Cootie Williams plays his trumpet in a crowed Harlem ballroom with Duke Ellington's band, circa 1930.
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Cootie Williams plays his trumpet in a crowed Harlem ballroom with Duke Ellington's band in the 1930s.
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The cootie catcher is primarily associated with girlhood, a gendered tradition passed hand-to-hand at sleepover parties and in schoolyards.
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I take them home and launder them when they've been used (one must be aware of the "cootie factor"), and they are always used.
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And although the surroundings are designed to channel your inner child — why yes, that is a Cootie bug the size of a car — the food is surprisingly grownup.
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As kids, we depended on fortune-tellers (or "cootie catchers") to tell us everything we needed to know (for a more detailed prediction, you'd have to play MASH).
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We would have considered ourselves lucky just to get a single COOTIE, because then maybe the person giving out the pinch-on-the-back-of-the-hand vaccines wouldn't have had to squeeze so hard.
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So too was "Cootie"—the mascot of a WWI American infantry unit who later died in Atlantic City and was interred with full military honors, his flag-draped casket lowered into the ground by a group of veterans at night by the headlights of an automobile.
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Lindy West The announcement from the BBC that the next incarnation of the Doctor, title character of the generation-spanning science fiction TV series "Doctor Who," will be played by a woman (Jodie Whittaker, star of "Broadchurch"), plunged the more cootie-phobic corners of the internet into a tempest this week.
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Locals have been known to call the sculpture "Cootie" because the sculpture's leggy design looks like a "bug" from the game Cootie.
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In Australia, the game was distributed by Toltoys in the late 60s under the title Creepy Critters. Cootie was one of many revamped traditional games cast in plastic by the Schaper company. Several games had bug titles such as Tickle Bee, Inch Worm, and Tumble Bug. The company eventually produced Cootie spinoffs such as Giant Cootie and Deluxe 6 Cootie, a game with six cooties instead of four.
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The game was given a new look and continued to enjoy commercial success. Several companies published cootie games in the first half of the twentieth century, but only Schaper's featured a free-standing, three-dimensional cootie. In 2003, Cootie was named to the Toy Industry Association's "Century of Toys List". It is based on the traditional dice game Beetle.
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In the deal, Tyco sold the rights to four Schaper games including Cootie to Hasbro's Milton Bradley division. Cootie is manufactured and sold today through Milton Bradley with legs featuring in-line skates, sneakers, and other fanciful accessories.
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In 1937, Rork's released The Game of Cootie, and it too was a paper and pencil game. A paper and pencil party game called Beetle is popular in Britain, and dates from the mid 1940s or earlier. In 1939, Transogram published Cootie, a game featuring a three-dimensional wooden bug assembled in a die-cut tray. Schaper's game was the first to employ a fully three-dimensional, free- standing plastic cootie.
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Cootie Game, ca. 1915 Schaper's game was not the first based upon the insect known as the "cootie". The creature was the subject of several tabletop games, mostly pencil and paper games, in the decades of the twentieth century following World War I. The Cootie Game fashioned by the Irvin-Smith Company about 1915 was a hand-held game that involved tilting capsules into a trap over a background illustration depicting a WWI battlefield. In 1927, the J. H. Warder Company of Chicago released Tu-Tee, and the Charles Bowlby Company released Cootie; though based on a "build a bug" concept similar to Schaper's, both were paper and pencil games.
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The Game of Cootie is a children's dice rolling and set collection tabletop game for two to four players. The object is to be the first to build a three- dimensional bug-like object called a "cootie" from a variety of plastic body parts. Created by William Schaper in 1948, the game was launched in 1949 and sold millions in its first years. In 1973, Cootie was acquired by Tyco Toys, and, in 1986, by Hasbro subsidiary Milton Bradley.
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Cootie Williams and His Orchestra 1941–1944 is a compilation album of recordings from 1941, 1942 and 1944 that jazz trumpeter Cootie Williams made with his orchestra and in smaller groups, released on ClassicsClassics 827 in 1995. The 1942–44 musicians' strike explains the lack of sessions from 1943.
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In the late 1960s, Sears offered an exclusive Cootie House with a vinyl mat and eight Cooties. Cootie, 1996 Tyco Toys bought W.H. Schaper Mfg. Co. Inc. in 1973 and manufactured the game with a change in the bug design but little change to the original game rules.
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Cootie box cover, 1949 Schaper Toys, or W.H. Schaper Mfg. Co., Inc. as it was originally known, was a game and toy company founded in 1949 by William Herbert Schaper in Robbinsdale, Minnesota. "Herb" Schaper published a variety of games but was best known for having created the children's game, Cootie.
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Retrieved 31 October 2008. Cootie remained the company's best seller with over 50 million games sold between 1949 and 2005.
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"Somebody's Gotta Go" is a 1945 song by Cootie Williams and His Orchestra. With vocals performed by Eddie Vinson, the single was Cootie Williams' most successful entry on the Harlem Hit Parade, hitting number one on the Harlem Hit Parade. "Somebody's Gotta Go" was the final number one on The Harlem Hit Parade chart.
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Born in Mobile, Alabama, Williams began his professional career at the age of fourteen with the Young Family band, which included saxophonist Lester Young. According to Williams he acquired his nickname as a boy when his father took him to a band concert. When it was over his father asked him what he'd heard and he replied, "Cootie, cootie, cootie." In 1928, he made his first recordings with pianist James P. Johnson in New York, where he also worked briefly in the bands of Chick Webb and Fletcher Henderson.
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Charles Melvin "Cootie" Williams (July 10, 1911 - September 15, 1985) was an American jazz, jump blues, and rhythm and blues trumpeter.
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Cooter Brown, sometimes given as Cootie Brown, is a name used in metaphors and similes for drunkenness, mostly in the Southern United States.
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Soon after Horne, jazz trumpeter and bandleader Mercer Ellington, son of jazz great Duke Ellington, moved into Addisleigh Park in 1948. Eight years earlier, he had worked for renowned jazz trumpeter Cootie Williams as his road manager. Cootie Williams bought a home in Addisleigh Park in 1947. While residing in Addisleigh Park, Mercer Ellington employed Dizzy Gillespie, Kenny Dorham, and Charles Mingus.
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Following this he moved to New York City, working with Wild Bill Davis and Jonah Jones, and touring internationally with Cootie Williams and Cozy Cole.
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Norma Bowles, Mark E. Rosenthal: Cootie Shots: Theatrical Inoculations Against Bigotry for Kids, Parents, and Teachers.Plays, Poems & Songs. Pages 153, 154, 156. Theatre Communications Group, 2001. .
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In 2003, the Toy Industry Association included Cootie on its "Century of Toys List" of the 100 most memorable and most creative toys of the 20th century.
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An elaborately decorated fortune teller. A fortune teller (also called a cootie catcher,.. chatterbox,. salt cellar,. whirlybird, or paku-paku) is a form of origami used in children's games.
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Through the 1970s and 1980s, the company operated as Schaper Toys, a subsidiary of Kusan Inc. In 1986, Schaper Toys was acquired by Tyco Toys. Cootie was the company's bestseller.
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Another piece with a medical-related title is "U.M.M.G.", short for 'Upper Manhattan Medical Group'. The 1951 composition "Rock Skippin' at the Blue Note" showcases Cootie Williams, Jimmy Hamilton, and John Sanders.
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He recorded under his own name and with Johnny Hodges (1951/52), Harry Carney (1954), Lawrence Brown (1956), Cootie Williams (1957), Al Sears, Cat Anderson (1959), Billie Holiday (1955) and Al Hibbler.
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This shape was introduced to the English-speaking world under the name salt cellar in the 1928 origami book Fun with Paper Folding by Murray and Rigney (Fleming H. Revell company, 1928, p. 10). The use of paper fortune tellers in England has been recorded since the 1950s.. Although the phrase "cootie catcher" has been used with other meanings in the U.S. for much longer,. the use of paper cootie catchers in the U.S. dates back at least to the 1960s...
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The Military Order of the Cootie of the United States (MOC, or simply Military Order of the Cootie) is a national honor degree membership association separately constituted as a subordinate and as an auxiliary order chartered by the Veterans of Foreign Wars of the United States (VFW). The organization's services include supporting the Veterans of Foreign Wars National Home for Children and veterans hospitals. Founded in 1920, it became a subsidiary of the Veterans of Foreign Wars of the United States in 1923.
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"Do Nothing till You Hear from Me" (also written as "Do Nothin' Til You Hear From Me") is a song with music by Duke Ellington and lyrics by Bob Russell. It originated as a 1940 instrumental ("Concerto for Cootie") that was designed to highlight the playing of Ellington's lead trumpeter, Cootie Williams. Russell's words were added later. In 1944, Ellington's own recording of the song was a number one hit R&B; chart for eight non-consecutive weeks and number six on the pop chart.
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By 1952, Schaper's company sold 1.2 million Cootie games, and thereafter, a million games a year. By the mid-1960s, Schaper's company was selling more than twenty-five different games from its Golden Valley, Minnesota, headquarters.
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The community celebrates its heritage with the annual "Quarry Days", which takes place in July, and in June, the city hosts "Cootie Days", where rides and games are set up and available in the city's park.
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In the concert she sang "Heaven" and the wordless vocal, "T.G.T.T. (Too Good to Title)". Cootie Williams has a "growl" trumpet feature on "The Shepherd (Who Watches Over the Night Flock)". This piece is dedicated to Rev.
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He recorded with Jelly-Roll Morton on three sessions in 1930. From 1935 to 1940 he again played with Ellington, and it is for this association that he is best known; he often played with a second bassist in the orchestra, at times Hayes Alvis or Jimmie Blanton. During that time he also recorded with Cootie Williams and Johnny Hodges. In the 1940s he played with Coleman Hawkins (1940), Red Allen (1940–41), Joe Sullivan (1942), Raymond Scott (1942–43), Cootie Williams (1944), Barney Bigard (1944–45), Benny Morton (1945), and Cozy Cole (1945).
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Cootie Stark (December 27, 1927 – April 14, 2005) was an American Piedmont blues guitarist, singer, and songwriter. His best remembered recordings were "Metal Bottoms" and "Sandyland." Stark was known as the 'King of the Piedmont blues.'"Doc Rock" (2011).
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Co., Inc. to manufacture and publish the game. In the fall of 1949, the game was launched on the market, and sold through Dayton's department stores. Schaper sold 5,000 Cootie games by 1950, and over 1.2 million games by 1952.
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The object of the original 1949 game is to be the first player to build a "cootie" piece by piece from various plastic body parts that include a beehive-like body, a head, antennae, eyes, a coiled proboscis, and six legs. Body parts are acquired following the player's roll of a die, with each number on the die corresponding to one of the body parts. The body corresponds to one, the head to two, three to the antennas (feelers), four to the eye, five to the proboscis (mouth), and six to the leg.The Game of Cootie: Directions.
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Leonard Gaskin (August 25, 1920 - January 24, 2009) was an American jazz bassist born in New York City. Gaskin played on the early bebop scene at Minton's and Monroe's in New York in the early 1940s. In 1944 he took over Oscar Pettiford's spot in Dizzy Gillespie's band, and followed it with stints in bands led by Cootie Williams, Charlie Parker, Don Byas, Eddie South, Charlie Shavers, and Erroll Garner. In the 1950s he played with Eddie Condon's Dixieland band, and played with Ruby Braff, Bud Freeman, Rex Stewart, Cootie Williams, Billie Holiday, Stan Getz, J.J. Johnson, and Miles Davis.
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Beetle has been converted to a commercial game called Cootie, and is also released under the name Beetle by Milton Bradley. Beetles are constructed as plastic models. There are some minor gameplay differences, such as there being no wings on the beetles.
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All other body parts may then be acquired in any order. When a player acquires a part, an additional throw of the die is allowed in an attempt to acquire another part. The winner is the first player to completely assemble a cootie.
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In 1986, Hasbro, through its subsidiary Milton Bradley Co., arranged with Tyco Toys Inc. to purchase Cootie and three other games from the Schaper Toy Division of Kusan Inc."Hasbro has Cooties, but Doesn't Seem to Mind." Chicago Sun Times, September 26, 1986.
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The Big Cootie is a modernized version of the Powell PH Racer biplane for homebuilt construction. The aircraft is a single seat biplane with conventional landing gear, designed for mild aerobatics. The fuselage is welded steel tube construction with aircraft fabric covering. The cowling is fiberglass.
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Derived by folk etymology referring to such area in Southeast Asia, from Portuguese campon or Dutch kampoeng, from Malay kampong ('enclosure, hamlet'). First known use was in 1679. ; Cootie : head louse, a type of small insect that lives in people's hair. Modification of Malay kutu of the same meaning.
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A 1988 reviewer commented that "Sandke, using both trumpet and fluegelhorn, is rich-toned and mellow at one moment or crisply biting at another." With the Widespread Depression Orchestra, he played "gloriously growling full-bodied Cootie Williams solos".Wilson, John S. (December 26, 1980) "Jazz: Depression Quintet". The New York Times. p. C18.
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Sterling Publishing Company, Inc., 2006. p. 36. Schaper offered Dayton's, a local department store, several Cootie setsWaggoner, Susan. Under the Tree: the Toys and Treats That Made Christmas Special, 1930-1970. Stewart, Tabori & Chang, 2007. p. 52-3. on consignment and the game proved a hit, selling 5,592 by the end of 1950.
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Edwin Lawrence "Eddie" Johnson (December 11, 1920 - April 7, 2010) was an American jazz and blues tenor saxophonist. He was born in Napoleonville, Louisiana, United States. In 1946, Johnson joined trumpeter Cootie Williams and His Orchestra, appearing on several Capitol and Majestic recordings, until leaving to join Louis Jordan and His Tympany Five. He also played with Ella Fitzgerald and Duke Ellington.
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He performed with them for a few years. In 1941, he began playing with the Cootie Williams Orchestra, performing with Ella Fitzgerald, Sarah Vaughan, Dinah Washington and Pearl Bailey. During World War II, Ballard joined the United States Navy and served in the 29th Special Construction Battalion in Guam and the South Pacific. While serving, he played in the military band.
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During the 1950s he worked intermittently with the Benny Goodman Orchestra and with Red Allen, Ruby Braff, Al Cohn, Cootie Williams, and the Sauter-Finegan Orchestra. He also worked as a studio musician. He recorded with Buddy Holly on October 21, 1958, playing the sax solo on "True Love Ways". He also played with Judy Garland in her comeback performance at Carnegie Hall.
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Rebekka Claudia and Sofie are 15 years old and in high school. In class, they learn how different cultures mark the transition from childhood to adulthood. Deciding that confirmation is meaningless, they decide to create their own rite of passage, which involves choosing at random a dare from a cootie catcher. Attempting to perform their dares leads each girl towards maturity.
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Essex met with Cootie Tremble and the Marauders, the group he would eventually lead. The Marauders kidnapped homeless and neglected people off the streets of London and used them as test subjects for Essex's experiments. Essex ordered the Marauders to awaken the immortal Egyptian mutant En Sabah Nur, who would become known as Apocalypse. En Sabah Nur ordered the Marauders to take him to Essex.
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Samuel Leroy Taylor, Jr. (July 12, 1916 - October 5, 1990),[ Allmusic biography] known as Sam "The Man" Taylor, was an American jazz and blues tenor saxophonist. Taylor was born in Lexington, Tennessee. He attended Alabama State University, where he played with the Bama State Collegians. He later worked with Scatman Crothers, Cootie Williams, Lucky Millinder, Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan and Big Joe Turner.
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Hanighen composed lyrics for the 1946 Broadway musical Lute Song, which starred Mary Martin and Yul Brynner, and which featured music by Raymond Scott. Bernie Hanighen and Cootie Williams collaborated to transform Thelonious Monk's bop masterpiece "'Round Midnight", creating what became a standard in the vocal canon thanks to performances by Mel Tormé, Ella Fitzgerald, Sarah Vaughan, Carmen McRae, Nancy Wilson, Chris Connor, and Julie London.
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In 1939 he left Kirk's group, and divorced Williams the following year. He went into the restaurant industry in the 1940s, but still played on the side with Cootie Williams and for several years with Earl Hines on baritone sax. His last performances were in the late 1940s, after which he worked in hospitality and in a factory. He died in Columbus, Ohio, aged 91.
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In 1920, he went to a dance at Economy Hall in New Orleans where Buddy Petit was playing. Petit needed a replacement on clarinet, and he hired Hall. After two years, he moved to Pensacola, Florida, and joined Lee Collins's band, followed by Mack Thomas, and the Pensacola Jazzers. He met trumpeter Cootie Williams and with Williams he joined the Alonzo Ross DeLuxe Syncopators.
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He drew the Kernel Cootie comic strip. On March 25, 1914, he married Cherry Maud Kindel, and they had two daughters. Cartooning ran in the family, as Orr was the uncle of Apple Mary creator Martha Orr, and his grandson is the cartoonist-stockbroker Carey Orr Cook. Carey Orr met and served as an early role model to Walt Disney when Disney moved back to Chicago.
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He left Ellington in 1963 during their Middle East tour after having played alongside his returned predecessor Cootie Williams for a year. He continued to make several guest appearances in the orchestra over the years and later toured and recorded in England in 1974. Nance made a few recordings as a bandleader, and also recorded or performed with Earl Hines, Rosemary Clooney, Jaki Byard, Chico Hamilton and others.
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Published in 2012 The third book In the series, The Secret of the Fortune Wookiee (), takes place immediately after Darth Paper Strikes Back! The summary from Amazon.com reads: With Dwight attending Tippett Academy this semester, the kids of McQuarrie are on their own, no Yoda to help them navigate the treacherous waters of school. Then Sara gets a gift from Dwight; a cootie catcher (fortune teller) in the form of Chewbacca.
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Neal Pattman (January 10, 1926 – May 4, 2005) was an American electric blues harmonica player, singer and songwriter. Sometimes billed as Big Daddy Pattman, he is best known for his self-penned tracks, "Prison Blues" and "Goin' Back To Georgia". In the latter, and most notable stages of his long career, Pattman worked with Cootie Stark, Taj Mahal, Dave Peabody, Jimmy Rip, Kenny Wayne Shepherd, Guitar Gabriel, and Lee Konitz.
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After leaving Russell, Walton worked with Vernon Andrade (1938), Horace Henderson (1941), Cootie Williams as a baritone saxophonist (1942–43), and Cab Calloway (1943–45). From 1945-47 he acted as musical director for doo wop group The Ink Spots, and played with Noble Sissle and Sy Oliver towards the end of the decade. He did work in radio and television in the 1950s before retiring from music in that decade.
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In the aftermath of the war, American couples were eager to settle down, have kids, and lavish the sumptuous Christmases they never had on their offspring. The post-War years saw the creation of toys that are still in production today and include Candy Land, Cootie, the hula hoop, Barbie, and Etch A Sketch.Waggoner, Susan. Under the Tree: the Toys and Treats That Made Christmas Special, 1930–1970.
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A notable instrumental feature being in the Ellington piece, "Echoes of the Jungle". For him, Duke Ellington wrote Concerto for Cootie, which when lyrics were added became "Do Nothing till You Hear from Me". He was also the soloist in other Ellington compositions like "Echoes of Harlem", "Harlem Air Shaft", and the religious piece The Shepherd Who Watches Over the Night Flock, which was dedicated to the Rev. John Gensel.
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He would work with Russell again a few times and in 1932 joined the Mills Blue Rhythm Band. He was in the John Kirby's Sextet, Cootie Williams' Orchestra, and Louis Armstrong's band for much of the next two decades. He left music in 1951 and did not return for twenty years. He returned to work in Clyde Bernhardt's Harlem Blues & Jazz Band and later played for the Swedish band Kustbandet.
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Oxford University Press. p. 173. Ellington put Blanton front-and-center on the bandstand nightly, unheard of for a bassist at the time. Such was his importance to Ellington's band at the time, together with tenor saxophonist Ben Webster, that it became known as the Blanton–Webster band. Blanton also played in the "small group" sessions led by Barney Bigard, Rex Stewart, Johnny Hodges, and Cootie Williams in 1940-41.
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Other prominent Savoy house bandleaders included Al Cooper, Erskine Hawkins, Lucky Millinder (with Wynonie Harris on vocals), Buddy Johnson, and Cootie Williams. The Savoy was the site of many Battle of the Bands or Cutting Contests, which started when the Benny Goodman Orchestra challenged [Webb in 1937. Webb and his band were declared the winners of that contest. In 1938, Webb was challenged by the Count Basie Band.
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Jazz Giants (1987), another jazz tribute, shows Dizzy Gillespie, Harry Carney, Johnny Hodges and Cootie Williams performing. Leaf patterns and circles common in Jarrell's work are seen throughout. The trowel is used to create recognizable portraits of the musicians, with the paint on a white background appearing as if a woodcut. Priestess (1988) depicts another jazz icon, Nina Simone, who appears twice – playing piano and singing solo, backed by a band.
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"'Round Midnight" is Monk's most recorded tune, and the world's most recorded standard by a jazz musician. The tune was first recorded on August 22, 1944, by Cootie Williams, after his pianist and Monk's good friend, Bud Powell, persuaded Williams to record the tune. The song was first recorded by Monk on November 21, 1947, for the Genius of Modern Music sessions (titled as "'Round About Midnight"), and appears on many of his live albums.
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The Pacific Justice Institute (PJI) is a conservative legal defense organization in California, United States.John Philip Habib, 'Eeew, cooties!: Cootie shots, a play about tolerance, has kicked up a ruckus in public schools in Northern California, The Advocate, April 16, 2002 Ann Southworth, 'Lawyers of the right: professionalizing the conservative coalition', Chicago: University Of Chicago Press, 2008, p. 30 PJI provides pro bono representation in matters involving the exercise of religion and other civil liberties.
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Ellington hired Nance to replace trumpeter Cootie Williams, who had joined Benny Goodman, in 1940. Nance's first recorded performance with Ellington was at the Fargo, North Dakota ballroom dance. Shortly after joining the band, Nance was given the trumpet solo on the earliest recorded version of "Take the "A" Train", which became the Ellington theme. Nance's "A Train" solo is one of the most copied and admired trumpet solos in jazz history.
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He moved to New York City in 1939, and played there with Sammy Price, Eddie Durham, and Cootie Williams. Following this he recorded extensively with Red Allen, remaining with him until 1950. He also recorded with Pete Johnson and Snub Mosley over the course of his career, though he never recorded as a leader. Stovall retired from the music industry in 1950, and spent the remainder of his life working for a telephone company.
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Following stints with Ace Harris's Sunset Royals and Tiny Bradshaw, Treadwell worked with Cootie Williams (1943–1946) and J.C. Heard (1946–1947). As a member of Heard's ensemble, he accompanied Etta Jones and Sarah Vaughan, whom he married in 1947. He also recorded with Dicky Wells and Ethel Waters in 1946. Treadwell quit playing late in the 1940s to work as Vaughan's manager, and continued in this capacity after their divorce in 1957.
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The earliest recorded use of the word "cootie" appears in Albert N. Depew's World War I memoir, Gunner Depew (1918): "Of course you know what the word 'cooties' means....When you get near the trenches you get a course in the natural history of bugs, lice, rats and every kind of pest that had ever been invented."Cassidy, Frederic Gomes, and Joan Houston Hall. A Dictionary of American Regional English. Harvard University Press, 1985.
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Powell was engaged in a series of dance bands, his incubation culminating in becoming the pianist for the swing orchestra of Cootie Williams. In late 1943 he was offered the chance to appear at a nightclub with the quintet of Oscar Pettiford and Dizzy Gillespie, but Powell's mother decided he would continue with the more secure job with the popular Williams. Powell was the pianist on a handful of Williams's recording dates in 1944.
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Chinese checkerboards covered one wall. A small, serene figure of The Virgin of Guadalupe presided over the living room, guarded by a ring of plastic cootie toys. Elsewhere, other religious statuettes, holy cards, paintings and prayer books were arranged in abundance, a collection that, like her quilts, "both honors and affectionately skewers my Catholic upbringing," she said. Spread throughout the house were many vignettes, seemingly-disparate objects juxtaposed, underscoring both their uniqueness and common spirit.
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He acquired the nickname, Sugar Man, and continued to work his trade as a songster in the area. His performing name of Cootie Stark was an amalgam of a childhood nickname and his grandfather's surname. His eyesight deteriorated until he was legally registered as blind, but Stark continued to perform across the State and beyond, often using the name Blind Johnny Miller. However, by the 1980s, with playing prospects diminishing, Stark settled in Greenville.
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Applebaum was born in Newark, New Jersey, United States. He started playing piano aged 7, after a doctor suggested it would help heal a broken finger, and began taking lessons. By the age of 12 he had started writing arrangements for his school band, and played at local weddings and events, and in clubs. He wrote arrangements for Cootie Williams, Lucky Millinder, and others, before serving in World War II in Germany, where he joined the US Army band.
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Following a stint with Horace Henderson, he joined Earl Hines's band in 1938. In the 1940s he played with Walter Fuller and Coleman Hawkins, and later in the decade with Duke Ellington and Cootie Williams. In the early 1950s he joined Cab Calloway's band, then worked with Buddy Johnson a few years later. In the 1960s and 1970s Burke essentially went into retirement, though he occasionally played with musicians such as Lem Johnson and Wally Edwards.
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Shines died on April 20, 1992, in Tuscaloosa, Alabama.[1] He was inducted into the Blues Hall of Fame later the same year. Alabama has a rich jazz heritage, being the birthplace of such greats as Lionel Hampton, Erskine Hawkins, Nat King Cole, Cleveland Eaton, James Reese Europe, Cootie Williams, William Manuel Johnson, Urbie Green, Ward Swingle, Cow Cow Davenport, members of Take 6 and many more. Tubist Howard Johnson of the Saturday Night Live band hails from Montgomery.
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Clarke was drafted into the US Army and reported for induction in 1943. During his basic training in 1944, he married singer Carmen McRae. He went absent without leave for nearly four months, during which time he played with Cootie Williams and Dinah Washington, before being captured and sent to Europe. he eventually became part of the Special Services where he led and sang in chorales and performed on drums, trombone, and piano in various bands.
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In the 1950s, he began to play more rhythm and blues, toured with small groups, and played in the Savoy Ballroom. In the late 1950s, he formed a small jazz group and recorded a number of albums with Rex Stewart, as well as his own album, Cootie in Hi-Fi (1958). In 1962, he rejoined Ellington and stayed with the orchestra until 1974, after Ellington's death. In 1975, he performed during the Super Bowl IX halftime show.
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Norman Dewey Keenan (November 23, 1916, Union, South Carolina - February 12, 1980, New York City) was an American jazz double-bassist. Keenan began on piano before picking up bass at age 15. He worked with Tiny Bradshaw (mid-1930s), Lucky Millinder (1939–40), Henry Wells (1940), Earl Bostic, and Cootie Williams, and jammed at Minton's Playhouse around the same time. Following World War II he worked with Williams again and with Eddie Cleanhead Vinson in 1947-49.
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Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962. > The writing and playing of music is a matter of intent.... You can't just > throw a paint brush against the wall and call whatever happens art. My music > fits the tonal personality of the player. I think too strongly in terms of > altering my music to fit the performer to be impressed by accidental music.
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"East St. Louis Toodle-Oo" features a growling plunger-muted trumpet part played by co-composer Bubber Miley, one of the first jazz trumpeters to utilize the style. This style was carried on by later Ellington trumpeters Cootie Williams (1937 recording), and Ray Nance (1956 recording). For Steely Dan's 1974 cover of the song, Walter Becker played the melody through a talk box to imitate Miley's trumpet style, while Jeff "Skunk" Baxter used a pedal steel guitar for the trombone part.
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Don Kirkpatrick (June 17, 1905 – May 13, 1956) was an American jazz pianist and arranger. Kirkpatrick worked intermittently with Chick Webb between 1927-1937 and with Don Redman from 1933-1937; it is for these associations that he is best known. Aside from this, he worked with Harry White, Elmer Snowden, Zutty Singleton, and Mezz Mezzrow, and worked as a freelance arranger after his time with Webb and Redman. Kirkpatrick also arranged for the bands of Benny Goodman, Count Basie, and Cootie Williams.
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It was also a meeting place for social clubs and political organizations in Harlem. They gathered to dance the popular dances at the time, the Charleston, Lindy Hop, and Black Bottom, to live music performed by well known jazz musicians. Jazz artists such as Louis Armstrong, Fletcher Henderson, Duke Ellington, Count Basie, Cab Calloway, Lionel Hampton, Cootie Williams, Bessie Smith, Lena Horne, Billie Holiday and Ella Fitzgerald performed at the "Renny". In the 1920s the Renaissance Ballroom was known as a "Black Mecca".
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Oliver Nelson was born into a musical family in St. Louis, Missouri, United States. His brother was a saxophonist who played with Cootie Williams in the 1940s, and his sister sang and played piano. Nelson began learning to play the piano when he was six and started on the saxophone at eleven. Beginning in 1947 he played in "territory" bands in and around Saint Louis before joining the Louis Jordan band where he stayed from 1950 to 1951, playing alto saxophone and arranging.
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Rudy Collins (July 24, 1934 - August 15, 1988) was an American jazz drummer born in New York City. Collins played trombone in high school and started on drums at that time as well. He studied with Sam Ulano during 1953-57 and began gigging in New York City, playing with Hot Lips Page, Cootie Williams, Eddie Bonnemere, Dizzy Gillespie, Johnny Smith, Carmen McRae, Cab Calloway, and Roy Eldridge. he played with J.J. Johnson and Kai Winding at the Newport Jazz Festival.
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With Tiny Grimes and his Rocking Highlanders, Prysock staged a saxophone battle with Benny Golson on "Battle of the Mass". He first gained attention as a member of Tiny Bradshaw's band, playing the lead saxophone solo on his own "Soft", which was a hit for the Bradshaw band in 1952. Prysock also played with Roy Milton and Cootie Williams. In 1954, he signed with Mercury Records as a bandleader and had his biggest hit, the instrumental "Hand Clappin'" in 1955.
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Cootie Game, a board game from 1918 Cooties is a fictitious childhood disease. It is used in the United States and Canada as a rejection term and an infection tag game (such as Humans vs. Zombies). It is similar to the British 'dreaded lurgi', and to terms used in the Nordic countries, in Italy, Australia and New Zealand. A child is said to "catch" cooties through close contact with an "infected" person or from an opposite-sex child of a similar age.
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The tune appears on almost every single live album by Monk, as it was the closing tune of each set from Monk's days at Minton's Playhouse onwards. The first recording was by Cootie Williams on April 1, 1942, and it was later recorded by Clarke's band on September 5, 1946. It was not recorded by Monk before July 2, 1948, for the Wizard of the Vibes sessions, featuring Milt Jackson. It was later recorded for Monk's Music and was an outtake from the It's Monk's Time sessions.
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A beetle with its component parts numbered. The body must be drawn before any other part; the head must be drawn before eyes or antennae Beetle is a British party game in which one draws a beetle in parts. The game may be played solely with pen, paper and a die or using a commercial game set, some of which contain custom scorepads and dice and others which contain pieces which snap together to make a beetle/bug. It is sometimes called Cootie or Bugs.
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He grew up in Meadville, Pennsylvania, where his father exposed him to jazz at an early age. At age 8, Smith began taking drum lessons from local jazz drummer, Cootie Harris. His father and Harris took young Smith to local jam sessions throughout Northwestern PA. His early influences included drummers Art Blakey and Philly Joe Jones. As a student at Youngstown State University, Smith played gigs in and around Youngstown and Pittsburgh, most notably with pianists Gene Rush and Harold Danko, and cellist Abdul Wadud.
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Simmons played trumpet at first, but a sports injury prevented him from continuing on the instrument. He picked up bass instead, landing his first professional gigs a mere four months after starting on the instrument. Early on he played with Nat King Cole and Teddy Wilson (1937), then moved to Chicago, where he played with Jimmy Bell, King Kolax, Floyd Campbell, and Johnny Letman. He played with Roy Eldridge in 1940 and spent 1941-42 playing at various times with Benny Goodman, Cootie Williams, and Louis Armstrong.
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He moved to Oklahoma City in 1936 and jammed with Charlie Christian and Henry Bridges before joining Nat Towles's band. He played with Horace Henderson and Bob Dorsey before returning to Towles's band in 1944 in Chicago. He also played with Count Basie, Cootie Williams, Lucky Millinder, and Bull Moose Jackson in the 1940s. His associations in the 1950s included Louis Jordan (1951), Lucky Thompson (1953), Sy Oliver, Buddy Johnson, Cozy Cole, Mercer Ellington, Little Esther (1956), and Panama Francis (for performances in Uruguay in 1953).
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There he arranged for Tiny Bradshaw and Luis Russell, and worked with Noble Sissle, Lucky Millinder, and Mercer Ellington. He was in the band of Johnny Hodges and recorded with him until 1955. At the end of the 1950s he was in the bands of Cootie Williams and Cat Anderson and recorded two albums under his own name. From 1952 he was a music publisher, was a record producer in the 1950s (1956/57 for Norman Granz) and had a dance orchestra in Philadelphia.
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He also served as host on a jazz album to benefit the American Cancer Society in 1957, Listening to Jazz with Ernie Kovacs. It was a 15-minute recording featuring some of the celebrities of the art, including pianist Jimmy Yancey and old original New Orleans Jazz Trumpeter Bunk Johnson, soprano saxophonist Sidney Bechet, guitarist Django Reinhardt, composer/pianist/bandleader Duke Ellington and longtime Ellington trumpeter Cootie Williams. Both the Library of Congress and the National Library of Canada have copies of this recording in their collections.
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Wright was born in Texarkana, Texas, and grew up in Kansas City, where he played with Bennie Moten's band in 1923. He relocated to New York City in 1927 to play with The Missourians, staying with the group after Cab Calloway became its leader. Wright remained Calloway's lead trumpeter until 1942 and continued playing with him sporadically through the rest of the 1940s. Wright also played with Don Redman (1943), Claude Hopkins (1944–1946), Cootie Williams (1944), Lucky Millinder (1946–1952), Sy Oliver (1947), and Louis Armstrong.
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1, Ch. 13; also Pt. 4, Ch. 4); Billie Holiday – "Lover Man" (Pt.1, Ch. 13; also Pt. 3, Ch. 4); Dexter Gordon and Wardell Gray – "The Hunt" (Pt. 2, Ch. 1; Pt. 2, Ch. 4); Dizzy Gillespie – "Congo Blues" (Pt. 3, Ch. 7 – recorded under Red Norvo's name and also featuring Charlie Parker; also Pt. 3, Ch. 10; Pt. 4, Ch. 3); Willis Jackson – "Gator Tail" (Pt. 4, Ch. 1 – recorded with the Cootie Williams Orchestra); Wynonie Harris – "I Like My Baby's Pudding" (Pt.
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He played with Don Redman in the middle of the 1930s and spent time with Benny Goodman, Ben Pollack, and Claude Hopkins in the latter half of the decade. In the 1940s, he spent time with Hines again, Horace Henderson, Leon Abbey, Cootie Williams, and Cab Calloway. He also recorded with The Mills Brothers. From 1944–51, he led his own band which included Edgar Battle among its sidemen; he also played as a sideman in his own right with Manzie Johnson and Harry Dial.
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Urbana: University of Illinois Press, pp. 21–39 Among the first artists to record for the company were the Al Sims Trio, an uptown blues group, and a combo led by tenor saxophonist John "Schoolboy" Porter, who had developed a vigorous R&B; style in the Cootie Williams band. Porter's rendition of "Tennessee Waltz," a much-covered hit in 1950, sold well enough that Sheridan's pressing plant, Armour Plastics, couldn't meet the demand and many copies were pressed by RCA Victor. Porter would be a steady contributor until he left Chicago in 1952.
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When Branford and Kenny Kirkland left three years later to record and tour with Sting, Marsalis formed another quartet, this time with Marcus Roberts on piano, Robert Hurst on double bass, and Watts on drums. After a while the band expanded to include Wessell Anderson, Wycliffe Gordon, Eric Reed, Herlin Riley, Reginald Veal, and Todd Williams. When asked about influences on his playing style, he cites Duke Ellington, Miles Davis, Harry Sweets Edison, Clark Terry, Dizzy Gillespie, Jelly Roll Morton, Charlie Parker, Wayne Shorter, Thelonious Monk, Cootie Williams, Ray Nance, Maurice Andre, and Adolph Hofner.
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Hall joined the Duke Ellington Orchestra on June 8, 1973. After Ellington died the following year, Hall continued to play with the band under the direction Ellington's son, Mercer Ellington. After Mercer Ellington died in 1996, Hall conducted the Duke Ellington Orchestra for one year after and remained the replacement director when Paul Ellington was unable to perform. During his time with Mercer Ellington, Hall was given Cootie Williams's last trumpet by Williams himself before he died and was known as the inheritor of Williams's style of playing.
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Dance produced jazz records for Okeh Records in the mid 1930s. She also produced much of Duke Ellington's small band work in the late 1930s. When issued, these records were usually credited to Ellington's sidemen Cootie Williams, Barney Bigard, Rex Stewart or Johnny Hodges, in order to differentiate them from the big band sound associated with the Duke Ellington Orchestra. Notable among these recordings are Bigard's original hit version of "Caravan", and jazz classics such as Hodges' "Jeep's Blues" and Williams' "Dooji Wooji" (all written or co-written by Ellington).
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In the US this box is usually only attainable if the other letterboxer knows the password or passphrase which is sometimes cryptic, straightforward, almost non-existent, or silly. In the US, letterboxes have developed new forms: ; Cootie : Much like a hitchhiker, except instead of being carried from letterbox to letterbox, a letterboxer passes it to another letterboxer. It can be passed in a Personal Traveler, or planted on another letterboxer or their unattended bags on the trails or at gatherings. Most people are subtle about planting them—but not all.
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Austin was born in Dunnellon, Florida, United States, and taught himself to play as a 12-year-old. He won the Ted Mack Amateur Hour in St. Petersburg, Florida in 1945, playing "Danny Boy". His performance brought him a recording contract with Mercury Records, and he moved to New York, where he studied for a time at the Juilliard School of Music. Austin played with Roy Eldridge briefly in 1949, and with Cootie Williams in 1951-52 and Tiny Bradshaw in 1952-54, before setting up his own successful touring group.
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However, his more general renown was minimal until 1989, when he performed at the Lincoln Center for the Performing Arts in New York. A meeting in 1991 with Tim Duffy, of the Music Maker Relief Foundation, led to Pattman playing with Cootie Stark, supporting Taj Mahal, on a nationwide Blues Revival Tour. Playing with the British blues guitarist, Dave Peabody, led to Pattman releasing three albums between 1995 and 2001. He also contributed to Kenny Wayne Shepherd's album and DVD, 10 Days Out: Blues from the Backroads, which was released in 2007.
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Early in his career, Jackson played with Albert Ammons's band. For much of the 1930s Jackson was based in Chicago. He toured with Fletcher Henderson in 1938, then played with Roy Eldridge's band in New York, and in 1940 toured with Fats Waller and then with Earl Hines. Following small band work back in New York, he "joined Cootie Williams's big band (1942), played in Boston with Frankie Newton (1942–3), toured with Eldridge (1944), and worked with Wilbur De Paris at Jimmy Ryan's in New York (1944–5)".
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Jimmy Lewis (April 11, 1918 – 2000) was an American double bassist who worked with the Count Basie Orchestra and sextet in the 1950s and with Duke Ellington, Cootie Williams, Billie Holiday and Ivory Joe Hunter before moving to bass guitar during his time with King Curtis. He provided the basslines for the musical Hair. Lewis freelanced extensively and performed on many albums by soul and jazz musicians, including Horace Silver and the Modern Jazz Quartet up until the late 1980s.McClellan, L., The Later Swing Era, 1942 to 1955, Greenwood, 2004, p. 245.
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Still working under the name Mandy Randolph, she recorded "Cootie Crawl" (G11425) on April 30, 1923, and "I Got Another Lovin' Daddy" for Gennett Records. She was invited to join the Sissle and Blake musical, Shuffle Along, in New York in 1924 and went on to do Lucky Sambo as one of the Three Dixie Songbirds (sharing the bill with its star, Tim Moore, with whom she later appeared on TV's popular The Amos 'n' Andy Show from 1951–53). in 1925, she was part of Sissle and Blake's The Chocolate Dandies.
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Christian was placed in Goodman's new sextet, which included Lionel Hampton, Fletcher Henderson, Artie Bernstein and Nick Fatool. By February 1940 Christian dominated the jazz and swing guitar polls and was elected to the Metronome All Stars. In the spring of 1940 Goodman let most of his entourage go in a reorganization. He retained Christian, and in the fall of that year Goodman led a sextet with Christian, Count Basie, longtime Duke Ellington trumpeter Cootie Williams, former Artie Shaw tenor saxophonist Georgie Auld and later drummer Dave Tough.
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Later that same year, he embarked on a tour of Europe with Willie Lewis; remaining there for two years, he recorded under his own name as well as with Lewis and Freddy Johnson. After his return to the US, he worked with Garvin Bushell, Cootie Williams, and Jesse Stone, but shortly after the end of World War II, he stopped playing once again due to persistent health problems. He played trumpet again briefly in 1959-60, working in New York, and late in his career taught voice and sang with Wilbur De Paris.
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Robert C. Plater (May 13, 1914, Newark, New Jersey - November 20, 1982, Lake Tahoe) was an American jazz alto saxophonist. Plater began playing alto sax at age 12, and played locally in Newark with Donald Lambert and the Savoy Dictators in the 1930s. He played with Tiny Bradshaw from 1940-42 before spending 1942-45 serving in the U.S. military during World War II. After his discharge he worked briefly with Cootie Williams, then played intermittently with Lionel Hampton between 1946 and 1964. He also did arrangements with Hampton, and did some freelance work besides.
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The band then played "Sepia Panorama", the band's theme song before adoption of "Take the 'A' Train" in 1941. In addition to Ellington himself, notable soloists included Ben Webster, Jimmy Blanton, Johnny Hodges, Rex Stewart, and Tricky Sam Nanton. Trumpeter Ray Nance had recently joined the band after Cootie Williams had left to play with Benny Goodman and, the night of the concert, Ellington told Towers that his trumpet section was in "rough shape". The concert included the first performance of "Star Dust" by the band as a whole.
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In 1934, Ewing began his career when he was seventeen. Four years later he was with Horace Henderson, then with Earl Hines live and on record from 1938 to 1939 and from 1941 to 1942. He worked for short spans with Louis Armstrong and Lionel Hampton in the 1940s, in addition to Jimmie Lunceford (1943–45), Cab Calloway (1946, 1949), Jay McShann (1948), Cootie Williams (1950), Louis Jordan, and Earl Bostic. In the early 1950s he moved to California and played with George Jenkins and in the studio with T-Bone Walker and Gerald Wilson.
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Retrieved 5 March 2019 Cootie Williams, Little Jimmy Scott, Biography by Eugene Chadbourne, Allmusic.com. Retrieved 5 March 2019 Hadda Brooks, Nappy Brown, Big Maybelle, The Coasters, LaVern Baker, Ruth Brown, The Drifters, and others. He also played on the banned 1957 album My Pussy Belongs to Daddy, credited to Faye Richmonde. In 1959, he was the credited performer on "The Web", an instrumental released on the small Laurel label which was later used as part of the score for the camp horror movie The Brain That Wouldn't Die.
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Redd was born and grew up in New York City; after losing his father at the age of one, he was raised by his mother, who moved around Harlem, Brooklyn and other neighborhoods. An autodidact, he began playing the piano at a young age and took to studying jazz seriously upon hearing Charlie Parker during his military service in Korea in the mid-1940s. Upon discharge from the Army in 1949, he worked with drummer Johnny Mills, and then in New York played with Tiny Grimes, Cootie Williams, Oscar Pettiford and the Jive Bombers.Scott Yanow, "Artists - Freddie Redd", Blue Note.
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Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemere, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues. His 1946 band, Eddie Davis and His Beboppers, featured Fats Navarro, Al Haig, Huey Long,Huey Long biography at Venus Hair, which establishes that this member of The Ink Spots was also the guitarist of Davis' Beboppers.
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Dan Morgenstern's glowing review of the album in 1971 for Downbeat awarded it five stars. "The music is evocative, highly atmospheric and marked throughout by the gorgeous ensemble textures that set this orchestra apart from every other big band in the history of jazz", he wrote. "This is a great record, and by any standard one of the major musical events of 1971." Morgenstern had praise for several of the soloists, especially Johnny Hodges (in his swan song), Paul Gonsalves' "profoundly emotional" tribute to both Sidney Becheet and Hodges, Cootie Williams, Norris Turney, and Harold Ashby.
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In 1971, Ron Grainer used a down-tempo variation by Cootie Williams to accompany a memorable scene from The Omega Man. The song later appeared on a 2004 Gotan Project CD, Inspiración Espiración, featuring Chet Baker. In 1986, the song was used as the title for the film Round Midnight which starred veteran saxophonist Dexter Gordon in a fictional story about an expatriate American jazz musician living in Paris. The soundtrack by Herbie Hancock prominently features the song "'Round Midnight" along with a number of other jazz standards and a handful of original pieces written by Hancock.
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Born in Chicago, Illinois, Thigpen was raised in Los Angeles and attended Thomas Jefferson High School, where Art Farmer, Dexter Gordon and Chico Hamilton also attended. After majoring in sociology at Los Angeles City College, Thigpen returned to East St. Louis for one year to pursue music while living with his father who had been playing with Andy Kirk's Clouds of Joy. His father, Ben Thigpen, was a drummer who played with Andy Kirk for sixteen years during the 1930s and 1940s. Thigpen first worked professionally in New York City with the Cootie Williams orchestra from 1951 to 1952 at the Savoy Ballroom.
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"Bugatti Step" (1930; Ultraphone A10166) is an up- tempo number for piano and jazz orchestra, enjoying enduring popularity as a hot jazz piano solo. "Teď ještě ne" (Not Yet) (1931; Ultraphon A10217) is rousing dance music in the Jean Goldkette or Coon-Sanders' Nighthawks style. "Rubbish Heap Blues" (1937; Ultraphon A11421) shows that Ježek not only listened to Duke Ellington's records, but was keeping up with Duke's very latest work. "Rubbish Heap" features a Johnny Hodges-like alto sax and a Cootie Williams-like growl trumpet, plus a three-trombone section to complement the three trumpets.
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Whitey's Lindy Hoppers performed in the movie Hellzapoppin' (1941), where they executed breathtaking flips, slides, kicks, splits, and lifts. When they returned from filming, the group went to Rio de Janeiro to perform. Because of the Attack on Pearl Harbor, they were unable to find transportation home and ended up staying for 10 months, nearly exhausting all of their energy and money. In 1942, the group went on a 3-week tour with Cootie Williams and Pearl Bailey that included performances at the Apollo Theater, the Howard Theatre in Washington, D.C., and the Royal Theatre in Baltimore.
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Proposed grave site for Christian at Gates Hill Cemetery, Bonham, Texas Christian returned home to Oklahoma City in late July 1940 and returned to New York City in September 1940. In early 1941, Christian resumed his hectic lifestyle, heading to Harlem for late-night jam sessions after finishing gigs with the Goodman Sextet and Orchestra in New York City. In June 1941 he was admitted to Seaview, a sanitarium on Staten Island in New York City. He was reported to be making progress, and Down Beat magazine reported in February 1942 that he and Cootie Williams were starting a band.
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As well as being used to tell fortunes, these shapes may be used as a pincer to play-act catching insects such as lice, hence the "cootie catcher" name.. The "salt cellar" name refers to a different use for the same shape, in which it stands on a table with the four points downwards; the four open pockets may be used to hold small pieces of food.. In 2018, over 10,000 copies of this shape were used to create an installation resembling lava pouring from a building window, titled "ORIGAMI LAVA" (David Oliva + Anna Juncà), for the Lluèrnia festival in Olot, Spain.
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Austin Percy Brice, Jr., nicknamed "Big P" (born March 25, 1923 in New York City) is an American jazz drummer. Brice's professional career began around the end of World War II, when he played with Benny Carter, Mercer Ellington, Luis Russell, and Eddie Cleanhead Vinson. He played frequently in Harlem in the early 1950s with Tiny Grimes, Oscar Pettiford, Tab Smith, Lucky Thompson, and Cootie Williams, in addition to leading sessions at Minton's Playhouse. He then played with Billy Taylor (1954-1956), George Shearing (1956-1958), and Kenny Burrell (1958–59); from 1959 to 1961 he played behind Sarah Vaughan on tour.
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In 1936, Kersey moved to New York City, where he played with Lucky Millinder, Billy Hicks, Frankie Newton, Billie Holiday, Roy Eldridge, Red Allen, and Cootie Williams. In 1942 he replaced Mary Lou Williams as Andy Kirk's pianist; Kirk recorded his composition "Boogie Woogie Cocktail". He was in the Army from 1943 to 1945, where he sometimes played trumpet in military bands, then played from 1946 to 1949 with the Jazz at the Philharmonic touring ensembles. He continued to play with noted musicians in the 1950s, including Eldridge and Allen again, as well as Buck Clayton, Edmond Hall, Sol Yaged, and Charlie Shavers.
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During World War II, Pratt served as a tank driver for the United States Army. According to Jess Nevins' Encyclopedia of Golden Age Superheroes, the Atom "fights the Emperor of America, agents of the Black Dragon Society, and the Carnival of Crime, in addition to the Cootie Gang, Mandini the Magician and the scavenger Undersea Raiders". In 1948, the Atom gained super strength as a result of the latent effects of his 1942 battle with the reluctant supervillain Cyclotron (after whose costume Pratt redesigned his own). It was later revealed that he had taken partial custodianship of Cyclotron's daughter, Terri.
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Variety's roster included Cab Calloway, Red Nichols, the small groups from Ellington's band led by Barney Bigard, Cootie Williams, Rex Stewart, and Johnny Hodges, as well as Noble Sissle, Frankie Newton, The Three Peppers, Chu Berry, Billy Kyle, and other major and minor jazz and pop performers around New York. By late 1937 a number of problems caused the collapse of these labels. The Brunswick and Vocalion sales staff had problems of their own, with competition from Victor and Decca, and it wasn't easy to get this new venture off the ground. Mills tried to arrange for distribution overseas to get his music issued in Europe, but was unsuccessful.
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Two firsts about this record concerning Thelonious Monk: one, the April 1, 1942 Chicago session is the first recording of "Epistrophy" (called "Fly Right" here) which Monk wrote with Kenny Clarke earlier the same year; and two, the August 22, 1944 session is the first recording of Monk's "'Round Midnight". Cootie Williams is often given a co-credit on both songs. The January 4, 1944 session marks the recording debut of Bud Powell, aged 20 (Williams was his legal guardian at the time in order to take Powell on the road with his orchestra), while the January 6, 1944 session features two of Pearl Bailey's earliest recordings.
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Carl Briggs Pruitt (June 3, 1918, Birmingham, Alabama - June 1977) was an American jazz and blues double-bassist. Pruitt began his career as a pianist, but switched to bass in 1937. He played briefly in Pittsburgh and worked in the 1940s with Roy Eldridge, the Jeter-Pillars Orchestra, Lucky Millinder, Maxine Sullivan, Cootie Williams, and Mary Lou Williams. In the 1950s he did some touring, with Earl Hines and the Sauter-Finegan Orchestra, but was active mostly as a sideman and session musician for recordings, including with Shorty Baker, Arnett Cobb, Eddie "Lockjaw" Davis, Bill Doggett, Wynonie Harris, Bull Moose Jackson, Roland Kirk, George Shearing, Sahib Shihab, and Hal Singer.
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Ardie Dean (born 1955) is an American electric blues drummer, audio engineer and record producer. In a varied career over fifty years, Dean has worked with the Giddens Sisters, Alabama Slim, Homesick James, Little Freddie King, Lee Gates, Ernie K-Doe, Bo Diddley, Gregg Allman, Sweet Betty, Guitar Gabriel, Adolphus Bell, Jerry McCain, Macavine Hayes, Beverly Watkins, Lightnin' Wells, Taj Mahal, Cootie Stark, Sam Frazier Jr., Ironing Board Sam, Captain Luke, Cool John Ferguson, and Robert Lee Coleman, among others. Involved in the music industry since 1969, Dean has been the musical director, and record producer for the Music Maker Relief Foundation since 1994. He plays a 1930s Ludwig drum kit.
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In 1940 he joined Benny Goodman's orchestra, a highly publicized move that caused quite a stir at the time (commemorated by Raymond Scott with the song "When Cootie Left the Duke"), then in 1941 formed his own orchestra, in which over the years he employed Charlie Parker, Eddie "Lockjaw" Davis, Bud Powell, Eddie Vinson, and other young players. In 1947, Williams wrote the song "Cowpox Boogie" while recuperating from a bout with smallpox. He contracted the disease from a vaccination he insisted all band members receive. By the late 1940s, Williams had fallen into obscurity, having had to reduce his band numbers and finally to disband.
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It was issued by Music Maker, who provide regular support to various low-income blues and roots musicians. In addition to assisting Hanks himself at that time, these veteran musicians then included Ironing Board Sam who was fitted with new prescription glasses; John Dee Holeman who needed assistance to pay for his medication; and the R&B; singer Denise LaSalle who was given help to pay her mortgage. In 2008, Hanks appeared in a documentary film, Toots Blues. Also in the film were Adolphus Bell, Cool John Ferguson, Guitar Gabriel, George Higgs, Macavine Hayes, John Dee Holeman, Drink Small, Cootie Stark, Beverly Watkins and Albert White.
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College Park, Maryland, U.S.A, accessed at Ancestry.com In 1948 he made his first recording backed by the Ray Abrams Sextet, for Bob Shad's "Sittin' In With" record label. His first success came with his version of the Bernice Petkere song "Close Your Eyes", which reached #4 on the Billboard R&B; chart (called the Race Records chart at the time) in 1949. Two further single releases later the same year also made the R&B; chart: "Because" (#8) and "That Lucky Old Sun" (#6). Lance performed around the country in 1950, including a residency in Baltimore with the Cootie Williams band, and a series of one-nighters in Ohio with Roy Brown.
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Martin was active principally as an arranger for some of the most popular swing jazz bands of the 1930s and 1940s. He worked with Count Basie, Charlie Barnet (1939–40), Benny Goodman (1941), and Glenn Miller (1941–42); doubling as a reedist with the last three. In the Goodman orchestra he played alto sax alongside Gus Bivona and recorded with the legendary trumpeter Cootie Williams in the early 1940s as well. Later in the 1940s he worked with Les Brown (memorably the big-band chart for I've Got My Love to Keep Me Warm), then moved to Los Angeles in the 1950s, where he did extensive work as a staff and freelance orchestrator, studio conductor (e.g.
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Henderson sidemen would go on to success in other bands: Russell Procope, Rex Stewart, Ben Webster, and Cootie Williams with the Duke Ellington Orchestra; trombonists Benny Morton and Dicky Wells with Count Basie; and Roy Eldridge with Gene Krupa. Prominent jazz figures who passed through the orchestra were Red Allen, Louis Armstrong, Buster Bailey, Benny Carter, Coleman Hawkins, Edgar Sampson, Joe Smith, and Fats Waller. Waller allegedly sold several tunes to Henderson in exchange for a dinner of multiple hamburgers, among them "The Stampede", "Henderson Stomp", "Whiteman Stomp", and "St. Louis Shuffle", while the influence of Armstrong during his 1924–25 tenure changed the band's approach to both swing and solo work entirely.
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From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club, which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. After leaving agent Irving Mills, he signed on with the William Morris Agency.
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Buck Showalter (left) engages Matt Wieters in a pound hug. The pound hug (also referred to as a pound shake, hip-hop hug, one-armed hug, dude hug, cootie hug, homie hug, shug, bro-grab, bro hug, brah hug, thug hug, man-hug, or a daps) is a stylized greeting, exclusively performed between two people, that consists of a combination of a handshake and one-armed hug. Unlike the traditional hug, which symbolically and effectively removes interpersonal barriers and unites the two persons embracing, the pound hug—performed by keeping the right hand locked in handshake while the left arm wraps around the other's shoulder—interposes the obstacle of the two right arms to the joining of the two bodies.
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The label's other 1940s musicians included Les Baxter, Les Brown, Jimmy Bryant, Billy Butterfield, Nat King Cole, Sammy Davis Jr., Dinning Sisters, Tennessee Ernie Ford, Mary Ford, Benny Goodman, Skitch Henderson, Betty Hutton, Stan Kenton, Peggy Lee, Billy May, Les Paul, Alvino Rey, Andy Russell, Smilin' Jack Smith, Kay Starr, Speedy West, and Cootie Williams. Musicians on the Capitol Americana label included Lead Belly, Cliffie Stone, Hank Thompson, Merle Travis, Wesley Tuttle, Jimmy Wakely, and Tex Williams. Capitol was the first major west coast label to compete with major labels on the east coast such as RCA Victor, Columbia, and Decca. In addition to its Los Angeles recording studios, Capitol owned a second studio in New York City and occasionally sent mobile recording equipment to other cities.
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Pruter, Robert and Campbell, Robert L. "The Rhumboogie Label" Retrieved 3 July 2013. Personnel in the band included Arnett Cobb and Illinois Jacquet (both of whom went on to join Lionel Hampton), Eddie Vinson (who left to join Cootie Williams), Tom Archia, Cedric Haywood, Wild Bill Davis, Alvin Burroughs, Joe Marshall and Roy Porter. Vinson and Cobb had been with the band since its creation at the Aragon Ballroom in Houston in 1936. This ensemble won high praise but never recorded, on the one hand, because of the "recording ban" imposed on August 1, 1942, just after the band arrived in Chicago, and on the other hand, because Larkin wouldn't accept the low wages that record companies offered to black musicians.
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During a time of racism and segregation, he emphasized the achievements of black celebrities, athletes, and political leaders. Among those he photographed were bandleader Duke Ellington, trumpeter Cootie Williams, basketball player Wilt Chamberlain, tennis player Ora Washington, Paul Leroy Robeson, Billy Eckstine, Billie Holiday, Martin Luther King, Jr., Cecil B. Moore, Marian Anderson, Eleanor Roosevelt, and President Richard Nixon, to name only a few. Locations he captured included Nixon's Grand Theatre at Broad Street and Montgomery Avenue; the Earle Theatre at 1049 Market Street; Chicken Bone Beach in Atlantic City, Glamour Row, and Club Harlem. The Pyramid Club was one of many centers of African-American culture and life in Philadelphia which he documented, working as the club's staff photographer for many years.
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The front cover of the album shows a shadow box that contains some memorabilia from the 1940s through 1960s, including a Cootie bug, a popgun, a fan that folds out into a paper flower, ceramic birds, various paper flowers and stick flowers (which were popular in 1968). Alan Wolsky, whose agency created the cover, put a picture of himself in the bottom center square, partially obscured by some flowers. The rear cover contains the term "MIJACOGEO" alongside Micky's photo, a term that is an acronym for the members of Micky's family (Micky, Janelle, Coco and George, respectively). Another quirk was that while Davy and Peter signed autographs in a traditional manner on their rear cover photos, Michael Nesmith signed "Carlisle Wheeling" to be superimposed onto his picture.
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Tommy created much of the vaudeville-style choreography that made the Lunceford band so popular during this period, and this, combined with the increasing audience attention he was receiving for his high-note solos, caused him to demand from Lunceford top billing. This was denied, so in March 1935 he left Lunceford's band. Although he never regained the popularity he had with the Lunceford organization, he did go on to play and/or record with big bands led by Blanche Calloway (1935–1936), Don Redman (1936–1940), Coleman Hawkins, Lucky Millinder, Slim Gaillard and Cootie Williams, mostly playing lead trumpet. While playing with Cootie's band in New York City in 1944 he contracted lobar pneumonia and died suddenly at the age 30.
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From left: Jack Teagarden, Sandy DeSantis, Velma Middleton, Fraser MacPherson, Cozy Cole, Arvell Shaw, Earl Hines, and Barney Bigard at the Palomar Supper Club, Vancouver, March 17, 1951 The first version of the song "Caravan" (composed by Juan Tizol and later rearranged by Duke Ellington) was recorded in Hollywood, 18 December 1936, and performed as an instrumental by Barney Bigard and His Jazzopaters. Two takes were recorded and were issued, although L-0373-2 is by far the more commonly found take. The band members were Cootie Williams (trumpet), Juan Tizol (trombone), Barney Bigard (clarinet), Harry Carney (baritone sax), Duke Ellington (piano), Billy Taylor (bass), and Sonny Greer (drums). All of the players were members of the Duke Ellington Orchestra, which was often drawn upon to record small-group sides.
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The first session, produced by Bob Shad, was recorded on May 2, 1945 for Duke Records under the name Frank Socolow's Duke Quintet. Four tracks were recorded, but one of them, "Blue Fantasy", was never released and has been lost, so only three tracks are available. Two things are of particular note about this session. One is a 20-year-old Bud Powell making only his third appearance in a recording studio (having recorded two sessions the previous year with Cootie Williams) - according to Mark Gardner, who wrote the liner notes for the Xanadu Records re-release, Socolow and drummer Irv Kluger went to see Powell playing in a club in Greenwich Village and "The pair flipped when they heard Bud's dynamic and totally new style of piano playing, and needed no further convincing".
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Kutti pi (pronounced 'cootie-pie') is a dish from Anglo-Indian cuisine, consisting of the flesh of an unborn fetus from an animal, usually goat. It is unique to the Anglo-Indian community, where it is considered a delicacy despite being abhorred as taboo by both parent cultures. The flesh of a fetus is not regular table-fare in culture, except balut, a common food in countries in Southeast Asia, which is a developing bird embryo (usually a duck or chicken) that is boiled and eaten from the shell. The non-Anglo-Indian butchers' markets make efficient use of all other portions of the animals, but since the fetus is considered taboo by most Indians, even when goat fetus is available, those who seek it may not be able to buy it without difficulty.
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The most respected instrumental version is the 1940 recording by Duke Ellington's Famous Orchestra, with a "wah-wah" intro by trombonist Tricky Sam Nanton, featuring Cootie Williams on trumpet alternating with bassist Jimmy Blanton and a solo by Ben Webster; Billy Strayhorn's arrangement makes a radical overhaul of Daniels' harmony, and places the verse after the chorus.This version by Duke Ellington from October 28, 1940 in Chicago is part of Never No Lament: The Blanton-Webster Band as well as other compilations of the orchestra's recordings of that time. This chart also appears on the famous live recording made of the Ellington Orchestra in Fargo, North Dakota in December 1940. Among other notable pre-war instrumental versions of Chloe is Benny Goodman's from 1937, Art Tatum's piano solo from 1938 and those by Tommy Dorsey and John Kirby (musician), both from 1940.
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Morgenstern, D. Downbeat Magazine accessed April 24, 2020 In his review for Sounds, Jack Hutton remarked that "a Creole influence permeates the work, a lazy Delta feel laden with nostalgic sadness which is a probably a[sic] truer reflection of the historic city than the good-time trad which has helped to popularise it." He praised the solos of Norris Turney, criticized those of Cootie Williams, and concluded that "This suite, while it doesn't rank with Ellington's greatest works, proves that the piano player is still vitally creative well into his seventies." The Penguin Guide to Jazz includes the album as part of its suggested "Core Collection," and awards it a four- star rating. The Allmusic review by Scott Yanow awarded the album 3 stars, dismissing it as "interesting if not essential music with a few memorable themes being the main reason to acquire this release".
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"Diminuendo and Crescendo in Blue" is a jazz composition written in 1937 by Duke Ellington and recorded for the first time on May 15, 1937 by the Duke Ellington Orchestra with Wallace Jones, Cootie Williams (trumpet), Rex Stewart (cornet), Barney Bigard (clarinet), Johnny Hodges, Otto Hardwick (alto saxophone), Laurence Brown, Joe Nanton (trombone), Harry Carney (clarinet, baritone saxophone), Sonny Greer (drums), Wellmann Braud (bass), Freddie Guy (guitar), and Duke Ellington (piano). No tenor saxophone was present in this recording section, nor in "Crescendo in Blue," which was recorded the same day. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on opposite sides of a 78 rpm record. The 1956 performance at the Newport Jazz Festival revitalized Ellington's career, making newspaper headlines when seated audience members chaotically began rising to dance and stand on their chairs during Paul Gonsalves's tenor saxophone solo.
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In 1939, 1959, and 1946 through 1949, Ellington led his own bands, many of whose members later performed with his father, or achieved a successful career in their own right (including Dizzy Gillespie, Kenny Dorham, Idrees Sulieman, Chico Hamilton, Charles Mingus, and Carmen McRae). During the 1940s, in particular, Ellington wrote pieces that became standards, including "Things Ain't What They Used to Be", "Jumpin' Punkins", "Moon Mist", and "Blue Serge". Ellington also wrote the lyrics to Hillis Walters' popular song, "Pass Me By" (1946), which was recorded by Lena Horne, Carmen McRae and Peggy Lee. Ellington composed for his father from 1940 until 1941, and later worked as road manager for Cootie Williams' orchestra (1941 until 1943 and again in 1954). Ellington returned to work for his father playing alto horn in 1950, and then as general manager and copyist from 1955 until 1959.
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The work was first performed in 1970 with the title Cancer in London at the Royal Court Theater under the direction of Martin Rosen. Weller changed the name to Moonchildren shortly thereafter for the work's American premiere at the Arena Stage (Washington, DC) in November 1971, which was directed by Alan Schneider. The Arena Stage production moved to the Royale Theatre on Broadway the following year, giving its first of 28 performances on February 11, 1972.New York Times May 15, 1988 The cast included Kevin Conway as Mike, Maureen Anderman as Ruth, Edward Herrmann as Cootie, Christopher Guest as Norman, Stephen Collins as Dick, Jill Eikenberry as Kathy, James Woods as Bob Rettie, Cara Duff-MacCormick as Shelly, Donegan Smith as Ralph, Robert Prosky as Mr. Willis, Ron McLarty as Lucky, Louis Zorich as Bream, Peter Alzado as Effing, Salem Ludwig as Uncle Murry, George Curley as Cootie's Father, and Michael Tucker as Milkman.
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When they returned from filming, the group went to Rio de Janeiro to perform. Because of the Attack on Pearl Harbor, they were unable to find transportation home and ended up staying for 10 months, nearly exhausting all of their energy and money. In 1942, Miller joined Whitey's Lindy Hoppers on a three-week tour with Cootie Williams and Pearl Bailey that included performances at the Apollo Theater, the Howard Theatre in Washington, D.C., and the Royal Theatre in Baltimore. Miller left the group due to “accounting differences” with Whitey, who was known to pay the performers poorly. The group disbanded shortly thereafter since the males were called into service during World War II. In 1943, she took dance classes on the style of Martha Graham taught by Sophie Maslow, the style of Hanya Holm taught by Mary Anthony, and classes by Doris Humphrey and Charles Weidman. To fund the classes, she began working as a producer for Smalls Paradise, a nightclub in Harlem.
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Many of the most famous jazz musicians of the twenties and thirties played significant roles in the development, innovation, and popularization of orchestral jazz. These included Paul Whiteman (composer, violin), Louis Armstrong (trumpet, cornet, vocals), Bix Beiderbecke (cornet, piano), Red Nichols (composer, cornet), Duke Ellington (composer, piano), James P. Johnson (composer, piano), Fletcher Henderson (composer, piano), Don Redman (composer, arranger), Eubie Blake (composer, lyricist, piano), Cootie Williams (trumpet), Wellman Braud (bass), Benny Goodman (bandleader, clarinet), Andy Kirk (bandleader, saxophone, tuba), and Mary Lou Williams (composer, piano), to name some of the most important. As new technologies emerged later in the mid 20th-century, several instrumentalists continued this effort through their live performances with symphonic orchestral ensembles and jazz orchestras on the national radio and television networks. Included among this group was John Serry Sr. (composer, accordion, piano) (See Photograph)Who Is Who In Music International 1958 Publisher: Who Is Who In Music International, Chicago, Il. Biographical File #B11719.
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He won DuShon singing engagements across the US, and after he and Wilson had a row vowed that he would make DuShon a bigger star than she was. However, she then married Freddie Atwell, who became her manager, and they relocated to New York City. Ralph McNight, "Jean DuShon: A Lifetime of Blues on the Road", All About Jazz, 2 March 2007. Retrieved November 25, 2013Biography by Andrew Hamilton at Allmusic.com. Retrieved November 25, 2013 DuShon then joined Cootie Williams' band as featured vocalist, before being spotted by Ahmet Ertegun of Atlantic Records, who paired her with young producer Phil Spector. They recorded a version of Little Willie John's "Talk to Me, Talk to Me" on Atco in 1961, but it was unsuccessful. DuShon then recorded singles with various labels including Lennox, OKeh and Columbia, before joining Chess Records in 1964. Ralph McNight, "Jean DuShon", Blues On Stage, August 2002. Retrieved November 25, 2013 There she recorded three albums. The first, Make Way for Jean DuShon, was recorded with the Lou Donaldson quintet and was released on the Argo subsidiary label in 1964.
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For the 1998 Verve 8CD reissue Côte d'Azur Concerts (Verve 314-539 033-2). The release comprises 110 performances, of which 88 are previously unreleased (Most part of disc eight are rehearsal takes including studio talk). ;Disc One: Duke Ellington and His Orchestra #"Diminuendo in Blue" / "Blow by Blow" (Duke Ellington) – 8:06 #"Caravan" (Ellington, Irving Mills, Juan Tizol) – 6:06 #"Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren) – 2:51 #"Tutti for Cootie" (Ellington, Jimmy Hamilton) – 6:24 #"Skin Deep" (Louie Bellson) – 10:49 #"Passion Flower" (Billy Strayhorn) – 4:51 #"Things Ain't What They Used to Be" (Mercer Ellington, Ted Persons) – 3:02 #"Wings and Things" (Johnny Hodges) – 10:27 #"The Star-Crossed Lovers" (D. Ellington, Strayhorn) – 4:20 #"Such Sweet Thunder" (D. Ellington, Strayhorn) – 3:24 #"Madness in Great Ones" (D. Ellington, Strayhorn) – 5:23 #"Kinda Dukish" / "Rockin' in Rhythm" (Harry Carney, D. Ellington, Mills) – 5:07 #"Things Ain't What They Used to Be" – 2:35 ;Disc Two: Duke Ellington and His Orchestra featuring Ella Fitzgerald on tracks 9–11.
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In 2007, he released a critically acclaimed and two-time Grammy nominated DVD–CD project, 10 Days Out: Blues from the Backroads. This documents Shepherd as he travels the country to jam with and interview the last of the authentic blues musicians. As they tour the backroads, Shepherd, with members of the Double Trouble Band, play with a host of blues greats including Clarence "Gatemouth" Brown and Bryan Lee, Buddy Flett (with whom he jams at Lead Belly's grave), B. B. King, blues harp master Jerry "Boogie" McCain, Cootie Stark, Neal Pattman, John Dee Holeman, Etta Baker, Henry Townsend with Honeyboy Edwards, and a concert session with the surviving members of Muddy Waters' and Howlin' Wolf's bands, including luminaries such as Hubert Sumlin, Willie "Big Eyes" Smith, and Pinetop Perkins. In 2010, Shepherd was nominated for a Grammy for Live in Chicago, which featured performances with Hubert Sumlin, Willie "Big Eyes" Smith, Buddy Flett and Bryan Lee. In 2011, Shepherd released his seventh CD, titled How I Go, on Roadrunner Records.
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Sir Charles Thompson's all-star session of September 4, 1945 for the Apollo label (Takin' Off, If I Had You, Twentieth Century Blues, The Street Beat) featured Parker and Gordon. Gordon led his first session for the Savoy label on October 30, 1945, with Sadik Hakim (Argonne Thornton) on piano, Gene Ramey on bass, and Eddie Nicholson on drums (Blow Mr Dexter, Dexter's Deck, Dexter's Cuttin' Out, Dexter's Minor Mad). Parker's first session as a leader was on November 26, 1945, for the Savoy label, with Miles Davis and Gillespie on trumpet, Hakim/Thornton and Gillespie on piano, Curley Russell on bass and Max Roach on drums (Warming Up a Riff, Now's the Time, Billie's Bounce, Thriving on a Riff, Ko-Ko, Meandering). After appearing as a sideman in the R&B-oriented; Cootie Williams Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945 for the Duke label (The Man I Love, Reverse the Charges, Blue Fantasy, September in the Rain), then Dexter Gordon on January 29, 1946 for the Savoy label (Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In).
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Books set in Dexter's Laboratory were released by Scholastic and Golden Books. These books were: Under "Dexter's Laboratory": : #Dexter's Ink (2002) by Howie Dewin () : #Dex- Terminator (2002) by Bobbi J. G. Weiss and David Cody Weiss () : #Dr. Dee Dee & Dexter Hyde (2002) by Meg Belviso and Pam Pollack () : #I Dream of Dexter (2003) by Meg Belviso and Pam Pollack () : #The Incredible Shrinking Dexter (2003) by Pam Pollack and Meg Belviso () : #Dexter's Big Switch (2003) by Meg Belviso and Pamela Pollack () :: Horse of a Different Dexter (2002) by David Cody Weiss and Bobbi J. G. Weiss () :: Knights of the Periodic Table (2003) by David Cody Weiss and Bobbi J. G. Weiss () :: Cootie Wars (2003) by David Cody Weiss and Bobbi J. G. Weiss () :: Brain Power (2003) by David Cody Weiss and Bobbi J. G. Weiss () :: Zappo Change-O (2001, by Golden Books) by Genndy Tartakovsky () Five of these were unnumbered, at least on their covers. Under "Dexter's Laboratory Science Log": : #Dee Dee's Amazing Bones (2002) by Anne Capeci () : #Mixed-Up Magnetism (2002) by Anne Capeci () : #What's the "Matter" with Dee Dee? (2003) by Anne Capeci () : #Little Lab or Horrors (2003) by Anne Capeci () Publication details and book covers are on the Internet Speculative Fiction Database.
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For the 1961 Verve LP album, Verve V-4053 (Mono) & V6-4053 (Stereo) Side One: #"A Night in Tunisia" (Dizzy Gillespie, Frank Paparelli) – 4:06 #"You're My Thrill" (Sidney Clare, Jay Gorney) – 3:35 #"My Reverie" (Larry Clinton, Claude Debussy) – 3:16 #"Stella by Starlight" (Ned Washington, Victor Young) – 3:17 #"'Round Midnight" (Bernie Hanighen, Thelonious Monk, Cootie Williams) – 3:28 #"Jersey Bounce" (Tiny Bradshaw, Buddy Feyne, Edward Johnson, Bobby Plater) – 3:33 #"Signing Off" (Leonard Feather, Jessyca Russell) – 3:45 Side Two: #"Cry Me a River" (Arthur Hamilton) – 4:13 #"This Year's Kisses" (Irving Berlin) – 2:14 #"Good Morning Heartache" (Ervin Drake, Dan Fisher, Irene Higginbotham) – 4:17 #"(I Was) Born to Be Blue" (Mel Tormé, Bob Wells) – 2:42 #"Clap Hands! Here Comes Charlie!" (Ballard MacDonald, Joseph Meyer, Billy Rose) – 2:41 #"Spring Can Really Hang You Up the Most" (Fran Landesman, Tommy Wolf) – 6:13 #"The Music Goes Round and Round" (Eddie Farley, Red Hodgson, Mike Riley) – 2:27 Bonus Tracks; Issued on the 1989 Verve-PolyGram CD Reissue, Verve-PolyGram 835 646-2 and DAT W.L.S.T. 1994 835 646 - 4 15\. "The One I Love (Belongs to Somebody Else)" (Previously unreleased) (Isham Jones, Gus Kahn) – 2:12 16\.
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Trumpeter Ray Nance joined, replacing Cootie Williams who had defected to Benny Goodman. Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Recordings exist of Nance's first concert date on November 7, 1940, at Fargo, North Dakota. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in 1978 as Duke Ellington at Fargo, 1940 Live; they are among the earliest of innumerable live performances which survive. Nance was also an occasional vocalist, although Herb Jeffries was the main male vocalist in this era (until 1943) while Al Hibbler (who replaced Jeffries in 1943) continued until 1951. Ivie Anderson left in 1942 for health reasons after 11 years, the longest term of any of Ellington's vocalists. Once more recording for Victor (from 1940), with the small groups being issued on their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington's son Mercer Ellington, and members of the orchestra. "Cotton Tail", "Main Stem", "Harlem Air Shaft", "Jack the Bear", and dozens of others date from this period. Strayhorn's "Take the "A" Train", a hit in 1941, became the band's theme, replacing "East St. Louis Toodle-Oo".
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