Tag Archives: Harry Richman

FATS, CONNIE, BUNNY, LIPS, BIRD, CHICK

As the people who were swing / jazz / popular music fans in the Thirties and Forties leave the planet, their possessions come up for sale on eBay.  This makes me mildly sad — let’s make money off Gramps’ stuff! — but it is far better than the beloved artifacts being tossed in the recycling bin.  Four treasures that are or were for sale.  I don’t know who Joe Walsh was.  But I do know that Fats Waller autographed this photograph in green fountain pen ink to him:

FATS TO JOE WALSH full

and a magnified view:

FATS TO JOE WALSH detail

Fats Waller’s best wishes are always free, thankfully:

DO ME A FAVOR:

WHOSE HONEY ARE YOU?:

and then there is Carol (Lotz) Lantz:

CONNIE BOSWELL to CAROL front

and the back:

CONNIE BOSWELL to CAROL rear

and the provenance:

Signed and inscribed to CAROL (Lotz) Lantz, daughter of Charles Lotz (1891-1965), a prominent band director from Canton, Ohio. Apparently Boswell performed sometime with Lotz’s band and signed this photo for his daughter. From the Lotz family collection.  SOURCE: From the archives of the World War History & Art Museum (WWHAM) in Alliance, Ohio. WWHAM designs and delivers WWI and WWII exhibits to other rmuseums. Our traveling exhibts include Brushes With War, a world class collection of 325 original paintings and drawings by soldiers of WWI, and Iron Fist, an HO scale model of the German 2nd Panzer Division in 1944 with 4,000 vehicles and 15,000 men.

A little sound from Connie, on a 1936 fifteen-minute radio program in honor of the charms of Florida — with Harry Richman and Fred Rich:

Then there’s Joe Williams, someone I reasonably sure is not the singer:

BUNNY to JOE WILLIAMS

Bunny was proud of his beautiful handwriting, and this one looks authentic. So is this music — A 1938 Disney song (with Dave Tough and Gail Reese):

And one page from a serious scrapbook (with signatures of Chu Berry and Ivie Anderson) belonging to L. Sgt. McKay:

HOT LIPS PAGE to McKay

This record may not be the finest example of Lips (or Lip’s) trumpet playing, but it has a sentimental meaning to me — if I may name-drop — that when I was at Ruby Braff’s apartment, this 78 was leaning against the wall.  So it’s doubly meaningful:

And the Yardbird:

BIRD

Finally, something quite rare: a Chick Webb photograph I’ve never seen before, signed by the Master, who was embarrassed (according to a Helen Oakley Dance story) about his poor handwriting:

CHICK WEBB autographed photo

And Chick in an unusual setting — with an Ellingtonian small group (and Ivie):

I am fond of being alive, and dead people don’t blog, but I wish I’d been around to ask Fats, Connie, Bunny, Lips, Bird, and Chick for their autographs.

May your happiness increase!

Advertisements

MILDRED, TWICE

MILDRED autograph 2It seems an authentic signature because of the ornate little flourishes.  But the next one, from a book signed by various luminaries (Harry Richman, J. Fred Coots, and Huey Long among them) in 1933 — celebrating the start of Ozzie Nelson’s band — has its own sly message about the Rockin’ Chair:

MILDRED autograph

Words to live by.

May your happiness increase!

“THE LAST WORD IN HOT”: FROM THE McCONVILLE ARCHIVES (Part Eight)

New tidings from the world of McConvilliana — always delightful and surprising!

Leo Jr. told me at our last meeting that his father was famous not only for his beautiful lead playing but also for his mastery of half-valve playing!  Who would have thought Leo McConville a precursor of Rex Stewart’s BOY MEETS HORN?

And — on a more personal note — Leo Jr. said that his father had a substantial and beautiful HO train layout, complete with wooden houses, in a large upstairs room in their three-story house.  Leo Sr. was so proud of his autographed photographs that he had built picture molding for top and bottom, up at the ceiling and running around the four walls of the room, his pictures there on display.

Thus I am happy, in some small way, to recreate that display in installments on JAZZ LIVES.

A less happy story concerns Leo Sr.’s terror of bridges (I’ve also heard that his fears included high buildings) — so much so that his fellow passengers would have to lock him in the car trunk when they went over a bridge.  The solution seems as painful as the problem, but I can’t say — bridges aren’t one of my phobias.  It is possible that the only way Leo could endure going over a bridge would be in an utterly dark place where he couldn’t see what terrified him.

But enough of such matters.

Here’s another half-dozen friends of Leo — some famous, some whose name in the autograph calls up some dim recognition, some obscure.

Let’s start with someone who used to be famous, although you’d have to be a film buff or of a certain age to recognize him instantly:

The publicity still is from later in Powell’s life — did Leo meet him while playing in a radio orchestra, or had their paths crossed earlier, when Powell was a hot banjoist / guitarist (and perhaps cornetist, saxophonist) and singer in hot dance bands — including the Royal Peacock Orchestra and the Charlie Davis Orchestra?

Next, someone far less well-known these days:

The man above is Canadian-born, a saxophonist and bandleader — someone Leo would have known in radio.  He had connections to Sam Lanin and Bing Crosby, and made a few records with an all-saxophone ensemble that backed Seger Ellis on disc.  Or so I think — but there’s another man with the same name, born in 1897, died in 1978, whom I’ve read was “born in Watertown, New York.  Attended Clarkson Institute of Technology.  Teacher of Larry Teal. First American saxophonist to teach regulated vibrato and founder of the New York school of saxophone playing.”

Please advise!

How many readers have heard anything by the tenor saxophonist Jim Crossan (one of the section on a number of OKeh hot dance recordings) much less seen a portrait of him?

Frank Parker — radio singer!  Is this the Irish tenor associated with jack Benny, Harry Richman, and Arthur Godfrey?Now, “the last word in hot” — that’s more like it as a Homeric epithet for our Leo!  The handsome tenor saxophonist here is Dick Johnson — someone who played clarinet with Red Nichols and the Red Heads.  (Obviously “good-fellowship” in those days meant that trumpet players hung out with saxophone players: Leo Jr. remembers meeting Jimmy Dorsey, who was an old friend of his father’s.)

For a perceptive piece on the Red Heads, see Andrew Sammut’s review of the Jazz Oracle reissue: http://www.allaboutjazz.com/php/article.php?id=39412

Perceptive readers will notice that Johnson autographed his photo to “Wilbur,” which Leo Jr. said was a teasing name for his father.  I imagine (it is speculation) that Leo Sr. made it known to everyone he talked to that he really wanted to leave the music business, buy some land, and have a chicken farm.  “Wilbur” must have been the sharply-dressed New Yorkers’ nickname for a deep-down hick.

And someone I really knew nothing of:

My friend Rob Rothberg — deep jazz scholar and long-time collector — helped me out here, “The face is unfamiliar, but there was a Cecil Way who played trumpet in Charlie Kerr’s band in the mid-twenties;  I’m not sure what happened to him after that.  Leo and Cecil played alongside an up-and-coming banjoist named Eddie Lang in Kerr’s band in the early twenties.  I think I see some lip muscles, so I’ll vote for that Way.”

We are indeed known by the company we keep, and Leo had a wide range of musical friends!  Not all of them had lip muscles, but Leo was an easy-going fellow. . . .