Photo : Heinz Hajek Halke


Joe Alexander, tuba
b. Roma, Italy
d: Oct. 5, 1950, New Orleans, LA, USA.
nee: Guiseppe Allesandra.
Played with Jack "Papa" Laine; Johnny Provenzeno; Dominick and Joe Barocco
Tenor saxophonist, bop and swing-influenced player with a scant legacy as a leader. Only known release is a 1960 quintet session, Blue Jubilee, with an excellent rhythm section consisting of pianist Bobby Timmons, bassist Sam Jones and drummer Al Heath.
~ Ron Wynn

Claire Austin, singer
b. Yakima, WA, USA.
nee: Augusta Marie Austin.
Studied Piano in Tacoma, WA, USA. and Drama in Seattle, WA, USA. .
Worked in many clubs. also w/Turk Murphy (52) and Bob Scobey ('55 -6); Has good grasp of early Blues w/vocal timbre of Bessie Smith. Played with Gene Mayl; Turk Murphy; Kid Ory; Bob Scoby; Muggsy Spanier.
A vocalist who mixed classic blues elements with traditional jazz. She studied piano in Tacoma, then played in night clubs throughout the Northwest. During the mid-'40s, Austin sang in the Midwest. She recorded with Turk Murphy in the early and mid-'50s, and led an all-star group in 1955 and 1956. Austin recorded again for the GHB label in 1966.
~ Ron Wynn

Alvin Burroughs, Drums
b. Mobile, AL, USA
d. 1950 

A solid swing drummer, Alvin Burroughs was considered a valuable sideman during the big band era. He grew up in Pittsburgh and during 1928-29 was a member of Walter Page's Blue Devils in Kansas City. He also worked with Alphonse Trent before settling in Chicago. Among the many associations that Burroughs had in the 1930's were with Hal Draper's Arcadians (1935), Horace Henderson (1937-38) and most importantly Earl Hines' Orchestra (1938-1940), with whom he recorded regularly. Burroughs also worked with Milt Larkins, Benny Carter (1942), had his own band and then spent a period with Red Allen's jump group (1945-46). After heading his own band again for a few years, Alvin Burroughs (who never led his own record session) was a member of George Dixon's Quartet when he died of a heart attack at the age of 38.

K. C. Douglas
(Blues) vocals/guitarist
b. (on a family farm near) Sharon, MS, USA
d. Oct. 18, 1975, Berkeley, CA, USA. (heart attack)
K. C. Douglas - Wikipedia

Lloyd Glenn, piano/arranger
b. San Antonio, TX, USA.
d. May 23, 1985, Los Angeles, CA, USA.
Age: 75.
Played with Lowell Fulson; Kid Ory; Joe Turner 
One of the last great rural blues stylists in the San Francisco/Oakland area, K.C. Douglas produced  a blues classic when he recorded "Mercury Boogie" in 1949. The tune, which paid homage to the American automobile, was later renamed "Mercury Blues" and covered by Steve Miller and David Lindley. Country 
superstar Alan Jackson had a number one hit when he recorded the tune in 1992. Rights to the song
were purchased by the Ford Motor Company, which used it for a television commercial for Ford trucks.
Born and raised on a family farm near Sharon, MS, Douglas was deeply influenced by the 1920s recordings of Delta bluesman Tommy Johnson. Although he left home in 1934 to work outside of music in the Mississippi towns of Grenada and Carthage, he launched his music career after meeting Johnson two years later. After Douglas impressed Johnson with his baritone vocals and skillful guitar playing, the two musicians began performing together on street corners and parties.
Relocating to Vallejo, CA, in 1945, Douglas found employment in the naval shipyards. Within a couple of years, he gravitated to the San Francisco/Oakland blues scene, forming a band, the Lumberjacks, in 1947. His first recordings were issued on the Oakland-based Downtown label in 1948. Although he continued to perform at dances and small clubs, occasionally with Jesse Fuller, throughout the 1950s and '60s, Douglas supplemented his meager income from music with a variety of jobs. He worked for the public works department in Berkeley from 1963 until the mid-'70s.
While he recorded such songs as "Born in the Country," "Catfish Blues," "Fanny Lou," "Hear Me Howlin'," "K.C.'s Doctor Blues," and "Wake Up Workin' Woman" for Bluesville in 1960 and Fantasy in 1967, Douglas didn't reach his peak until the 1970s. After performing at the Berkeley Blues Festival in 1970, he formed a quartet and became a frequent performer at coffeehouses, clubs, and bars in the East Bay/Modesto/Stockton area and recorded several tracks for the Arhoolie label between 1973 and 1974.
Succumbing to a fatal heart attack on October 17, 1975, Douglas was buried in the Pleasant Green Cemetery in Sharon, MS.
~ Craig Harris
Coleman "Bean" Hawkins, Tenor Sax
b. St. Joseph, MO, USA.
d. May 19, 1969.
Studied Washburn College, Topeka, KS, USA. 1922-'23 he toured with 'Mamie Smith and her Jazz Hounds'. From 1924 to '34 he worked in Fletcher Henderson's band. To England 1934 in Jack, and then Mrs Jack Hylton's bands. Then toured Continent as solo act. In 1939, he returned to the USA and recorded perhaps his finest work "Body and Soul". Coleman was First to attain World fame as Tenor Saxman.
Coleman Hawkins was the first great saxophonist of Jazz. As a child he was a gifted musician. In 1922, Mamie Smith spotted him in Jesse Stone and his Blues Serenaders in Kansas City theatre and hired him away to play with her Jazz Hounds. Hawkins stayed with Smith until 1923, and appeared on some of her records.
After leaving The Jazz Hounds, he played with Wilbur Sweatman and then made his first recordings with Fletcher Henderson. He joined Henderson's Orchestra in 1924 and stayed with him for the next ten years. In addition to his work with Henderson, he recorded with McKinney's Cotton Pickers, and with Red McKenzie's Mound City Blue Blowers in 1929. When he left Henderson in 1934 he moved to Europe, and stayed there until 1939 playing first with Jack Hylton's Orchestra in England and then traveling and recording throughout the continent. In 1937 he appeared on a famous recording date with Benny Carter, Django Reinhardt and Stéphane Grappelli. In 1939 as World War II started, Hawkins wisely returned to America. 

He recorded a version of "Body and Soul" in 1940 that became his most famous record. Hawkins was one of the few Hot Jazz musicians who made the shift to Be Bop in the Forties. He hired Thelonious Monk for his quartet in 1944 and led an early bop recording session the same year which included Dizzy Gillespie. He also hired Miles Davis and Max Roach to play on his bands early in their careers. In 1946 he recorded with J.J. Johnson and Fats Navarro. By the early 1950s, the innovations of Lester Young and Charlie Parker made Hawkins' style seem a bit old fashioned. However Hawkins was able to adapt to the changing currents in Jazz again, when he teamed up with Roy Eldridge. Throughout the rest Fifties and Sixties he appeared on records made by Thelonious Monk, Max Roach, Eric Dolphy and John Coltrane. In the early 1960s Coleman Hawkins recorded with Duke Ellington, and made a record with Sonny Rollins. 
from ~The Red Hot Jazz Archive
Charlie "Fess" Johnson
Piano, b. Philadelphia, PA, USA.
d. Dec. 13, 1959, New York, NY, USA.
A decent pianist who rarely soloed, Charlie Johnson is of greatest significance for leading his Paradise Ten, an orchestra that had five excellent recording sessions during 1925-1929, and played at Smalls' Paradise during 1925-1935. Among the sidemen who appear on Johnson's records are trumpeters Jabbo Smith, Thomas Morris, Leonard Davis, and Sidney DeParis; trombonists Charlie Irvis and Jimmy Harrison; altoists Benny Carter (who made his recording debut with Johnson in 1927) and Edgar Sampson; and tenor saxophonist Benny Waters. In general, their recordings live up to the great potential. Charlie Johnson led his band until 1938, and freelanced until ill health forced his retirement in the 1950s.
~ Scott Yanow
Eleanor Powell
d. 1982
Eleanor Torrey Powell (November 21, 1912 – February 11, 1982) was an American film actress and dancer of the 1930s and 1940s, known for her exuberant solo tap dancing.
The Official site dedicated to Eleanor Powell The Queen of ...

Buck Ram, songwriter/arranger/producer
b. Chicago, IL, USA. Worked with 'The Platters'
Buck Ram (November 21, 1907 Chicago, Illinois - January 1, 1991 Las Vegas, Nevada) was an American songwriter, and popular music producer and arranger.
It has been written that the history of rock and roll could not be written without Buck Ram's contributions. He was one of BMI's top five songwriters/air play in its first 50 years, alongside Paul Simon, Kris Kristofferson, Jimmy Webb, and Paul McCartney. Ram also wrote, produced and/or arranged for The Platters, The Coasters, The Drifters, Ike and Tina Turner, Ike Cole, Duke Ellington, Glenn Miller, Ella Fitzgerald, and many others.
Buck Ram: Information from

Arthur Schutt
b. Reading, PA, USA.
d. Jan. 28, 1965, San Francisco. CA, USA.
Played with Bix Biederbecke and with Benny Goodman
An important pianist during the 1920's, appearing on many key recordings, Arthur Schutt faded out of the spotlight during the swing era. He was taught piano by his father and started playing for silent movies when he was just 13 in 1915. It was at a movie theatre that Schutt was discovered in 1918 by bandleader Paul Specht who quickly hired him. Schutt was with Specht for six years (including a visit to London in 1923). After that period ended, Schutt worked for Roger Wolfe Khan and Don Voorhees and then became a busy studio musician, appearing on many jazz-influenced dates headed by Fred Rich, Nat Shilkret and others.

Arthur Schutt & His Orchestra - Following You
This record was made in 1930. The vocal is by Smith Ballew.
A major novelty ragtime pianist (recording eight piano solos in 1923, 1928 and 1929), Schutt worked with the Georgians (the small group taken out of Paul Specht's Orchestra) during 1922-24 and recorded with the Charleston Chasers, Red Nichols (1926-29 and 1931), the Dorsey Brothers' Orchestra (1928-31), Benny Goodman and most significantly with Frankie Trumbauer and Bix Beiderbecke in 1927. Schutt's unusual chord voicings and percussive solos were a standout during the era although they ended up not becoming all that influential. He headed groups for 18 selections that were recorded during 1929-30 and stayed busy in the studios as a sideman (cutting two final piano solos in 1934).
After that period, Schutt maintained a lower profile, occasionally leading his own band and in 1939 playing for a short while with Bud Freeman. In the 1940's and 50's, Arthur Schutt worked in Hollywood as a studio musician, forgotten by the jazz world except by collectors of 1920's records who probably did not realize that he was still active.
~ Scott Yanow
Notable Events Occurring
On This Date Include:

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Cole Porter's 'Anything Goes' Playbill.
Cole Porter's 'Anything Goes' opened at 
the Alvin Theatre in New York, and ran for 420 
performances. The title song "Anything Goes" 
is still a worldwide standard, but it's other melody, 
"Blow Gabriel Blow" didn't fare as well.
Anything Goes - Wikipedia

Nat Story, trombone
died in Evansville, IN, USA.
Age: 63.
Played in Lucky Millinder Orch.
Nat Story: Information from

Berry "Pops" Gordy Sr., vocals
died in Los Angeles, CA, USA.
Age: 90.
Nathaniel Edward Story (August 8, 1904, Oak Station, Kentucky - November 21, 1968, Evansville, Indiana) was an American jazz trombonist.
Story played on riverboats on the Mississippi with Fate Marable and Floyd Campbell in the 1920s, and played with the Jones and Collins Astoria Hot Eight in 1928. He moved to New York City in the 1930s, working with Luis Russell (1934), Sam Wooding (1934), and Chick Webb (1936-39). After Webb's death he remained in the orchestra under the direction of Ella Fitzgerald, but left in 1940. Early in the 1940s he played with Andy Kirk and Lucky Millinder, but went into semi-retirement after this, though he performed occasionally into the 1960s.

Songs Recorded/Released
On This Date Include:


Rosa Henderson accompanied by the Kansas City Five - “Undertaker's Blues”, ("Duke" Jordan)

Isham Jones and his Orchestra


Art Landry and His Orchestra - “Don't Wait Too Long”


Jean Goldkette and his Orchestra - “That's What Puts the "Sweet" in Home, Sweet Home” Vocal refrain by Harold Stokes

Dorsey Brothers Orchestra - “Cross Roads”
  • “Sally Of My Dreams”
  • “She's Funny That Way”


Duke Ellington and his Cotton Club Orchestra
  • “I'm So In Love With You”

Duke Ellington and his Cotton Club Orchestra - “Nine Little Miles From Ten-Ten-Tennessee”


    Louis Armstrong and his Orchestra
    • “I've Got My Fingers Crossed”, (Jimmy McHugh / Ted Koehler)
    • “Old Man Mose” (Zilmer Randolph / Louis Armstrong )


    Cole Porter - Anything Goes

    Times have changed,
    And we've often rewound the clock,
    Since the Puritans got a shock,
    When they landed on Plymouth Rock.
    If today,
    Any shock they should try to stem,
    'Stead of landing on Plymouth Rock,
    Plymouth Rock would land on them.

    In olden days a glimpse of stocking
    Was looked on as something shocking,
    But now, God knows,
    Anything Goes.

    Good authors too who once knew better words,
    Now only use four letter words
    Writing prose, Anything Goes.

    The world has gone mad today
    And good's bad today,
    And black's white today,
    And day's night today,
    When most guys today
    That women prize today
    Are just silly gigolos
    And though I'm not a great romancer
    I know that I'm bound to answer
    When you propose,
    Anything goes

    When grandmama whose age is eighty
    In night clubs is getting matey with gigolo's,
    Anything Goes.

    When mothers pack and leave poor father
    Because they decide they'd rather be tennis pros,
    Anything Goes.

    If driving fast cars you like,
    If low bars you like,
    If old hymns you like,
    If bare limbs you like,
    If Mae West you like
    Or me undressed you like,
    Why, nobody will oppose!
    When every night,
    The set that's smart
    Is intruding in nudist parties in studios,
    Anything Goes.

    The world has gone mad today
    And good's bad today,
    And black's white today,
    And day's night today,
    When most guys today
    That women prize today
    Are just silly gigolos
    And though I'm not a great romancer
    I know that I'm bound to answer
    When you propose,
    Anything goes

    If saying your prayers you like,
    If green pears you like
    If old chairs you like,
    If back stairs you like,
    If love affairs you like
    With young bears you like,
    Why nobody will oppose!

    And though I'm not a great romancer
    And though I'm not a great romancer
    I know that I'm bound to answer
    When you propose,
    Anything goes...
    Anything goes!


    brought to you by...   
    Special Thanks To:
    Scott Yanow, 
    And all who have provided content for this site