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3794Who was that? (was "Dolly Jones")

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  • jaykay_4444
    Feb 3, 2007
      Jazz 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
      ensembles.

      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
      (sorry, ladies).







      --- 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
      which
      > happens to be on my computer:
      >
      > Jones, Dolly [Doll; Hutchinson; Armenra; Doli Armena](b Chicago,
      c.1906; d
      > unknown). Trumpeter and singer. Her mother, Diyaw, was also a
      trumpeter, and
      > 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
      subsequently toured
      > 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
      Theater,
      > Chicago, and in June 1926 recorded with Albert Wynn. When/That
      Creole Band
      > (OK 8350) are her only securely identified recordings.
      >
      > In 1928, she toured with Ida Cox. After marrying Jimmy Hutchinson
      she began
      > to use his name professionally, working with pianist Irene
      Armstrong before
      > joining Walter Barnes in mid-1931. She left to form her own band,
      Twelve
      > Spiritis of Rhythm, in July 1932.
      >
      > In 1932, she also worked with Lil Armstrong¹s Harlicans. By this
      time, she
      > was again known as Dolly Jones, but shortly adopted the surname
      Armenra,
      > assumed to be derived from the names of the Egyptian gods, which
      her mother
      > also began to use professionally. In 1933, she was in a band led by
      tenor
      > 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
      billed as
      > ŒDoli 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,
      New York,
      > but by 1938 she had returned to Chicago where she again worked with
      Barnes
      > and Irene Armstrong.
      >
      > In February 1939, she had an all-female band in Chicago, but by
      August 1940
      > was a member of Sammy Price¹s band in New York. In 1943, she joined
      Eddie
      > Durham¹s all-female band.
      >
      > Though nothing has been discovered of her later career, she
      evidently
      > remained musically active as she played in workshops with Eddie
      Barefield in
      > the 1970s.
      >
      > As well as the variants already quoted, her adopted surname appears
      in
      > contemporary sources as Aremenra and Amera.
      >
      > Diyaw Jones appears on an Ethel Waters session but the tracks were
      not
      > issued and don't appear to survive.
      >
      >
      >
      > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      > howard@...
      > Tel/FAX: +44 20 8521 1098
      >
      >
      >
      >
      > [Non-text portions of this message have been removed]
      >
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