joe King Oliver, Bailey joined Fletcher Henderson’s orchestra in 1924. Later he moved to John Kirby’s sextet. He stayed with Kirby until 1946 and then joined a number of traditional and mainstrean bands led by Wilbur de Paris and Henry Red Allen. In 1965 Bailey joined Louis Armstrong where he remained until his death in 1967.

Chet Baker

Born as Chesney Baker on December 23rd, 1929 in Yale Oklahoma, was one of the more lyrical of the early post-war trumpeters. His fragile sound exemplified the so-called "cool" school of West coast
musicians who dominated the American jazz scene of the 5o’s.
In 1951, Baker played with Charlie Parker and then gained
international prominence as a member of Gerry Mulligan’s quartet-
Baker, unfortunately succumbed to drug addiction and the rest
of his life was a battle against dependency. Baker died in 1988 –
at the age of 59, after falling—or jumping from an Amsterdam hotel window..

Kenny Ball

Kenny Ball was born on May 22nd, 1930 in Ilford, Essex
England. He played harmonica and bugle in a local band
before switching to the trumpet. He had played for a BBC
radio broadcast and joined clarinetist Sid Phillips band in 1954.
Later he formed his own Dixieland band. Kenny Ball
had worked with the top British jazz men including Freddy Randall, Chris Barber and Acker Bilk and, together with the last two, made an album which reached Number One on the music charts in the U.K. In 1963, Ball was made an honorary citizen of New Orleans and he also received the Carl Alan award for the most outstanding traditional jazz band. In 1968, he and his band appeared with Louis Armstrong during his last European visit. Throughout the seventies and eighties, Ball toured extensively abroad, while maintaining his British popularity with regular concerts.
Ball claimed his own ‘career peak’ came in 1981 when he and
his jazzmen played at the wedding reception of Prince Charles and Princess Diana.

Paul Barbarin

Paul Barbarin was born in New Orleans on May 5th, 1899. He became one of the most famous and best drummers in the Crescent City. With his father, an established brass player and member of the Onward Brass Band, and three brothers all playing jazz, Barbarin could hardly have done anything but become a jazz musican. Still in his teens he moved to Chicago where he worked with Joe King Oliver and Jimmy Noone.
From 1928 Barbarin worked mainly in New York with Luis Russell’s
band which—in 1935 came under the nominal leadership of Louis Armstrong.
In 1939, he returned to New Orleans and, apart from occasional trips to Chicago in the 40’s and 50’s when he played with Henry Red Allen and Sidney Bechet, he led his own band. It was in New Orleans that he stayed and played and enjoed life as an elder statesman of jazz. Paul Barbarin—the man who composed "Bourbon Street Parade", continued family tradition when, like his father before him, he became leader of the Omward
Brass Band. It was, in fact, while leading this band in a New Orleans Street Parade that he collapsed and died in February 1969.

Chris Barber

Was born in Welwyn Garden City, Hertfordshire, England,
April 17th, 1930. He studied trombone and Bass and eventually
chose trombone as his main instrument. He formed his first band
in the 40’s and by the 50’s had gained a considerable following.
Barber’s band was one of Great Britain’s leading traditional groups, and despite the decline in interest in traditional jazz, Barber refused to compromise his high musical standards. He did accommodate to other forms of music, but always worked the traditional elements of Dixieland and ragtime into his arrangements. In the 70’s, Barber focused more on mainstream music—like the small *Ellington styled’ bands, and toured with visitors like Wild Bill Davison, Russell Procope, and Trummy Young and he maintained contact with his jazz roots. The top British jazz man in England and internationally, Barber entered his fifth decade as a bandleader in the 90’s, with no sign of flagging interest, enthusuiasm or skill.

George Barnes

George Barnes was born in Chicago Heights on July 17th, 1921,
and won the Tommy Dorsey Swing contest in 1937 when he was
only 16. He was then already a seasoned guitarist, having worked
extensively in the mid-west as leader of his own small group.
Barnes went on to a whole string of recording dates in which
he accompanied leading blues singers, and he spent most of the 40’s in staff jobs with the leading radio networks in Chicago and with Decca records in New York. In the sixties he worked with fellow guitarists Carl Kress and Bucky Pizzarelli and played brilliant duets with Ruby Braff and Joe Venuti. Barnes died all too young—in 1977 at the age of 56.

CHARLIE BARNET

Charlie Barnet was born in New York City on October 25th, 1913, into a wealthy family, where he played piano and reed instruments while still in school. By his teens he decided that he wanted to play jazz and, for a number of years he played on ocean-going liners, often as a band leader. He formed his first mainland big band in 1933, and continued to lead a band throughout the swing era. Barnet could afford to indulge his whims and musical preferences, and he did so. Of all the swing era bandleaders, Barnet was the one most able to do what he pleased. Although he lived riotously, having married six times, Barnet adopted high musical standards and refused to compromise on commercial matters. Barnet was also a leading figure in breaking racial taboos in the hiring of black musicians and, as early as 1935, he had a mixed-race band. Over the years his men included Charlie Shavers, Clark Terry, Dizzy Gillespie and Trummy Young, a featured Lena Horne as songstress. By the 40’s, Barnet’s was one of the best big bands After that—having accomplished everything he wanted in the band business.
Barnet left music temporarily, and became a hotel owner, but he continued, periodically to form both small and big bands for special engagement.

Ray Bauduc
Ray Bauduc was born in New Orleans on June 18^th, 1909,
and his home town instilled in him a love for two-beat drumming
which he retained even when he played with Bob Crosby’s swing
era big band. Long before, Bauduc had worked with Eddie
Lang, Joe Venuti and Freddie Rich, and , in 1928, joined
Ben Pollack’s band. (We also have a tribute to Ben Pollack coming up.)
After leaving Bob Crosby in 1942, Bauduc went to work with
Jimmy Dorsey, Jack Teagarden, and others, and in the 50’s became co-founder of a popular west coast band.

Count Basie

William (Count) Basie was born in Red Bank, New Jersey Aug. 21st
1904..just across the Hudson river from N.Y. His mother gave
him his first piano lessons, and he took every opportunity to hear
the celebrated kings of the keyboard—James P. Johnson, Willie
‘the Lion’ Smith and Fats Waller. Basie actually studied under
Fats Waller for a while and became a professional musican in the
early 20’s. He toured as a vaudeville accompanyist and, once while stranded on a tour in Kansas City, he joined Benny Moten’s band there. When Moten died, Basie took over the band’s nucleus.: Hot Lips Page, Jimmy Rushing, Lester Young, Buster Smith and so on.
In 1939 a recording contract took Basie’ to New York where his band expanded to 12 musicians, including Freddy Green and Earl Warren.
Basie’s performances at Roseland Ballroom and the Famous Door nightclub established his reputation , and his band continued playing, pretty much with the same group all the way into the eighties.

Bix Beiderbecke

One of the legendary figures in Jazz, Leon ‘Bix’ Beiderbecke was born in Davenport, Iowa on March 10^th, 1903. His role as a ‘legend’ would have probably been amusing to him, had he lived long enough to know about it.
For Bix died at the age of 28 after a tragic life-story. Beiderbecke began when he was 15, and like thousands of other white boys, was inspired by records of the Original Dixieland Jazz band and by hearing bands on the Mississippi River boarts. He started picking out tunes on the piano. Bix, who had been, by the way enrolled at a nearby military academy for the sons of middle-class families, was expelled in 1922 due to his frequent escapades
and increasing use of alcohol. He joined the Cascades Band in Chicago,  played on the Great Lakes Steamer excursion boats, and met the young Benny Goodman. Now, in 1923, a band called the New Orleans Rhythm Kings was playing in Chicago. It was the first important white band in Jazz history and among those which brought to Chicago the authentic source music of New Orleans. It was their music that influenced the style of Bix and the Wolverines when they began playing in 1924.
The Wolverines was the first white band composed entirely of non New Orleans musicians. At about this time, Bix broke away from his middle-class, middle-American family— German immigrants who knew European music and tried to school their son in what they thought they knew).They never forgave Bix for leaving home in favor of the jazz scene, and this had a profound effect on Bix’s future. He was already achieving fame with the "Wolverines," and went on to play with dance bands in New York and Chicago, while spending his spare time listening to the leading black musicians of the day—mainly Louis Armstrong and King Joe Oliver. In 1926 he worked with Frankie Trumbauer and, with him, moved on to the bands of Jean Goldkette and Paul Whiteman two years later. At this time
--from 1927, Bix also formed his own group called "Bix and his gang"
The problems plaguing Bix Beiderbecke were twofold: His desire to dignify his playing with ‘classical’ overtones. He was the first jazz musician to try
broadening the harmonic scope of jazz by adding basic modern harmony and, the first improvisor to lift primitive New Orleans music by tinting it with subtile colors of European impressionist composers. If Bix was obsessed with this,—even more troubling to his mind—was being rejected by his own family.
As one biographer revealed, Bix paid a visit to his home one day and found all the records that he mailed to his family still lying, unopened on a cupboard shelf. The third factor in the Beiderbecke tragedy was his general weakness of character. He took refuge in drink which quickly degenerated into chronic alcoholism. This, together with bad health, kept Bix out of the Whiteman band for long periods, although Whiteman kept his chair empty for him and paid all his bills. Let’s hear some of his work when he WAS able and willing.
By the end of 1929 Bix was back home in Davenport trying vainly to restore himself. During his last year he tried out with the Casa Loma orchestra and played with pick-up bands in New York—including sessions with Benny Goodman, Red Nichols and others. During the short span of his productive years, Bix Beiderbecke continually demonstrated his fertile imagination. Although his  contribution to jazz may fall short of the advances made by Louis Armstrong , Bix often displayed a sensitivity that foreshadowed the cooler approach to the jazz trumpet of a later generation. Beiderbecke’s early death and the tragic manner of his passing, helped to make him a legend. In his book entitled "The reluctant art" Benny Green wrote. " Bix is Jazz’s Number One Saint". He was the first—perhaps the only white musician to contribute something completely original to the jazz art. He really was a key figure in the development of jazz. Hoagy Carmichael, who had a whole collection of legends about Bix, one remarked in his typically wry fashion: " When I first heard Bix play I nearly fell off the Davenport! " ( which may or may not have been a reference to his home town and this tune—"The Davenport Blues."
Beiderbecke was only 28 years old. While his technique had been limited, the sound of Bix cornet had a fragile, crystalline quality—and not surprising, since he loved the music of Debussy.) He loved clasical music-period ! Back in the days of his Wolverines, drummer Victor Moore testified that Bix attended concerts and said "I met Bix in New York in later years
and the first thing he said to me was ‘ Come on, I’ve got tickets for the symphony tonight!’ ". Many a musician and jazz critic has rated Bix Beiderbecke as the greatest cornet player of all time, based on purity and classical precision.

Bunny Berigan

was born Roland Bernard Berigan November 2nd, 1908 in Hilbert,
Wisconsin. Heavily influenced by Louis Armstrong, he performed with his idol's power and zest at his peak He started out playing in local Wisconsin bands and then moved to Philadephia and New York. His first important engagement was with Hal Kemp with whom he toured in Europe. Actually, reports are that Kemp didn't hire Berigan at first because " he had the tinniest, most ear-splitting tone you ever heard!" Yest, Kemp did
finally hire Bunny for the tours back in 1928, and two years later Berigan acquired one of the most beautiful sounds any jazz trumpeter ever had.
Bunny also worked with Fred Rich's CBS studio band in 1931 and
then Paul Whiteman's highly successful orchestra as a replacement for Bix Beiderbecke. The arrangement wasn't to Berigan's liking, since he felt that he had too few solo opportunities and he didn't care much for Whiteman's musical policy either.Berigan seldom liked anyone's musical policy which is why he formed he own bands time and time again. At any rate,. he did join the Dorsey Brothers, and, in 1934 he played with Abe Lyman's orchestra. In 1935 Berigan joined Benny Goodman where , while drinking pretty heavily, was present on that great night at the Palomar Ballroom in Los Angeles where the crowds went wild and the swing era was born. Benny Goodman recalled that night saing, "When Bunny stood up and blew 'Sometimes I'm Happy' and 'King Porter Stomp', the place exploded!"
Berigan was never one to sit around much and seemed to move around all the time--from band to band. Like the following year-- in 1936 for example, when he joined Red McKenzie's Rhythm Kings in New York. Bunny Berigan had leadership ideas of his own. After a spell with Red McKenzie's band, Berigan started his own big band.
Berigan's big band was a flop right from the start. Yet, he managed to top the metronome jazz poll with five times as many votes as his nearest rival--Louis Armstrong, and that was when Satchmo was at his absolute peak. Berigan was THE trumpetor of the year.
During the few years he led his own big band, the critics and public alike were delighted. CBS engaged him for a series of netword radio shows--"The Saturday night swing club", and his live appearances at clubs rivalled other bands fiercely. Haywood Henry, a musician with Erskine Hawkins band at the time recalled, "Bunny stole the show from us at the Savoy, and there were only three bands that could do that: The Duke, Lionel Hampton and-- Bunny! I've no doubt that he was the best white trumpeter!." Berigan's performances were, indeed, of unbeatable brilliance.. Unfortunately, Berigan lacked discipline in his playing which could run out of control in much the same way that his personal life ran helter-skelter.Heavy drinking had ruined his health and his bank account, and one source claims he became mentally unbalanced. Berigan rejoined Tommy Dorsey's band in 1940, but after a radio broadcast he simply walked out abruptly.
"I had to fire him" said Dorsey. "I hated to do it, but I couldn't bring him 'round."
Ironically Berigan had been Dorsey's most vital solo trumpeter in the years of that band leader's most successful recordings--with tunes that helped seal Dorsey's future In 1942, Berigan was scheduled to play at New York's Manhattan Center.
His band turned up but Bunny didn't. He was seriously ill with liver cirrhosis and internal bleeding caused by drinking cheap rot-gut whiskey. Berigan was rushed to the hospital where he died--at the age of 34.
Bunny Berigan and Louis Armstrong may have been kindred spirits, but Bunny was white and Louis black; Armstrong, beneath his easy-going manner had a streak of steel, and Bunny was weak. Armstrong saw his career as 'hustle' and a struggle to survive; Berigan took everything casually--everthing from trumpet playing to women. Armstrong's solos were polished pieces; Berigan's were audacious creations with neither Armstrong's technique nor inspiration. Berigan remains..with Bix Beiderbecke, the trumpet tragedy of the 1930's. ..a super talent that blew itself away too soon. As Armstrong said--in tribute to his rival: "Bunny was great, but he had no business dying that young.!"

.BARNEY BIGARD

Was born as Albany Leon Bigard in New Orleans on March 3rd, 1906.
Of a musical family, he began studying clarinet at the age of seven.
And worked in street parades. Bigard switched to Tenor saxophone in 1922 when he joined the band led by Albert Nicholas (that grand clarinetist) and then played in several New Orleans bands before going to Chicago to join King Oliver. That’s when he switched back to clarinet. In the mid-twenties he played in Chicago and New York with Luis Russell, among others, and then Joined Duke Ellington in 1927. Bigard remained with the Duke for fifteen years..until 1942, when he began leading his own bands and working for the film studios in Hollywood. In 1947 he joined Louis Armstrong’s all-stars where he stayed for five years and, returned to Satchmo for another stint in the 60’s. Bigard then went on to play with many bands led by Johnny St. Cyr, Muggsy Spanier, Red Stuart and Art Hodes. In the 70’s he toured with Hodes, Eddie Condon, and many others. Bigard’s was one of the most distinctive jazz voices with a rich, flowing sound that seemed to improve with time, like vintage wine.

EUBIE BLAKE
James Hubert Blake was born in Baltimore, Maryland on February 7^th.
He grew up to the sounds of Ragtime music and before the turn of the century was playing piano in sporting houses and similar establishments. (Sporting house is a euphenism for brothel) Blake was also a composer and in 1915 joined forces with Noble Sissle, playing in vaudeville as a double-act. In 1921 the two wrote a score for a Broadway musical, "Shuffle along" in which the both took part—Blake at the piano.
They also composed an enormous hit song, "I’m just wild about Harry". This, by the way, was a boost to President Harry Truman’s election campaign in 1948. Blake also contributed to other Broadway musicals and revues.
One of the lovely ballad he wrote was "Memories of you". Blake reunited with Sissle in 1937 and later spent much of World War Two entertaining troops with the USO. In 1969, at the age of 86, Blakes fortunes were revived when John Hammond Jr. Recorded the old man playing piano and talking about his life. The revival of ragtime at the time helped his comeback and the next years were filled with honors, recordings, concerts, festivals and TV appearances and, in 1978 Blakes life and music were celecbrated
in a broadway show, "Eubie" which was also televised in the USA and later stages in London. On the occasion of his 100^th birthday Blake said, "If I had known I was going to live this long I would’ve taken better care of myself." He died five days later.

Sharkey Bonano

His Kings of Dixieland was another fine example of a small, typical
New Orleans Dixieland band. Sharkey, the trumpeter, actually lived in New Orleans for over 50 years, very seldom venturing north except for a fe brief engagement. For a third of a century Sharkey has done much to establish Dixieland jazz throughout America.

Wellman Braud

Born in St. James Parish, Louisiana on January 25th, 1891 began playing violin and then bass. He started in Tom Anderson’s New Orleans Saloon and then moved to Chicago in 1917 to work with Sugar Johnnie and Charlie Elgar’s band. By 1923 Braud was on tour with James P. Johnson’s "Plantation Days Revue" and later went to work in Vaudeville with Jelly Roll Morton and others. Braud joined Duke Ellington in 1927 and stayed with the Duke for eight years. He then went to manage the "Spirits of Rhythm", ran his own restaurant, and got involved in other business ventures in Harlem. He remained active in jazz, however, and  toured with Kid Ory in 1956. Braud died of a heart attack in 1961.
Like Pops Foster, Wellman Braud had a colossal impact on younger contemporaries like Milt Hinton and set a style for Bassists. Said Hinton: "I just worshipped him—he was my mentor! Braud has such dignity and power—a real New Orleans gentleman!

Lawrence Brown

Lawrence Brown was born in Lawrence Kansas on August 3rd, 1907.
Having already mastered piano, violin and tuba, Brown settled
with the trombone while studying medicine in California.
At this time he was moonlighting with school and local bands
and by 1926 he abandoned his academic studies in favor of
a musical career. Brown joined Duke Ellington in 1932 and remained with him for the next 20 years. Brown’s melodic and gentle lyrical quality shocked some fans who were used to hearing his more aggressive predecessors. He also kept away from the drinking and high-life enjoyed by the rest of the band—a rather puritan behavior that earned him the nickname "The Deacon." In time, both fans and fellow musicians began to recognize him for what he really was: A remarkably gifted player with a beautiful tone. Brown retired from music in 1970 and lived in California as a business and political consultant until his death in 1988.

Dave Brubeck:

David Warren Brubeck was born in Concord, California on December 6th, 1920 and was initially taught piano by his mother. He performed with professional jazz groups by the time he was thirteen, and continued his involvement in jazz by establishing a a 12-piece band, but he spent most of his time studying musical theory and composition under the great French composer Darius Milhaud.
After graduating from the college of the Pacific, he continued his formal classical training at Mills College under another famed composer—Arnold Schönberg.
Following service in the miltary during World War Two, Brubeck formed his first serious group—the Jazz Workshop Ensemble, which later recorded as The Dave Brubeck Octet. It was with the addition of saxophonist Paul Desmond in 1951 that Brubeck achieved major critical acclaim. Brubeck was invited to play at the White House in 1964 and again in 1981. Brubeck will always be mainly associated with his quartet recording with Paul Desmond..especially for "Take Five".

George Clarence Brunies

Was born in New Orleans on February 6^th 1900. He was the best known member of a distinguished musical family And played trombone in his pre-teen years.
By 1920 Brunies was working with Paul Mares’ Friars Society Orchestra in Chicago..a band which later on became the New Prleans Rhythm Kings.
Brunies moved on to New York, however, to join Ted Lewis in 1924.
He worked in N.Y. extensively from 1934 playing in numerous bands and clubs, and at the end of the 60’s Brunies played with Art Hodes, Wild Bill Davison, Muggsy Spanier and others. He was a tough, peppy performer and a skilled trombonist who preferred to stay within the true New Orleans Jazz
framework.

Billy Butterfield

Was born in Middleton, Ohio on January 14th, 1917. He was taught to play cornet as a child, but began to study medicine as a teen-ager.
Yet, he continued to play and to such good effect that he was soon
working regularly with well known bands of the day and eventually quite his medical studies. In 1937 he was hired by the Bob Crosby band, and in 1940 he joined Artie Shaw. Then he worked with Benny Goodman and Les Brown, and finally entered the reliable area of studio work. Later he began working with old pals like Eddie Condon, and recorded with Louis Armstrong—playing trumpet while Satchmo sang. One fine example is Louis’ recording of "Blueberry Hill" of 1949.
In the late sixties, Butterfield became a member of ‘the world’s
greatest jazz band’ with Bob Haggart and Yank Lawson.

DONALD BYRD

Donald Byrd was born on Dec. 9th, 1932 in Detroit, Michigan. He studied trumpet and composition in the early 50's, and later was frquently called upon to record with leading bop musicians like John Coltraine, Jackie McLeans, Sonny Rollins and Art Blakey. Byrd also entered a partnership with Pepper Adams which lasted until 1961, and then Continued his studies in Europe. He later began  long and parallel continued studies in Europe, and a Career as a jazz educator and trumpter Byrd's striking technique and rich beautiful tone made him one of the most lyrical of his
generation of jazzmen.

Charlie Byrd:

Charlie Byrd was born on September 16th, 1925 in Chuckatuck, Virginia and began playing guitar while still a small child. He was already quite proficient by the start of World War Two and it was during the war that he met and played with Django Reinhardt. Soon afterwards he became a full-time professional musician, playing with a number of popular dance bands. In the late 40’s Byrd abandoned jazz in favor of classical guitar and after studying under several tutors, including Andres Segovia, he returned to the USA and formed his own band in Washington D.C. He played jazz—but with techniques of his own and some forms of classical music. In the late 50’s Byrd played with Woody Herman and in the 60’s with Stan Getz with whom he helped generate the Bossa-nova craze. In 1973 he joined Barney Kessell and Herb Ellis to found *Great Guitars’.

Cab Calloway

Cabell Calloway was born in Rochester, New York on December 25th,1907, and was involved in show business at a very early age. The singer, M.C. and occasional drummer worked mostly in Baltimore—where he
was raised, and in Chicago where he relocated in the ‘20s, Dressing outlandishly in an eye-catching zoot-suit, knee-length drape jacket, enormous trousers, a hugh wide-brimmed hat and watch chain that trained on the floor, he was the center of attention. His speech was peppered with "Hip" expressions..always followed by a "Hi-de.Hi".
Calloway and his orchestra moved into the Cotton Club in 1931 as
a replacement for Duke Ellington (allegedly forced to do so by the club’s Mafia owners.) It was hard for real jazz fans to swallow Calloway’s singing which seemed to be infected by his style of dress—hooping and hollering—as even his own musicians called it. Yet Calloway’s biggest contribution to jazz was the top calibre musicians he hired—at the highest wages—people like Chu Berry, Ben Webster, Doc Cheatham and Dizzie Gillespie. And- he was unique in entertainment.
In 1993, Cab Calloway celebrated his honorary doctorate in fine arts at the University of Rochester by leading the 9000 graduates in
singing "Minnie the Moocher".

Dick Cathcart
Dick Cathcart was born in Michigan City, Indiana on November 6^th, 1924.
He was a splendid trumpet player, his first major appearance being with Ray McKinley’s band .Later, he performed with U.S. army bands during the second World War, and then with Bob Crosby prior to a stint in Hollywood studios. Cathcart became well known—for his playing if not by his name—in the radio series "Pete Kelly’s Blues." He also made a series of Jazz albums which were successful, and named his band ‘Pete Kelly’s Big Seven’.
Cathcart was very active throughout the 60’s and 70’s and by the eighties he was back on jazz stages playing trumpet as well as ever.

SID CATLETT

‘Big’ Sid Catlett was born in Evansville, Indiana on January 17th, 1910.
After briefly trying piano, Catlett switched to drums and received formal training when his familt settled in Chicago. After working with Darnell Howard, Catlett moved to New York where he played with Benny Carter, among others, and went on to work with Don Redman, Fletcher Henderson, and McKinnet’s Cotton Pickers. Catlett happily switched from big bands to smaller groups such as those led by Eddie Condon and Lionel Hampton.
In 1941 he joined Benny Goodman. In the late 30’s and 40’s, Catlett
worked and played unceasingly, appearing on countless record sessions with an enormously wide variety of musicians. He was also a member of the Teddy Wilson sextet in the 40’s, and then led his own band until he joined Louis Armstrong’s All Stars in 1947. He remained with Armstrong until 1949, when the years of all night jam sessions caught up with him, and although very ill, he continued to work right up to 1959. It was in March of that year
that Catlett collapsed and died while visiting friends backstage at a Hot Lips Page benefit concert at the Chicago Opera House. Catlett was a brilliant technician and he always swung mightily. On stage he was a spectacular showman, clothing his massive frame in green plaid suits and tossing his sticks high in the air during solos.

OSCAR CELESTIN

Papa Oscar Celestin, Born in La Forche, Louisiana on January 1st, 1884, is a legend of New Orleans jazz who played with the Algiers Brass Band in the early 1900s and with Henry Allen Senior’s Olympia band. Celestin led the Tuxedo Hall band from 1910 and his Tuxedo Brass Band became one of the city’s most popular featuring star names like Zutty Singleton, Kid Shots Madison and Paul Barnes.
Celestin recorded a lot in the 1920s and toured widely until
the depression when he left music and went to work in the
shipyards during the war. After the war Celestin reorganized his
band for a late burst of success, began recording again and played
for President Eisenhower in 1953. A bust of Celestin, bought by
the New Orleans Jazz foundation, today stands at the Delgado Museum in New Orleans.

Doc Cheatham

Adolphus Anthony Cheatham was born in Nashville, Tenn. On June 13th.
His long career began in the early 20’s when he worked in
Vaudeville theatre pit bands. He often accompanied impoertant blues singers of the era. Later, he worked in Chicago where he met the most influential person in his life: Louis Armstrong. Until this point, Cheatham had dabbled with the saxophone, but now he concentrated on the trumpet. Cheatham went on to play with many bands—Wilber de Paris, Chick Webb, Sam Wooding and Cab Calloway. He remained with Calloway for six years and toured Europe with Cab’s band. In 1939, Cheatham became a member of Teddy Wilson’s band and then joined Benny Carter’ elegant orchestra. In the 60’s he led his own band and also played with
Benny Goodman In the seventies and on into the eighties, Doc Chatham defied age and changing styles of music and continued playing in his grand old manner at festivals and club dates.

Charlie Christian

Born in Bonham, Texas, July 29th, 1916. From a very poor Texas family—his father was a blind violinist-singer,--Charlie made a guitar out of old cigar Boxes and soon gained an impressive reputation among musicians. In ´39, Christian played at the Ritz cafe in Oklahoma City under the urgings of Mildred Bailey, and Jazz patron John Hammond tried to persuade Benny Gooman to hire the guitarrist. Goodman wasn´t interested—he didn´t care much for either Christian´s appearance or the electric guitar—but the King of Swing finally gave in—at the persistance of Hammond, and gave Christian a little audition at the Victor Hugo restaurant in Beverly Hills. Goodman called for "Rose Room" (which he was sure the guitarrist didn´t know) and gave the count-down. Well, when Christian´s solo came up, he played 25 of the most brilliant choruses that knocked Goodman right off his chair.
The audience went wild and kept yelling for more. "Rose Room" went on for over 45 minutes ! Christian was hired by Goodman and became a regular member of the sextett.

JUNE CHRISTY

came to the world as Shirley Luster on November 20th, 1925.,
in Springfield, Illinois. She first came to prominence singing with the bands of Boyd Raeburn and Stan Kenton. Her bright, bubbling personality glowed through her performances and she was never afraid to have fun with a song.
With Kenton she enjoyed success on all kinds of ballad and swinging numbers, and one of her first recording with that band was "Tampico" which sold a million or more copies.

BUCK CLAYTON

Wilbur Dorsey Clayton was born November 12th, 1911 in Parsons.
Kansas. He was already an accomplished trumpeter in his late
teens, playing in both Kansas and in California. He formed his own band, which he took to China for two years, and in 1936 was invited to join Count Basie. He remained with Basie until his induction into the army in 1943, and by this time his fame was fairly high thanks to a number of solos on Basies best band recordings. After the war Clayton worked mostly with small bands and appeared at Jazz at the Philharmonic. In the 50’s he
toured with Mezz Mezzrow, Eddie Condon and Sidney Bechet, but by the late 60’s Clayton began suffering from severe lip problems. Extensive surgery failed to improve matters, and he finally gave up playing in favor of arranging.
Clayton’s activities as a band leader, lecturer and arranger continued into the late 80’s. He was a major figure in the establishment of mainstream jazz and one of the most respected musicians. Buck Clayton passed away in 1991 at
the age of 80.

ARNETT COBB

Was born in Houston, Texas August 1oth, 1918. He began playing the tenor saxophone professionally in 1933. He spent his early years in the fine territory band led by Milt Larkins, which many of the older generation still hold in awe. In 1941 Cobb was approached by Lionel Hampton who was forming a new band after leaving Benny Goodman. But—Cobb preferred to stay with Larkins. A year later Hampton again offered Cobb a job and, this time, Cobb joined him. In 1947 he briefly formed his own
band. In 1956, Cobb was seriously injured in a road accident while
driving his bands’ bus and spent the rest of his life on crutches and in considerable pain. None of this stopped him from playing though, and he worked extensively back in Texas. In later years, Cobb became a popular figure in the International Festival circuit, occasionally working with his old boss Lionel Hampton. Cobb was a powerful player, drenched in the blues, and his eruptive, emotion-packed roars brought pleasure to many who could never imagine the grave physical pain he endured and which he disguised for more than 30 years. Cobb passed away in 1989.

COZY COLE

Cozy William Randolph Cole was born in E. Orange, N.J. on October 17^th, 1909.
He was first inspired by Sonny Greer’s drumming with Duke Ellington’s orchestra and moved to N.Y. in 1926 to work as a barber and shipping clerk while building his musical career. He went to Julliard school of music and by the early 1930’s began building a big reputation with the bands of Blanche Calloway, Benny Carter and Willie Bryant. From 1936 on he was playing with Stuff Smith and Jonah Jones at the Onyx Club and in 1938 played with Cab Calloway.
Cole performed on CBS radio with Raymond Scott’s band In 1942 and then was busy playing in movies. In the Carmen Jones show, Billy Rose’s Ziegfield Theatre, and briefly, 1n 1946 with Benny Goodman at the Paramount theatre in N.Y.
In 1949 he replaced Sid Catlett with Louis Armstrong’s All Stars, and in 1957 Cole toured Europe with Ear Hines and Jack Teagarden. Cozy Cole is rated as one of the greatest classic drummers.

EDDIE CONDON

Eddie Condon was born in Goodland, Indiana on November 16th 1905.
After working in local bands, the guitar and banjo player moved to Chicago in th early 20’s.
He quickly associated with the very finest young white musicians
—Bix Beiderbecke, Frank Teschemacher, Jimmy McPartland and Bud Freeman, Dave tough and others in the Auston High School gang. In 1928, after making his first recording, Condon tried his brand of music in New York, happily starving along with Fats Waller, Louis Armstrong and a number of later day greats. Local musicians like Gene Krupa and Jack Teagarden were impressed with Condon and his friends..Condon stayed on in New York, organizing concerts and recording dates. He eventually opened his own club which became synonymous with the best Chicago-style jazz as played by Wild Bill Davison and Pee Wee Russell.
A rough-talikg, hard-drinking, wisecracking entrepeneur, Condon never lost his love for the music of his youth. Condon was not inclined to play in the sessions he himself organized, which is why only his name appears on record albums—not his playing. He preferred to sit at the bar and talk to customers. But he was a great organizer of jazz concerts and  recording sessions.

Chick Corea

Armando Anthony Corea was born in Chelsia, Mass. On June 12th,
After a musical home environment, his first notable
professional engagements were in Latin bands, playing a
style of music that continue to influence him today. Corea’s
first recordings appeared in 1966 and show his leaning toward
hard-bop. In 1968 he joined Miles Davis for that trumpeter’s
experiments with fusion Playing on some of Davis’ most important
albums, Corea’s electric piano became an integral part of the new
sound. After playing with numerous top musicians in the early 80’s.
--including Herbie Hancock, Corea concentrated on his acoustic and electric bands and went on to playing that involves extreme virtuosity.

BOB CROSBY

George, Robert Crosby was born in Spokane, Washington on August 25th, 1913. Although Bob was overshadowed during most of his career by his older brother, Bing, he nevertheless enjoed a modest success thanks to  a pleasant voice and personality. In the time just before the big swing era ,Bob Crosby sang with Anson Weeks and then joined the bands led by the Dorsey brothers.
In 1935 he became the leader of a band made-up of musicians from the old Ben Pollack aggregation, and gained enormous popularity with two-beat dixieland jazz.
The men included Billy Butterfield, Yank Lawson, Eddie Miller, Matty Matlock  Nappy Lamare and Ray Bauduc. When the band folded in 1942, Bob Crosby continued to make films and personal appearances, as leader of dixie bands and more contemporary groups. Crosby died of cancer in California in 1993.

         Israel Crosby

Was born in Chicago on January 19th, 1919. He was a musical prodigy who had mastered several instruments before taking up the bass in 1934. Crosby made his first recordings with Gene Krupa and Jess Stacy in 1935—one of the results being "Blues for Israel" which became a jazz classic. On this, he demonstrated a new style of bass playing in jazz which was brought to full bloom later by Jimmy Blanton. Crosby went on to work with Fletcher Henderson and made records with Teddy Wilson, Roy Eldridge and Coleman Hawkins. Crosby was a master musician with a virtuoso technique who was mostly engaged in studio work throughout the 40’s and 50’s, and also played with Benny Goodman and George Shearing. Israel Crosby died in 1962.