3794Who was that? (was "Dolly Jones")
- Feb 3, 2007Jazz histories acquaint us with reputedly great players who never
recorded (e.g., Bolden, Perez, Hardy) and others who were presumably
past their prime by the time they found their way into a recording
studio (e.g., Oliver, Keppard). Another specialized category worthy
of attention is that of "under-recorded" jazz players: not only
musicians of demonstrated excellence such as Jabbo Smith and Punch
Miller, whose lifestyles made them difficult to pin down, but also
supposedly minor figures who never led their own groups, appearing as
sidemen on (in some cases) only a handful of recordings, yet
producing memorable solos or accompaniments that can only make us
wonder why they weren't heard from more often - and make us wish that
they had been. Everyone will have his own list. Here's part of mine.
Keg Johnson: not a Teagarden follower, not a tailgate player, but a
sprightly, bouncy swinger who was never given enough solo space.
Heard to best advantage with Chu Berry.
Edward Inge, Glyn Paque: clarinets best known to me from Red Allen
small-group sessions. Consistently fine playing in both solos and
Shirley Clay, Guy Kelly: strong trumpet leads in a variety of combo
settings, and equally powerful Armstrong-influenced solos. Kelly at
his best on Ammons's "Boogie Woogie Stomp."
Chauncey Houghton, Tony Zimmers: except for the giants of the era
(Hawkins, Young, Webster), these two tenors could hold their own with
anyone. Houghton pops up with Fats Waller here and there, while
Zimmers, said by some to be the best (white) Swing tenor of all, is
outstanding on four sides with one of Lil Armstrong's small groups.
Morey Samel (sometimes listed as Samuel): no solos that I know of,
but beautiful, sensitive trombone phrasing behind Manone's vocals on
two Gene Gifford sides ("Nothing But the Blues," "Squareface").
Where did he come from? Where did he go?
Dolly Jones: the best female horn player I have ever heard - and I've
heard only one recording of hers. Does any more of her work exist?
If you didn't know who was playing, you'd never guess it was a woman
--- In RedHotJazz@yahoogroups.com, Howard Rye <howard@...> wrote:
> on 3/2/07 12:56, islay77 at fraser.mccombe@... wrote:
> Does anyone know anything about her?
> Lots. This is based on the version of my New Grove entry on her
> happens to be on my computer:
> Jones, Dolly [Doll; Hutchinson; Armenra; Doli Armena](b Chicago,
> unknown). Trumpeter and singer. Her mother, Diyaw, was also a
> her father played saxophone. She began her musical career as a
member of the
> family band busking on the streets of St. Louis where they recruited
> Josephine Baker to dance with them around 1919. This act
> in vaudeville.
> In 1922, she was a member of a trio in Kansas City; a slightly
later trio in
> Chicago included George James and drummer Alice Calloway.
> In May 1925 she was a member of Ma Rainey¹s band at the Grand
> Chicago, and in June 1926 recorded with Albert Wynn. When/That
> (OK 8350) are her only securely identified recordings.
> In 1928, she toured with Ida Cox. After marrying Jimmy Hutchinson
> to use his name professionally, working with pianist Irene
> joining Walter Barnes in mid-1931. She left to form her own band,
> Spiritis of Rhythm, in July 1932.
> In 1932, she also worked with Lil Armstrong¹s Harlicans. By this
> was again known as Dolly Jones, but shortly adopted the surname
> assumed to be derived from the names of the Egyptian gods, which
> also began to use professionally. In 1933, she was in a band led by
> saxophonist Jack Bradley and trumpeter Bobby Booker at the Broadway
> Danceland in New York.
> She can be seen in Oscar Michaux¹s 1936 film Swing in which she is
> Doli Armena¹, and performs China Boy and I may be wrong. In 1937,
she was a
> member of Mezz Mezzrow¹s Disciples of Swing at the Uproar House,
> but by 1938 she had returned to Chicago where she again worked with
> and Irene Armstrong.
> In February 1939, she had an all-female band in Chicago, but by
> was a member of Sammy Price¹s band in New York. In 1943, she joined
> Durham¹s all-female band.
> Though nothing has been discovered of her later career, she
> remained musically active as she played in workshops with Eddie
> the 1970s.
> As well as the variants already quoted, her adopted surname appears
> contemporary sources as Aremenra and Amera.
> Diyaw Jones appears on an Ethel Waters session but the tracks were
> issued and don't appear to survive.
> Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> Tel/FAX: +44 20 8521 1098
> [Non-text portions of this message have been removed]
- << Previous post in topic Next post in topic >>