In the one (cartoonish) picture of the Ethiopian Serenaders that includes him, he is indistinguishable from the others, from the white men.
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The president shocked the capital when he emerged from the White House to greet serenaders on Washington's Birthday and quickly moved past giving the traditional thanks, launching into a fiery speech on the failures of the Reconstruction Congress.
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Tyrannosaurus Rex: The Once and Future King In China, This Video Game Lets You Be a Tiger Mom or a Driven Dad The Hummingbird as Warrior: Evolution of a Fierce and Furious Beak These Whales Are Serenaders of the Seas.
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The liveliest track besides Tharpe's "Up Above My Head" is the Aloha Serenaders' "Tomi Tomi," where the chorus races to keep up with Sol K. Bright's fleet steel guitar and tongue-twisting vocal, and right behind him comes Big Chief Henry, who never walks when he can run either.
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Dickens had written under the pen name Boz, so when Juba went to London in 1848, under the sponsorship of a white blackface minstrel named Gilbert Ward Pelham (the leader at that time of the Ethiopian Serenaders, with whom Juba also toured), the young dancer was billed as Boz's Juba.
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But add Smith omission Sister Rosetta Tharpe as well as Lydia Mendoza, the Aloha Serenaders, and Big Chief Henry's Indian String Band, and note that two of the Smith artists are Cajun, and suddenly Smith's democratic gestalt has turned a third non-English, over a quarter female, and rather more rocking.
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Brozman was a member of R. Crumb & His Cheap Suit Serenaders from 1978 until his death in 2013.Lynch, Megan. "The Cheap Suit Serenaders," AllMusic.com. Accessed Nov.
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Lynch, Megan. "The Cheap Suit Serenaders," AllMusic.com. Accessed Nov. 17, 2019.
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Singing in the Bathtub is also the 1993 re-release title of an album by R. Crumb & His Cheap Suit Serenaders. The album was originally released in 1978 as R. Crumb and his Cheap Suit Serenaders No. 3.
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Virginia Serenaders (1844). "Lubly Fan Will You Come Out?", sheet music. Quoted in .
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The Derby Serenaders International Showband is a Marching band based in Derby, England. They have a Latin American style of music and Spanish Gypsy style of uniform. The serenaders practice at Pride Park Stadium,"Hidden Derby", Breedon Books, (1995) Derby and Queens Hall, Derby.
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Armstrong has been a member of R. Crumb and his Cheap Suit Serenaders since the 1970s, performing vocals, musical saw, and guitar. As of 2006, Crumb is no longer much involved with the group; Armstrong continues to perform with the band.Lynch, Megan. "The Cheap Suit Serenaders," AllMusic.com.
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The Hawaiian Serenaders, renamed as The Esme Lee Islanders, did continue for a while under the promotion of bandleader/songwriter Billy Reid.
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In 1849, he was touring with the Olympic Circus. He was still performing regularly in the mid 1850s. Diamond eventually joined the Ethiopian Serenaders minstrel troupe.Day 49.
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In 1930 she recorded a side with the Washboard Serenaders for Victor,Harris, Sheldon (1994). Blues Who's Who (Revised Ed.). New York: Da Capo Press. p. 43. .
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The Ethiopian Serenaders was an American blackface minstrel troupe successful in the 1840s and 1850s. Through various line-ups they were managed and directed by James A. Dumbolton (1808-?),U.S. Passport application, National Archives and Records Administration (NARA); Washington D.C.; Roll #: 17; Volume #: Roll 017 - 01 Sep 1845-31 Mar 1846. Age given as 37 in 1845 and are sometimes mentioned as the Boston Minstrels, Dumbolton Company or Dumbolton's Serenaders.
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He was one of the first persons to write songs for the concerts of Ethiopian serenaders. ‘Miss Ginger’ and ‘Dinah Dear,’ both in 1847, became very popular ditties.
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He made records with Piron's New Orleans Orchestra in 1923, and later with his band the Creole Serenaders. In later years he performed at Preservation Hall in New Orleans.
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Working as a bookseller in Richmond, Ford then wrote a farce dealing with contemporary life. The farce was entitled Richmond As It Is, and was produced by a minstrel company called the Nightingale Serenaders. This farce was fairly successful, and George Kunkel, the owner and manager of the Serenaders, offered Ford a position with the organization. He accepted, and for several seasons traveled as business manager of this company throughout the United States and Canada.
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Henry Burr recorded the song on March 14, 1919. It was released under Columbia Records. The East Texas Serenaders recorded a version of the song. It was released under Brunswick Records.
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In 1942 the Serenaders appeared in a variety show called the Yankee Clipper including a troupe of Hula Dancers from around the world which he called his "South Sea Lovelies" and for which he would make up a story about each dancer and would involve audience members in the show as well. At its peak, the troupe numbered about fifty people. During World War II, Mendelssohn spent some time in the Life Guards, but still managed to regularly broadcast with his Serenaders on "Songs of the Islands", and later on "Hawaii Calling" featuring singer Rita Williams. After the war, the Serenaders appeared on radio shows like "Workers Playtime", "Variety Bandbox", and "Music for the Housewife", as well as many Variety tours.
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The Serenaders received donated musical instruments from aid organizations and whatsoever the German captors could scrounge up. One instrument was an unusual trombone that Wally described as a plumber's nightmare. They 'sacrificed' this instrument so that other POW's could turn it into a still. The 1963 motion picture The Great Escape, which greatly depicts some of the Serenders and Kinnan's experiences, showed a choir singing while the escape started but in actuality, it was the Serenaders.
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The band's 33⅓ rpm albums, all recorded in the 1970s on the Blue Goose Records label, were titled R. Crumb and his Cheap Suit Serenaders (1974), R. Crumb and his Cheap Suit Serenaders No. 2 (1976), and R. Crumb and his Cheap Suit Serenaders No. 3 (1978); the latter two were reissued on the Shanachie Records label in 1993 as Chasin' Rainbows and Singing In the Bathtub respectively. As a novelty, the band issued a number of 78 rpm 10-inch singles for Blue Goose, long after the format was obsolete. The most familiar is probably R. Crumb and his Cheap Suit Serenaders' Party Record (1980), with the double-entendre "My Girl's Pussy" on the "A" side and X-rated "Christopher Columbus" on the "B" side. The band's self-titled debut LP is currently out of print, though the tracks "Get a Load of This" and "Cheap Suit Special" were re-released on the R. Crumb Music Sampler CD, which was included with The R. Crumb Handbook (M Q Publications, 2005).
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The East Texas Serenaders were an American country group formed in Lindale, Texas in 1927. The five-piece musical ensemble was an early innovator in the musical genre later defined as Western swing.
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Source: Felix Mendelssohn & His Hawaiian Serenaders on Discogs His first recording for Parlophone was in November 1939 then Mendelssohn got a two-year contract with the parent company, Columbia Graphophone Company records in 1941.
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Anna Mae Winburn was an early collaborator with Hunter.(nd) "Anna Mae Winburn". About.com. Retrieved July 4, 2007. Nat Towles' band once out-played The Serenaders to make their own name in Omaha's music history.
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On November 30, 1937, the group recorded 10 sides for Decca Records. Shortly thereafter, the ensemble disbanded. On October 14, 1998, Document Records released all of the Serenaders' recorded material on the compilation album Complete Recorded Works.
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It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.
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Felix Mendelssohn's Hawaiian Serenaders was a popular Hawaiian music band started by Felix Mendelssohn (19111952). It is best known for making Hawaiian music popular in England and throughout Europe during the late 1930s and throughout the 1940s.
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He is also a member of the Ingrid project Starlight Serenaders. The group collaborated with producer Claptone, providing vocals on the track "Puppet Theatre". The song is the first single from the album Charmer, released in October 2015.
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Robert Armstrong (born 1950) is a cartoonist, illustrator, painter, and musician. He is known for his underground comix character Mickey Rat, for popularizing the term "couch potato," and for being a member of Robert Crumb's band the Cheap Suit Serenaders.
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Playbill for Pell's > Serenaders, with whom Boz's Juba was playing in 1848 In 1848, a dancer > billed as "Boz's Juba" performed in London, England. He was a member of the > Ethiopian Serenaders, a blackface minstrel troupe under the leadership of > Gilbert W. Pell (or Pelham). The company had performed in England two years > prior, when they had made minstrelsy palatable to middle-class British > audiences by adopting refinements such as formal wear. With Boz's Juba as > its newest member, the company toured middle-class theaters and lecture > halls in the British Isles for the next 18 months.
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Asa "Ace" Harris (April 1, 1910, New York City – June 11, 1964, Chicago) was an American jazz pianist. Harris played in several territory bands in the 1930s, working with Billy Steward's Serenaders in 1932 and with Bill Mears's Sunset Royal Serenaders from 1935. In 1937 Harris took over leadership of the Sunset Royal Serenaders, and recorded with them that same year; he remained with the group until 1939. In 1940 Harris became Pianist for Bill Kenny & The Ink Spots replacing Bob Benson. Harris can be heard playing Piano with The Ink Spots on many Top 10 Pop hits including "Whispering Grass", "Maybe", "We Three (My Echo, My Shadow & Me)", "Java Jive", "I'll Never Smile Again", "I'd Climb The Highest Mountain", "We'll Meet Again", "Do I Worry", "Until The Real Thing Comes Along", "I Don't Want To Set The World On Fire", "Someone's Rocking My Dreamboat", "It's A Sin To Tell A Lie" and more.
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Boyk was born on October 14, 1917 in Everett, Washington. In the 1930s he was with the Cascade Hillbillies and the Rancho Serenaders. From 1953-1964 he played with the Sons of the Golden West. Later he toured and recorded with Ray Price.
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Lamare was born in New Orleans. He got his nickname from his friend, Eddie Miller, because he had curly hair. He started playing trumpet, then dropped it for banjo when he was thirteen. Weeks later, he was a member of the Midnight Serenaders.
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Quoted in Nathan 269. Buckley's Serenaders performed the song in London in late 1860, and by the end of the decade, it had found its way into the repertoire of British sailors.Whall, W. B. (1913). Sea Songs and Shanties, p. 14. Quoted in Nathan 269.
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In 1845, the Ethiopian Serenaders purged their show of low humor and surpassed the Virginia Minstrels in popularity.. Shortly thereafter, Edwin Pearce Christy founded Christy's Minstrels, combining the refined singing of the Ethiopian Serenaders (epitomized by the work of Christy's composer Stephen Foster) with the Virginia Minstrels' bawdy schtick. Christy's company established the three-act template into which minstrel shows would fall for the next few decades. This change to respectability prompted theater owners to enforce new rules to make playhouses calmer and quieter. Minstrels toured the same circuits as opera companies, circuses, and European itinerant entertainers, with venues ranging from lavish opera houses to makeshift tavern stages.
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Yvonne Curtis (born Yvonne McIntosh) is a singer of Jamaican descent. She has lived in the United Kingdom since the early 1960s. She became the lead singer of The Serenaders and often travels back and forth from the Caribbean Islands performing as a reggae and soca artist.
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"Canadian stars record famine relief song; Seasoned pros and young Turks join to make 'Tears Are Not Enough'". Montreal Gazette, February 11, 1985. The Sincere Serenaders have never released another album, although they have sometimes performed reunion concerts in Winnipeg."Graham Shaw returning to serenade home folks".
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The Mena Moeria Minstrels – South Sea Breeze This group featured Joyce Aubrey and Ming Luhulima.Recollecting Resonances: Indonesian-Dutch Musical Encounters Edited by Bart Barendregt and Els Boegerts Page 286 Chapter twelve, Rein Spoorman Having been successful with the Mena Moeria Minstrels, he started the Amboina Serenaders.
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Several lyrics set to the tune exist, with their meanings being very similar, as the exact original lyrics are generally considered to be unknown. Felix Mendelssohn & His Hawaiian Serenaders used the tune of Terang Bulan in their song Mamula Moon, on their 1947 album Paradise Isle.
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Retrieved 6 October 2020 Their first major performance was for John Tyler at the White House in 1844 as part of the "Especial Amusement of the President of the United States, His Family and Friends".12 September 1844. Ethiopian Serenaders Booklet, London. Quoted in Toll 31.
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Daniels, Douglas Henry (2006), p. 194. During that time Winburn was a collaborator of Lloyd Hunter, frequently singing for Lloyd Hunter's "Serenaders". She also led the Cotton Club Boys out of Omaha, a group that at one point included the amazing guitarist Charlie Christian.(nd) International Sweethearts.
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The label went out of business in 1928. Bell artists included the Hotel McAlpin Orchestra, the Lanin Melody Orchestra, Arthur Hall, the Bell Serenaders, Frank Daly's Bell Record Orchestra, Nathan Glantz, the Hollywood Ramblers, the Roseland Dance Orchestra, Hazel Meyers, the Club Folly Orchestra, and the Golden State Orchestra.
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Accessed June 14, 2019. (American Splendor is based on the writings of Harvey Pekar, with whom R. Crumb collaborated many times.) The Cheap Suit Serenaders' version of "My Girl's Pussy" is used as the opening theme song of the Australian television comedy series Laid, which premiered in 2011.
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From 1923 to 1926 he recorded extensively with Lovie Austin's Blues Serenaders, and also did sessions with his own Washboard Band. He died in 1928 at the peak of his career. His entire output as a leader was reissued on two compact discs by RST Records in 2000-2001.
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The latter rag in particular was Williams' tour de force as he accumulated more notes per bar than almost any fiddler of the era was capable to play. Some of the classical stylings Williams mastered is attributed to a wandering fiddler "from the north" who is only known by his surname Brigsley. Between October 25, 1928 and November 25, 1930, the Serenaders recorded 14 sides for Brunswick Records including "Shannon Waltz" which was later compiled on the 1981 compilation album The Smithsonian Collection of Classic Country Music. In 1930, Munnerlyn departed the group to move to Houston and was replaced by Shorty Lester, whose brother, Henry, occasionally played fiddle in live performances and the Serenaders' final recording sessions.
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Ferbos' first professional music jobs were in the early 1930s with society jazz bands like the Starlight Serenaders and the Moonlight Serenaders, performing at well-known New Orleans venues like the Pythian Roof Garden, Pelican Club, San Jacinto Hall, Autocrat Club, Southern Yacht Club and the New Orleans Country Club. In 1932, he joined Captain Handy's Louisiana Shakers and played the Astoria and toured the Gulf Coast. He later backed blues singer Mamie Smith while playing with the Fats Pichon Band. During the Depression, he worked as a laborer in New Orleans City Park for the Works Progress Administration, then played first trumpet in the WPA jazz band, of which he is the last surviving member.
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"There's More to Life Than This", the fourth track on Björk's 1993 album Debut, was recorded live in the toilets of the Milk Bar clubnight, London. The retro string band R. Crumb & His Cheap Suit Serenaders recorded a song called "Singing in the Bathtub" for their third album, released in 1978.
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He played piano from age eight. He worked in the second half of the 1920s as a pianist and accordionist in dance bands in Paris, Australia, Hawaii, and California. He also wrote music for films by D.W. Griffith and played in Paul Howard's Quality Serenaders. In 1930 Foresythe moved to Chicago.
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The third-person verses also allowed for commentary to suggest to the audience how they were to judge the character and his antics. Individual companies probably selectively performed verses from the song or added new ones.Mahar 229–230. For example, the Virginia Serenaders added verses about the Irish, Dutch, and French.
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By 1926, Stone had formed a group, the Blue Serenaders, and cut his first record, "Starvation Blues", for Okeh Records in 1927. For the next few years he worked as a pianist and arranger in Kansas City, recording with Julia Lee among others, and then in the 1930s organised a larger orchestra.
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Prince Albert Hunt's Texas Ramblers out of Terrell in East Texas, and the East Texas Serenaders in Lindale, Texas, both added jazz elements to traditional music in the later half of the 1920s through the early 1930s.Boyd, Jean Ann. Jazz of the Southwest: An Oral History of Western Swing. Austin: University of Texas Press, 1998.
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Moore eventually joined the Virginia Serenaders in 1844, appearing with them as a negro minstrel at the Halfway House theatre, Broadway, and later in the same capacity with other troupes. While struggling to establish himself fully in his stage career he worked as a cabinet maker and also appeared in a knife-throwing act.
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And for a time in 1950, singer Jaye P. Morgan was part of his band 'The Penny Serenaders'. Along with Amand Gautier, Penny co-founded the Palomino Club in Hollywood in 1949. The club was open seven days a week. On Monday nights after closing time, it was "open stage" to west coast jazz musicians.
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Robertson's playing on these tracks consisted of "short notes in a sometimes percussive way [...with] some elements similar to Ory's phrasing, rhythmic sense, and voicing [...] though with less glissando". With the Levee Serenaders, another Morton-led band, Robertson recorded "Midnight Mama" and "Mr. Jelly Lord" in 1928. These two sides, plus the two from 1923, are his only recordings.
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The identity of Boz's > Juba is open to doubt. "Boz" was a pen name used by Dickens. The Ethiopian > Serenaders quoted from Dickens's American Notes in their press releases, and > The Illustrated London News considered the black dancer to be the same > person Dickens had seen in New York in 1842. Dickens never refuted the > claims.Winter 228–29.
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Ming Luhulima, also known as Lou Lima was a Netherlands-based recording artist originally from the Maluku Islands, which were part of the Dutch East Indies. He was closely associated with Rudi Wairata during his career. Luhulima was a member of the Amboina Serenaders and the Mena Moeria Minstrels, and also led the Krontjong Ensemble Pantja Warna.
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Mumford first joined the Serenaders, and then joined David McNeil in Billy Ward & the Dominoes, where he replaced Jackie Wilson. As the Dominoes’ lead singer, he was responsible for two big hits in 1957, "Stardust" and "Deep Purple". Later, both Mumford and McNeil performed as members of a version of The Ink Spots. Mumford died in 1977.
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Pua Almeida (1922–1974) was a Hawaiian steel guitarist, considered a leading performer on that instrument. Almeida (sometimes given as "Alameida") was born in 1922 in Honolulu. His musical start began in the band of his father, John Kameaaloha Almeida. He formed his own big band, "The Sunset Serenaders" and performed at several top venues around Hawaii.
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Albert Snaer (January 29, 1902 – 1962) was an American jazz trumpeter. Snaer was born, in New Orleans, Louisiana and there studied with Paul Chaligny. He worked on riverboats on the Mississippi River in the 1920s, playing in the bands of Fate Marable, Dewey Jackson, and George Augustin. With Augustin, he co-led a band called the Moonlight Serenaders.
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Being a black man, he appeared with minstrel troupes in which he imitated white minstrel dancers caricaturing black dance using the phenomenon Blackface. Even with his success in America, his greatest success came in England. In 1848 "Boz's Juba" traveled to London with the Ethiopian Serenaders, an otherwise white minstrel troupe. Boz's Juba became a sensation in Britain for his dance style.
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The eldest brother Jerry, a veteran of the Ethiopian Serenaders, Campbell's Minstrels, E.P. Christy's Minstrels and other troupes, sang and played tambourine and bones. Dan Bryant, who had toured with Losee's Minstrels, the Sable Harmonists and Campbell's Minstrels, sang and played banjo. Neil (Cornelius) Bryant played accordion and flutina. Other members, including English-born fiddler Phil Isaacs, rounded out the original roster.
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At age eight, he started piano lessons. He was an economics major at Dartmouth College in New Hampshire, where he graduated cum laude and Phi Beta Kappa in 1933. During his college days, Weston had his own band called "the Green Serenaders"; this allowed him to pay his own college tuition. Weston also learned how to play the clarinet so he could travel with the college band.
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Moe was born "on the road" in Jubbulpore, India to Samoan father Pulu and Filipino/Hawaiian mother Louisa, then musical stars touring with Felix Mendelssohn’s Hawaiian Serenaders. The Moes were a major force in introducing Hawaiian entertainment to Europe and Asia in the early 1900s. Josefa was also nephew to Pulu’s brothers Tauivi, Fuifui, as well as Tau of the renowned Tau Moe family.
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The brothers first began singing together at family gatherings. By 1967, they had decided to pursue a musical career. They sang on stage for the first time at "Asiri Kusum," a fund raiser for St. Bridget's Convent. They shared the bill with other harmony vocal groups like La Ceylonians, Moonstones, La Lavinians, Los Flamingos, Humming Birds, La Bambas, Los Muchachos and Trio Los Serenaders.
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The city's brass band and groups of drummers and mandolin-toting kantadoroi (serenaders) accompany the Carnival King (or Queen). During 2014 the satirical theme was the Carnival King depicted with Euro signs indicative of the economic crisis in Europe. On an earlier occasion the Carnival Queen was presented as Angela Merkel as they had then considered her responsible for the economic crisis in Cyprus.
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The Blues Serenaders developed their own unique sound within the jazz genre. They strayed away from the typical jazz band paradigm. Austin worked with many other top jazz musicians of the 1920s, including Louis Armstrong, with whom she worked on the song "Heebie Jeebies". Austin's skills as songwriter can be heard in the classic "Down Hearted Blues", a tune she co-wrote with Alberta Hunter.
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R. Crumb and his Cheap Suit Serenaders Number 2 is the second 33⅓ rpm album by the retro string band R. Crumb & His Cheap Suit Serenaders and its subtitle was "Persian Rug, Crying My Blues Away, Moana March and Other Favorites". The album was later retitled Chasin' Rainbows in re-release on CD (Shanachie 6002, 1993 - ASIN: B000000DSO) from Shanachie Records. The band's personnel includes Robert Crumb on lead vocal and banjo, Allan Dodge on mandolin, violin, ukulele and vocals, Robert Armstrong on guitars, accordion, banjo, musical saw and vocals, Terry Zwigoff, who later produced the documentary Crumb, on cello. Originally released on Blue Goose Records in 1976, this record became a collectible not only for the whimsical string band renditions of and reminiscent of the early 20th century music, but for the cover art drawn by the band's frontman and well-known comics artist Robert Crumb.
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Nevertheless, the Serenaders' assertions were > promotional, and Dickens may not have remembered the exact look or > characteristics of the dancer he had seen in the Five Points. Writers from > the period and later have generally identified Boz's Juba as the same person > Dickens had seen during his visit to New York and who had danced against > Diamond. Boz's Juba seems to have been a full member of Pell's troupe.
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The band is referenced in the 2001 film Ghost World, directed by Zwigoff. Enid asks Seymour about the band's second album, Chasin' Rainbows, and Seymour replies, "Nah, that one's not so great." The Cheap Suit Serenaders songs "Chasin' Rainbows" and "Hula Medley" were both featured on the American Splendor (Original Motion Picture Soundtrack), released by New Line Records in 2003."Various – American Splendor (Original Motion Picture Soundtrack)," Discogs.
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Ming Luhulima By 1953, the line up was Jack Salakory, Rudi Wairata, Joyce Aubrey, Luhulima and Joop Sahanaya.Indo-Rock Gallery Rudi Wairata, 1953 The serenaders, previously called The Mena Moeria Minstrels had lost Rudi Wairata due to a disagreement within the group. That year Luhulima became the leader.Waikiki Islanders Rudi Wairata In 1958, he covered Harry Belafonte's "Island In The Sun" released as "Eiland In De Zon" bw "Conjo".
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"Mysterious Mose" was a song from early 1930, written by Walter Doyle and first recorded by Ted Weems and his Orchestra. In addition to its appearance in the short, there have been numerous recordings of the song, including Harry Reser and his Radio All-star Novelty Orchestra, Cliff Perrine and his Orchestra, Karl Radlach and his Orchestra, Rube Bloom and his Bayou Boys, and R. Crumb & His Cheap Suit Serenaders.
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Between September 1923 and October 1929, she recorded 78 titles for Paramount. For her numerous recording sessions, Paramount provided Cox with outstanding backup musicians, including the pianist Lovie Austin and her band, the Blues Serenaders, featuring Jimmy O'Bryant (clarinet) and Tommy Ladnier (cornet). During this period, Cox also recorded songs for other labels, including Broadway and Silvertone, using the pseudonyms Kate Lewis, Velma Bradley, Julia Powers, and Jane Smith.
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Gentle Men is an album released in 1997 by English folk singers Roy Bailey and Robb Johnson in collaboration with Belgian singer Vera Coomans and Belgian jazz band Koen De Cauter and the Golden Serenaders. The album takes the form of a song cycle inspired by the experiences of Johnson's grandfathers during the First World War, and was released as part of the Vredesconcerten Passendale (Paschendale Peace Concerts) series.
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During the tour, she met Levi Augustus Smith, a pianist and variety artist from Philadelphia, USA. The two married in 1902 after moving to London in 1895. In 1927, Smith and five other entertainers formed the Southern Serenaders, a group that recorded on the Parlophone label. In 1928, she was an understudy for Alberta Hunter in a production of Show Boat at the Drury Lane Theatre in London.
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During the 1930s, McKay was a vocalist in the Lew Stone dance band. In the 1940s McKay was a contributor to the war effort with ENSA concerts on the forces programme. McKay was a member of the Debonaires, a quartet, including Alex Dore, Nadia Dore and Harry Brooker. The Debonaires sang with the Ambrose Orchestra, Felix Mendelssohn's Hawaiian Serenaders, Eric Winstone and his band, and also had a late night radio show.
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48 (2006); Austin was also a session musician for Paramount Records. Austin and the Blues Serenaders recorded with Paramount Records during their temporary shift from New York to Chicago in 1923. When the classic blues craze began to wane in the early 1930s, Austin settled into the position of musical director for the Monogram Theater, at 3453 South State Street in Chicago where all the T.O.B.A. acts played. She worked there for 20 years.
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R. Crumb and his Cheap Suit Serenaders are an American retro string band playing songs from, and in the style of, the 1920s: old-time music, ragtime, "evergreen" jazz standards, western swing, country blues, Hawaiian, hokum, vaudeville and medicine show tunes. Underground cartoonist Robert Crumb was the band's frontman and album cover artist. Other members of the band include fellow cartoonist Robert Armstrong and filmmaker Terry Zwigoff (who directed the 1995 documentary Crumb).
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This group had the same lineup as his previous group, with the addition of a vibraphone-player.Dutch Exotica Artists, 11. Amboina Serenaders – Bali Bali Boogie In 1957, RCA released "Rock and Roll and Breezes" backed with "Mahalani Papado," credited to Rudi Wairata & His Hawaiian Minstrels.Rate Your Music Rock and Roll and Breezes / Mahalani PapadoUniversity of Hawai‘i at Mānoa Library Performer > Rudi Wairata and his Hawaiian Minstrels In 1958 Wairata joined the Kilima Hawaiians group.
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One of the groups Luhulima was in was the Netherlands- based Mena Muria Minstrels. This group was formed by Rudi Wairata and featured Joyce Aubrey the ex-wife of George De Fretes.Recollecting Resonances: Indonesian-Dutch Musical Encounters Edited by Bart Barendregt and Els Boegerts Page 286 Chapter twelve, Rein Spoorman Another group he was in was The Amboina Serenaders.Geheugenvannederland.nl From Moluccan history and culture in pictures of the Museum Maluku, The Amboina Serenaders o.l.v.
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Richard was also a part-time clarinetist and had a dance band to get through med school: Dick Parks and His White Swan Serenaders. Van Dyke's mother was a Hebraic scholar. Growing up, there were two grand pianos nestled in the family living room, and at age 4, Parks began studying the clarinet. He attended the American Boychoir School in Princeton, New Jersey, studying voice and piano, and would sing "Gershwin, Schoenberg, atonal music, everything".
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In between his participation with the McDiarmid band, Benny played with the Wally Lavque's band, also at the Royal Hawaiian Hotel. He toured the mainland with the Royal Hawaiian Serenaders, appearing in movies and on recordings. Benny Kalama was with Andy Bright's band the years 1952–1955 at the Moana Hotel in Waikiki. In 1955, he began working with Alfred Apaka in Las Vegas, followed by 15 years with Henry Kaiser's Hawaiian Village.
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Dumbolton formed a new, expanded, troupe of Serenaders, again fronted by Pelham. With the addition of William Henry Lane, a black man known as "Master Juba", they returned to London in June 1848, when they performed at Vauxhall Gardens and toured in England and Scotland. The other performers were Thomas F. Briggs, J. H. Everton, James H. Irwin, M. C. Ludlow, and J.W. Valintine. They returned to the United States in 1849.
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Frank Chanfrau In the spring of 1857, Chanfrau became the manager of the Bowery Theatre (at that time known as Brougham's Bowery Theatre). By this time, the popularity of the Mose character was waning, so Chanfrau turned to other parts. He did satires of Edwin Forrest, Shakespeare, and a version of Dan Rice's circus. In late June, he moved to the theatre at 585 Broadway (previously home to Buckley's Serenaders) and renamed it the New Olympic Theatre.
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The Spirit of the Times even described the music as vulgar because it was "entirely too elegant" and that the "excellence" of the singing "[was] an objection to it."October 9, 1847, writing about the Ethiopian Serenaders. Quoted in . Others complained that the minstrels had foregone their black roots.. In short, the Virginia Minstrels and their imitators wanted to please a new audience of predominantly white, middle-class Northerners, by playing music the spectators would find familiar and pleasant.
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Knauff was a music teacher in Virginia, who compiled popular and folk fiddle tunes into a large compendium, Virginia Reels (1839). Buckley was born in England and came to America as a young man and, with his father and two brothers, formed the Buckley Serenaders. This minstrel show toured America and Europe. J.E. Boswell also published a minstrel version ("Wait For The Wagon: A New Ethiopian Song & Melody") in 1851, as arranged by W. Loftin Hargrave.
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From 1924 to 1926 he led his own ensemble; later in 1926 he played with Speed Webb, and in 1927 he spent time with Mutt Carey's Jeffersonians and Paul Howard's Quality Serenaders. Late in 1927 he relocated to Chicago, and held a job as an arranger for the Melrose Music Publishing Company, while simultaneously arranging for the Carroll Dickerson Orchestra. He played with Jimmy Wade in 1928, Jimmie Noone in 1929, and Sammy Stewart in 1930.
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"Wild Women Don't Have the Blues", "Wild Women Don't Get the Blues", or simply "Wild Women" is a vaudeville-style blues song recorded by American singer Ida Cox with Lovie Austin's Blues Serenaders in 1924. It has a strong feminist message. The song has been performed by numerous classic female blues singers, including Bessie Smith. Later renditions include those by Francine Reed, Barbara Dane, Nancy Harrow, Sue Keller, as well as Cass Elliot with The Big 3.
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Jackson was born in Houston, Texas. He was blind, and took up the saxophone and clarinet. By the mid 1930s he was based in San Diego, California, where he played with pianist Joe Liggins in the Creole Serenaders. He and Liggins then moved to Los Angeles, and in the early 1940s they formed the Honeydrippers, a band that took its name from the song "The Honeydripper", which became a number one R&B; hit in 1945.
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This song was later covered in 1976 by Ian Whitcomb, in 1978 by R. Crumb & His Cheap Suit Serenaders, in 2004 by Kitten on the Keys, and in 2007 by Blag Dahlia. In 2013, it was featured in The Rigano Songbook's cabaret "I Ought to Behave and other Naughty Songs" with David and Paul Rigano at Don't Tell Mama (a long established Manhattan cabaret restaurant on 46th Street) in a medley with the song "Here, Pussy, Pussy".
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Mendelssohn began to have health issues, but the serenaders could perform without him. By October 1950 he had quit touring altogether, but continued with the broadcasts. Then in December, he underwent an operation for "glandular problems" and was back on the road by May 1951. Unfortunately, his health became worse and on 4 February 1952 after entering Charing Cross Hospital, he died from Hodgkin's lymphoma at the age of 40 and is buried at Golders Green cemetery.
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He and his younger brother Emil and Simon Garcia formed the Hawaiian Serenaders and performed locally.Carlin 2003, p. 185. Influenced by Milton Brown and Bob Wills, Hofner became a singer in a band that played what was later called Western swing, a combination of country music and jazz. He kept his day job as a mechanic while performing at night in clubs in San Antonio. In the 1930s, Hofner, Emil, and fiddler Jimmie Revard started the band the Oklahoma Playboys.
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This was the fifth Sons of Hawaii incarnation. On November 16, 1985, Eddie Kamae and the Sons of Hawaii were featured on A Prairie Home Companion, along with the Kahelelani Serenaders, Taj Mahal with Carlos Andrade and his band, and the Kamehameha High School Glee Club, as well as Chet Atkins and Johnny Gimbel plus the show regulars. This is one of their few live recordings. Songs played by The Sons of Hawaii include Hanakeoki, E Hihiwai and the classic Ulili E (Sandpiper).
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Bonfá first gained widespread exposure in Brazil in 1947 when he was featured on Rio's Rádio Nacional, then an important showcase for up-and-coming talent. He was a member of the vocal group Quitandinha Serenaders in the late 1940s. Some of his first compositions such as "Ranchinho de Palha", "O Vento Não Sabe", were recorded and performed by Brazilian crooner Dick Farney in the 1950s. Bonfá's first hit song was "De Cigarro em Cigarro" recorded by Nora Ney in 1957.
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Upon Clay's return, he held a residency at the Vernon County Club in Los Angeles, then broke up this band and formed a new one called the Dixie Serenaders, which counted Teddy Buckner and Les Hite among its members. Clay played solo and led bands until 1941, at which time he led a band as a member of the Special Services Division. He retired from music in the 1940s but returned around 1960 to record solo and play in clubs.
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Eden and John's East River String Band are an American, New York City-based duo, who play country blues from the 1920s and 1930s. The members are John Heneghan (guitar, mandolin and vocals) and Eden Brower (ukulele and vocals). The duo often have other musicians sit in with them, including Dom Flemons (formerly of Carolina Chocolate Drops), Pat Conte (of the Canebreak Rattlers and Otis Brothers) and Robert Crumb (of the Cheap Suit Serenaders). The East River String Band has released six albums.
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Coursework is taught during the school day and includes classes in Acting, Tap, Jazz Dance, Drawing, Piano, Film making, Concert Choir, Serenaders, Women's Choir, Chamber Choir, and International Baccalaureate Music and Art, to name a few. All subjects and grade levels integrate the arts. There are four grade level teams including teachers in English, Math, Science, Social Studies, Reading, and Foreign Language. The Sayles School of Fine Arts is housed in a wing at Schenectady High School, built as an addition in 2001.
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Johnson was born in Detroit, Michigan, in 1938. He began his career singing with a doo-wop group, the Serenaders, in the mid-1950s. With budding talents not only as a singer but also as a songwriter and pianist, he was discovered by Berry Gordy while Johnson performed at a carnival. Gordy had already decided to form his first record label, Tamla, and Johnson's recording of their song "Come to Me" was the label's first single, released in May 1959.
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Off and on from late 1926 through 1928, he was featured on the Whitman Sisters' Show with pianist Troy Snapp's band. During the early 1930s, Carpenter was featured with Smiling Boy Steward's Celery City Serenaders and another Florida band led by Bill Lacey. In the mid-1930s, he began regular touring with bandleaders including Jack Ellis, Dick Bunch, and Jesse Stone. In the late 1930s, he settled in New York City, where he worked with Skeets Tolbert and Fitz Weston.
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Ellington moved out of his parents' home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, "The Duke's Serenaders" ("Colored Syncopators", his telephone directory advertising proclaimed). He was also the group's booking agent. His first play date was at the True Reformer's Hall, where he took home 75 cents.. Ellington played throughout the D.C. area and into Virginia for private society balls and embassy parties.
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Now focusing on pedal steel and lap steel guitars, Bogdan has made guest appearances in a number of musically diverse bands, including playing the song "Ramblin' Man" with Hank Williams III for The Melvins' album The Crybaby. He worked extensively with The Moonlighters, a Hawaiian steel guitar/jazz band that played very frequently in New York City. Bodgan also played lap steel on several songs on Bahamut, the debut album of the group Hazmat Modine. Bogdan lives in Portland, Oregon and plays with the Midnight Serenaders.
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The reality of the situation in the Stalag system was even more dire and cruel, where life often hinged on having enough to eat. Kinnan persuaded the German captors to find some decent musical instruments so they could put on some organized musical programs. Kinnan and a group of Who's Who's of music that were all interred in German Camps founded a band called the Sagan Serenaders. Kinnan and Pilot Officer Leonard Whiteley of the British Royal Air Force organized and led the group.
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The Serenaders contributed to the effort regularly by practicing their instruments to mask the sound of digging. Towards the end of the war as the Red Army were nearing Stalag Luft III, the Germans forced marched 12,000 prisoners to Stalag VII-A in Bavaria. When the German guards marched the prisoners, including the band members, out of the camp, some assumed they were being marched into a field for execution. However, the forced march proceeded through a blizzard to Spremberg almost 200 miles away.
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Extending his satirical reach beyond print, he also led Jacinto W. y sus Tururú Serenaders, a 1958 musical group created as a parody of the Doo-wop ensembles popular at the time. His illustrations appeared in a large number of Argentine publications at the time, notably in El Gráfico and El Mundo. He established a satirical publication, Tía Vicenta, with fellow caricaturist Oski in 1957. The current events weekly quickly became a success, and by the early 1960s, enjoyed a circulation of nearly 500,000.
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Born in Chicago, Illinois, Jones moved to Alabama, where he learned to play several instruments, including saxophone, piano, and drums. He worked as a drummer and tap-dancer at carnival shows until joining Walter Page's band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, and later joined pianist Count Basie's band in 1934. Jones, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an "All-American Rhythm section," an ideal team.
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Beginning in 1937 she made a number of recordings with the Harlem Hamfats, including her paean to marijuana, "If You're a Viper", and the ribald "Let Your Linen Hang Low". The latter was noted by one music journalist as "Howard engaging Kansas Joe McCoy in sexy banter". She also recorded with Herb Morand and Odell Rand, who were members of the group. In 1939 she recorded with the Harlem Blues Serenaders, who included Charlie Shavers, Buster Bailey, Lil Armstrong, Henry "Red" Allen and Barney Bigard.
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He started to import singers to the US and began to have a monopoly on calypso there. Late 1938 he brought calypso to New York City night life at the Village Vanguard with the Duke of Iron, Gerald Clark and his Calypso Serenaders and a half dozen dancers. The show included satirical acts on important issues of the day. The Calypso Kid stages the revues at the Vanguard with the songs "Edward the VIII" or "Roosevelt in Trinidad" made into small skits with pantomime and dance.
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One night Argüello, the announcer of Radio Moderna, finds Juanita in the street, decides to help her, and then they fall in love. This couple solve the mystery of the kidnapping of Alicia Reyles at the end of the film, when the station is given a new direction. The main musical numbers are rehearsals and performances of the two tango stars, Amanda Ledesma and Rosita Contreras. There are also outstanding performances by the Juan d'Arienzo's well-known orchestra and the Santa Paula Serenaders jazz band.
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After moving to Los Angeles in 1911, he got early professional experience with Wood Wilson's Syncopators in 1916, Satchel McVea's Howdy Band, and Harry Southard's Black and Tan Band. Howard played in the bands of both King Oliver and Jelly Roll Morton when they toured California. He first recorded with the Quality Four in 1922-23, then played with Sonny Clay in 1925 before forming his own group, the Quality Serenaders, later that year. Among his sidemen were Lionel Hampton and Lawrence Brown (trombone).
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In 1846, an amateur performance of Ben Jonson's Every Man in his Humour included Dickens playing Captain Bobadil.Schlicke, p. 13 Mitchell had a fondness for international entertainments, and presented German conjurors, Tyrolean singers, dramatic readings by Fanny Kemble, P. T. Barnum's infant prodigies – Kate and Ellen Bateman, aged eight and six – in scenes from Shakespeare, and, most popular of all, the Ethiopian Serenaders who enthused London about the American-style minstrel shows, a form of entertainment that remained popular for decades.Mander and Mitchenson, pp.
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Ruben Ramos was born in to a family music legacy dating to post-World War I Texas. Ruben's uncles began performing just after the World War I in 1919 as Juan Manuel Perez y Los Serenaders. Meanwhile, Ruben's father, Alfonso Ramos Sr., worked the cotton fields and the railroads; he also played the fiddle while his mother, Elvira Perez, played the guitar at family gatherings. At the end of World War II, Ruben's Uncle Justin re-formed the band as Justin Perez and His Ex-GIs.
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Aspheim was a member of Norway's first trad jazz band 'Dixie Serenaders' from 1949 to 1952, of 'Big Chief Jazzband' from 1952 to 1978 and then initiated his own orchestra Aspheim Oldtimers in 1979. They appeared at several jazz festivals in Norway and Germany and toured extensively in Europe. The orchestra has seven album releases. He also ran and developed the family business 'Aspheim Flygel- og Pianosenter', which he acquired in 1954 and developed into one of Scandinavia's largest grand piano and piano companies.
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Swan was born in Fitchburg, Massachusetts to Finnish parents who had immigrated to the United States at the turn of the century; he was the second of nine children. His father was a keen amateur musician and before Einar Swan had entered his teens, he played violin, clarinet, saxophone and piano. At the age of 16 he was already playing in his own dance band, Swanie's Serenaders, and travelling around Massachusetts for three years. Swan's main instrument had been the violin but during this period he switched to alto saxophone.
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Josefa was raised in an English boarding school while his mother and father performed the world over. In his teen years, Josefa traveled with his parents who starred in Felix Mendelssohn's Hawaiian Serenaders, experiencing great adventures and soaking up all the magic of European vaudeville from backstage as well as meeting greats like Laurel and Hardy and Terry-Thomas who was a close friend of Pulu Mo'e. Later, in college, Josefa was educated in the fine art of calligraphy. For a time, Josefa was also a middleweight Golden Gloves boxing champion.
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The Globe and Mail, February 6, 1981. Originally from Winnipeg, Manitoba, Shaw performed in several local bands — including a stint in The Deverons alongside Burton Cummings before Cummings left to join The Guess Who. He formed the band The Sincere Serenaders in 1977, and was signed to Capitol Records. Shaw later revealed that the Capitol contract was for him as a solo artist, and that when he was preparing to record the band's debut album the label pressured him to fire the band and rely on session musicians, although he refused.
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He later joined an R&B; group called The Serenaders. He moved to Houston, Texas in 1963, at the age of 17, and recorded his first regional hit, "Go Go Train" b/w "I'll Be Home" on the Jetstream label in 1965. The success of that single led to a 45-city tour with the Stax revue, which at the time featured headliners like Otis Redding (to whom Payne's voice has sometimes been compared), Sam & Dave, Rufus Thomas, and Carla Thomas. His career was checked when he entered the United States Army in 1968.
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See: Music of Cape Verde There are more Cape Verdeans outside of their homeland than there are in the island chain itself. In the United States, California and Hawaii are home to large Cape Verdean populations, but the largest concentration is in New England, especially Rhode Island and Southeastern Massachusetts. Many of these immigrants came via whaling ships in the 19th century. Cape Verdean music is most famously morna, but other genres exist and the Cape Verdean community has produced string bands like The B-29s, Notias, Augusto Abrio and the Cape Verdean Serenaders.
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Nectoux, pp. 85–86 The Société presented Fauré's orchestrated version of the work on 24 April 1880, with Musin again the soloist and the orchestra conducted by Edouard Colonne. The Fauré specialist Jean-Michel Nectoux comments that although the composer "attached no importance to this conventional little piece", it was taken up by violinists "from international soloists to café serenaders with an enthusiasm that bordered on mania". Nectoux wrote in 2004 that he had found more than sixty recordings of the Berceuse, ranging from Eugène Ysaÿe's in 1912 to Yehudi Menuhin's in the 1970s.
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The reviews do agree that Juba's dance was novel to the point of > indescribability, frenzied, varied in tempo and tone, well-timed, > percussive, and expressive. He was an integral member of the troupes with > which he toured, as evidenced by the roles he played in the minstrel show > presented by Pell's Ethiopian Serenaders. Juba did three dances in two > forms. He performed "festival" and "plantation" dances in formal attire with > Thomas F. Briggs on banjo, and dressed in drag to perform the role of Lucy > Long in the song of that name, sung by Pell.
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One notable exception may have been Perls' three Blue Goose albums of R. Crumb & His Cheap Suit Serenaders, which were enormously entertaining recordings by the cartoonist (and collector of early jazz and blues records) Robert Crumb and several of his California friends. The last Blue Goose album, "Roy Smeck: Wizard of the Strings" was issued in 1980. Many of the Blue Goose releases were subsequently converted to compact disc format by a company in Japan whose name translates to Airmail Recordings. Some of these CD's are still available in the U.S. as collectors items.
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He played in Dave Taylor's "Taylor's Dixieland Orchestra (Serenaders)" from 1929, with his first known recording in 1931, as a vocalist and on alto sax. In 1934 he moved to New York City, where he played with Charlie Alexander before joining the house band at the New York night club, the Savoy Ballroom. In 1936 he played with Fats Waller, primarily alto sax, this time was clearly highly influential on Tolberts own style of writing and arranging. He played in a band with athlete Jesse Owens in 1937.
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She did her best to live up to that calling. Hailed as the undisputed "Queen of Parang" for her vocal prowess and the many triumphs and popularity of the band she led, the La Divina Pastora Serenaders, Daisy Voisin left an indelible mark on the local Parang scene in Trinidad and Tobago. Armed with her sweet, powerful voice and a bouquet of flowers in hand, she ruled Parang music in for countless years. Her signature songs "Hurray Hurrah" and "Alegría, Alegría" becoming Christmas classics, sung with her characteristic musical trill "aiyee, aiyee".
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"When Louis Armstrong saw the show one night, he continued clapping after others had stopped and remarked, 'Boy I never saw anything that great'." Despite her talent, she had fewer opportunities to hold residencies as a bandleader at clubs in New York or Chicago, like many of her male peers. Instead, she predominantly toured, playing concerts throughout the US, Europe, and China. In 1926, she toured London and Paris with Lew Leslie's "Blackbirds" revue and then from 1926 to 1929, she toured with Jack Carter's Serenaders in Shanghai, Singapore, Calcutta, and Jakarta.
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Crumb cover artwork for the 1968 Big Brother and the Holding Company album Cheap Thrills. Crumb has illustrated many album covers, including most prominently Cheap Thrills by Big Brother and the Holding Company and the compilation album The Music Never Stopped: Roots of the Grateful Dead. Between 1974 and 1984, Crumb drew at least 17 album covers for Yazoo Records/Blue Goose Records, including those of the Cheap Suit Serenaders. He also created the revised logo and record label designs of Blue Goose Records that were used from 1974 onward.
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According to the sleevenotes, Bailey, Johnson and Coomans all contribute lead vocals, and Johnson also plays guitar and whistle. Koen De Cauter plays saxophone, guitar and clarinet, and the Golden Serenaders band also includes Hendrik Braeckman on guitar, Dajo De Cauter on double bass, Myrdhin De Cauter on clarinet, Jan De Coninck on trumpet, Philip Hoessen on accordion and Willy Seeuws on drums. Piet Chielens produced the album, which was recorded and mixed by Rudy Dekeyzer. All songs were written by Johnson and arranged by De Cauter and his band.
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When working on film scores, he was part of a "guitar orchestra" called "Deaf Elk" with other guitarists. He periodically returned to New York to work with his band Gandhi, which is where several of the songs appearing on Size Matters began. Bogdan formed the Moonlighters in New York with Bliss Blood, for whom he played steel guitar, before returning home to Oregon to play for the Midnight Serenaders. Stanier took a break from drumming, but returned to play drums for Tomahawk, The Mark of Cain, Battles and Primer 55.
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Attempting to imitate the sounds he heard, he requisitioned the Martin guitar belonging to his father, tuned it to slack-key, and used the barrel of his clarinet as a slide across the strings. His father, explaining that Akaka was playing steel guitar, continued to encourage his musical endeavors. Akaka graduated from the University of Hawaii with a degree in Music Education. From 1979 until 1985 he worked with as a performer at the Royal Hawaiian Hotel in conjunction with Jerry Byrd, Tihati's Royal Hawaiian Troupe, and the Leina'ala Simerson Serenaders.
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Biography by Bruce Eder, Allmusic.com. Retrieved December 1, 2019. Using the name Lord Burgess, he began singing and playing guitar in New York City clubs, developing a repertoire based around songs from the Caribbean he had learned as a child or collected in visits to the area. After performing as Lord Burgess in the Village Vanguard in 1954, and releasing an album, Lord Burgess' Calypso Serenaders (aka Folk Songs of Haiti, Jamaica and Trinidad) on Stinson Records, a mutual friend, William Attaway, suggested that Burgie write songs for Belafonte.
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In late 1845, with line-up changes but retaining Germon and Stanwood, the Serenaders left for a tour in England (and possibly Ireland). An advertisement in The Times referred to their first concert, to be held at the Hanover Square Rooms on 21 January 1846.The Times, Friday, Jan 16, 1846, p. 1, Issue 19135, col A The performers were Francis Carr Germon, Moody G. Stanwood, Gilbert Pelham (or Pell; the younger brother of Dick Pelham, with whom he had previously performed), George Alfred Harrington, and George Warren White.
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Other companies adopted Tucker for comedy sketches, such as burlesques of La sonnambula by Buckley's Serenaders in 1850 and Sanford's Opera Troupe in 1853.Mahar 107. The song became so identified with Emmett and the Virginia Minstrels that it became part of their foundation myth. Billy Whitlock and George B. Wooldridge both claimed that the troupe members played "Old Dan Tucker" in their first impromptu performance together: > ... as if by accident, each one picked up his tools and joined in a chorus > of "Old Dan Tucker," while Emmett was playing and singing.
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He formed his own band, the Dixie Serenaders, in 1921, while he was a student at Morris Brown University, and changed the name to Dixie Ramblers a few years later. Around this time he also played with Eddie Heywood, Sr., and toured with the 101 Ranch traveling show. In the 1920s he worked with Gene Coy, Andy Kirk, Blanche Calloway, Ira Coffey, and Willie Bryant. He moved to New York City in the early 1930s and did short stints with Benny Carter and Sam Wooding before joining George White's ensemble on Broadway.
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She returned to Los Angeles to play with Roy Milton from 1937 through 1941, then joined Luke Jones' trio, with whom she recorded. Additionally, she was also the colluder of the Satin Dolls, a group of musicians, Dixieland. She married Jasper Jones in the early part of the decade, taking the name Betty Hall Jones. By 1942 she had joined Paul Howard's Quality Serenaders as pianist and arranger, but also led her own Betty Hall Jones Trio in clubs and hotels, mostly in southern California where she was raising her children.
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Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. While he lived in Chicago, Hampton saw Louis Armstrong at the Vendome, remembering that the entire audience went crazy after his first solo. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club.
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Hill staged a comeback in 1946 with Lovie Austin's Blues Serenaders, and recorded for Rudi Blesh's Circle label. She began appearing on radio and in clubs and concerts in New York, including in 1948 the Carnegie Hall concert with Kid Ory, and she sang at the Paris Jazz Festival, and worked with Art Hodes in Chicago. She was back again in 1950, when she was run over by a car and killed in New York at the age of 45. She is buried at the Lincoln Cemetery, Blue Island, Cook County, Illinois.
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His range was nearly two octaves. He was said to be "handsome" and had a strong stage presence. Bowers found the stage an ideal platform from which to espouse his opposition to racial inequality. He was purportedly reluctant to launch a public singing career until he realised: "What induced me more than any thing else to appear in public was to give the lie to 'negro serenaders' (minstrels), and to show to the world that coloured men and women could sing classical music as well as the members of the other race by whom they had been so terribly vilified".
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The group's line-up consisted of Daniel Huggins Williams (fiddle), John Munnerlyn (banjo), Cloet Hamman (acoustic guitar), Henry Bogan (cello), and an unidentified second guitarist. Williams, the designated frontman and primary songwriter of the ensemble, was a rare left-handed fiddler who also later tutored other musicians such as Johnny Gimble. Munnerlyn was a part-time musician as he worked United Gas Pipeline Company, while Hamman learned the rudiments of guitar as he was backing up his father, a locally renowned musician in Lindale. Unique to early Western swing ensembles of the era, was the Serenaders' feature of the cello, played by Bogan.
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2000, page 180.), Sammy Stewart, Clarence M. Jones (1928), Erskine Tate (1930) and Kline Tyndall's Paramount Serenaders. Under his own name, first in a duo with Tyndall or Alex Channey, then with his trio Jazz Maniacs (Kline Tyndall, Lawrence Dixon) - he recorded several titles for Paramount in 1926. In 1929 he followed it up by recording with Hattie McDaniels and Frankie Jaxon as Vance Dixon and His Pencils. In 1931 he recorded several titles for Columbia/Okeh in New York, including the humorous numbers "Laughing Stomp"Vance Dixon at Red Hot Jazz and "Meat Man Pete (Pete, The Dealer In Meat)").
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With his father's approval, Hines left home at the age of 17 to take a job playing piano with Lois Deppe and His Symphonian Serenaders in the Liederhaus, a Pittsburgh nightclub. He got his board, two meals a day,. "I remember that I really went for their apple dumplings". and $15 a week... Deppe, a well-known baritone concert artist who sang both classical and popular songs, also used the young Hines as his concert accompanist and took him on his concert trips to New York. In 1921 Hines and Deppe became the first African Americans to perform on radio.
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Harold Andrew "Duke" Dejan (February 4, 1909 – July 5, 2002) was an American jazz alto saxophonist and bandleader in New Orleans. Dejan is best remembered as leader of the Olympia Brass Band, including during the 1960s and 1970s when it was considered the top band in the city. Born into a Creole family in New Orleans, he took clarinet lessons as a child before switching to saxophone, and became a professional musician in his teens, joining the Olympia Serenaders and then the Holy Ghost Brass Band. He played regularly in Storyville, at Mahogany Hall, and on Mississippi riverboats.
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"It's a Sin to Tell a Lie" is a 1936 popular song written by Billy Mayhew, introduced early that year on records by many dance bands including Dick Robertson on the 78rpm record Champion 40106, and later popularized by Fats Waller on Victor 25342 and re-issued on Victor 20-1595. It was recorded in French by Cajun singer Cléoma Breaux in 1936 or 1937.. Four further recordings of the song were made in 1936, namely by Freddy Ellis and His Orchestra (April), Victor Young and His Orchestra (April), Elton Britt (September), Roy Smeck and His Serenaders and Vera Lynn.
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Bunn was considered one of the best acoustic guitarists of the 1930s. He appeared on record for the first time in 1929 as a member of a trio with trumpeter Red Allen and pianist Fats Pichon, then as a guest with the Duke Ellington orchestra. Soon after, he recorded with the Six Jolly Jesters in the first of many washboard-and-kazoo sessions during his career with bands such as The Washboard Rhythm Kings and the Washboard Serenaders. During the following year, he participated in a rare session with Jelly Roll Morton and clarinetist Wilton Crawley.
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Bruce began his musical career playing guitar with the Southern Serenaders and the Hillbilly Swing Kings. On October 22, 1951, Bruce signed a recording contract with Columbia Records in Nashville, Tennessee and recorded all-time popular Cajun songs such as "Dans La Louisiane" (1952), "Fille de la Ville," and "Clair de la Lune," recording with Chet Atkins, Grady Martin, Tommy Jackson, Owen Bradley and Shook Jackson. Vin was one of the first Cajuns to perform on the stage of the Grand Ole Opry and the Louisiana Hayride. In the mid-1950s, Vin's career took a downturn as Rock and Roll became popular.
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Another song in the film that would later be used as the theme song to the 1988 British sitcom Clarence. In the 1950s, the song was used as the theme song for Sunnyside Up, a variety program produced by HSV-7 (a television station in Melbourne, Australia). The song's melody was later adapted by the Essendon Football Club for its club song, "See the Bombers Fly Up", written by Kevin Andrews in 1959.History behind every AFl club theme song A 1929 recording of the song by Johnny Hamp's Kentucky Serenaders plays during the closing credits of the 1973 film Paper Moon.
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Gloeckner began cartooning at the age of 12. Because her mother was dating Robert Armstrong, a cartoonist in Robert Crumb's band Cheap Suit Serenaders, she met many San Francisco underground comics figures who had a profound influence upon her, including Robert Crumb, Aline Kominsky, Bill Griffith, Terry Zwigoff, and Diane Noomin. Gloeckner attended San Francisco State University from 1980 to 1985, where she was a pre-med student and studied French and art. She spent the 1983–1984 academic year in Université d’Aix- Marseille studying art, French, and biology, and from 1984 to 1985 spent about six months studying Czech and literature at Charles University in Prague.
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Kinnan was born in Tacoma, Washington to the late Henry Wallace ("Wally") Kinnan, and Marjorie Ahrendt. His father, Wally Kinnan, a pioneering television meteorologist and early television personality, was also a B-17 pilot during World War II and was shot down, spending nearly two years as a POW in Stalag Luft III. While interned Wally was a founding member of the Sagan Serenaders, a group of musicians who were immortalized in the movie The Great Escape for holding concerts to cover the sound of digging associated with the escape attempt. Wally's war-time and peacetime service created in Tim a strong interest in the US Air Force.
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In 1958, Marv Johnson was singing with a local group the Serenaders in Detroit. It was while performing at a carnival in Michigan that Johnson was noted by rising record label impresario Berry Gordy, who was looking to sign acts into his fledgling company. Originally the label was to be called Tammy Records, which he named after the Debbie Reynolds hit, "Tammy", that is until a record label of the same name took notice, forcing Gordy to alter the name to Tamla Records. After discovering Johnson, he convinced him to sign with Tamla and in February 1959, the 20-year-old Johnson co-wrote and recorded the song, "Come to Me".
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In the 1930s he played with Willie Bryant, Bobby Martin's Cotton Club Serenaders, Benny Carter, Chick Webb, Rex Stewart, and Hot Lips Page. Hill was in Europe in the late 1930s when he fled to Switzerland at the outbreak of World War II. There he played with Mac Strittmacher before returning to the United States in 1940. Following this he played with Maurice Hubbard, Hopkins again, Zutty Singleton, Louis Armstrong (1943), Cliff Jackson, Herbie Cowens, and Minto Kato. In 1949 he returned to Europe, where he played in Switzerland and Italy with Bill Coleman and then in Germany with Big Boy Goudie until 1952.
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Sterling Belmont "Bozo" Bose (September 23, 1906, Florence, Alabama - June 1958, St. Petersburg, Florida) was an American jazz trumpeter and cornetist. His style was heavily influenced by Bix Beiderbecke and changed little over the course of his life. Bose's early experience came with Dixieland jazz bands in his native Alabama before moving to St. Louis, Missouri in 1923. He played with the Crescent City Jazzers and the Arcadian Serenaders, and with Jean Goldkette's Orchestra in 1927-28 after the departure of Beiderbecke. Following this he worked in the house band at radio station WGN in Chicago before joining Ben Pollack from 1930 to 1933.
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The women were purported to be a musical group known as the "Female American Serenaders". Many of the titles of the acts suggested that nudity would be on display, such as "The Sultan's Favourite returning from the bath" or "Cupid and Psyche". One of the few existing depictions of an event shows two women onstage, unclothed except for a loose skirt below the waist of one, and a sash wrapped between the legs and over the shoulder of the other. Although the poses plastiques were never considered a serious form of art, Nicholson's version has been described as the most low brow form that it took.
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Many songs that originated in minstrelsy (such as "Camptown Races" and "Carry Me Back to Old Virginny") are now considered American classics. While it was originally performed by whites costumed in either fanciful "dandy" gear or pauper's rags with their faces covered in burnt cork, or blackface, the minstrels were joined in the 1850s by African- American performers. The dancer William Henry Lane (better known by his stage name Master Juba) and the fiddling dwarf Thomas Dilward were also "corking up" and performing alongside whites in such touring ensembles as the Virginia Minstrels, the Ethiopian Serenaders, and Christy's Minstrels. Minstrel troupes composed entirely of African Americans appeared in the same decade.
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Despite a stammer and, by his own admission, "limited musical ability", he put together his own dance orchestra that played on Radio Luxembourg and BBC. It was in these performances that he would have them occasionally play a Hawaiian song, inspired by a visit to the South Sea Islands. Realizing a long-standing ambition to form a Hawaiian band, in 1938 Mendelssohn took over a band led by Canadian steel guitarist, Roland Peachy and renamed it "Felix Mendelssohn's Hawaiian Serenaders". While dressed in a white suit and always wearing a Polynesian garland of flowers around his neck, he merely stood by while the talent performed.
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In year 2000 The Serenaders fell apart upon the death of three of its members and Curtis went back to World Sound Records to continue recording her new songs. In 2013 on a joint venture with Browns Records she released an album entitled 'Lets Unite in Love' which was distributed VP Records in the US. The album was an instant success and caused a notable demand for Curtis' music worldwide. In 2015 Curtis met record producer and label owner Mark Anthony Blak Prophetz and joined Digital Jukebox Records in 2015. The first release was a three CD compilation of her greatest hits, followed by a crossover version of the Christmas medley ‘When a Child is Born’ & ‘Mary's Boy Child’.
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He also suggests that there may have been Jewish influences on the rendition by Cab Calloway. A melody very similar to the Armstrong version can be found in an instrumental composition entitled "Charleston Cabin", which was recorded by Whitey Kaufman's Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of "Gambler's Blues"). As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release: I went down to St. James Infirmary, Saw my baby there, Stretched out on a long white table, :So cold, so sweet, so fair.
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Born in Hackney Hospital, East London, on 29 May 1945, Brooker grew up in Hackney before the family moved out to Middlesex (Bush Hill Park and then to nearby Edmonton). His father Harry Brooker was a professional musician, playing pedal steel guitar with Felix Mendelssohn’s Hawaiian Serenaders, and as a child Brooker learned to play piano, cornet and trombone. In 1954 the family moved to the seaside resort of Southend-on-Sea, Essex, where Brooker attended Westcliff High School for Boys. His father died of a heart attack when Gary was 11 years old, forcing his mother to work in order to make ends meet, while Brooker himself took on a paper-round.
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His solo vocal and piano works of this time earned him particular acclaim for their expression of Brazilian musical styles, such as the choro, the modinha, and the valsas (waltzes) reminiscent of strolling serenaders. Mignone's music is noted for its lyricism, colorful instrumentation, and improvisatory style. Most of his early works are tonal, as is typical of the popular and folk music, though later in his career he branched out into polytonal, atonal, and serial writing. In the late 1950s Mignone drifted away from the nationalistic music and toward the then-current trends in academic concert music, composing works such as his 1958 Piano Concerto, which showcase his skillful instrumentation and bravura writing.
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He > wore blackface makeup and played the endman, Mr. Tambo (a tambourine player) > opposite Pell's Mr. Bones (on the bone castanets). He sang standard minstrel > songs, such as "Juliana Johnson]" and "Come Back, Steben", and he performed > in sketches and "conundrum" contests. Despite this apparent level of > integration into the act, advertisements for the troupe set Juba's name > apart from the other members. The Serenaders continued through Britain and > played establishments such as the Vauxhall Gardens. The tour ended in 1850. > Its run of 18 months was the longest uninterrupted minstrel tour in Britain > at that time.Winter 229–31. Juba and Pell then joined the troupe headed by > Pell's brother, Richard Pelham.
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Brooks toured and recorded with Mamie Smith in the early 1920s, then settled in California. Beginning 1923, he and Paul Howard co-led the Quality Four, a quartet with vocalist named after the Quality Cafe at 12th and Central in Los Angeles. Its members were : Henry "Tin Can" Allen (drums) : Harvey O. Brooks (piano) : Jessie Derrick (vocals) : Leon H. Herriford (1894–1937) (clarinet, alto saxophone)Reginald T. Buckner, A History of Music Education in the Black Community of Kansas City, Kansas, 1905-1954, Journal of Research in Music Education, Vol. 30, No. 2 (Summer, 1982), pp. 91-106 : Paul Howard (clarinet, tenor sax) Brooks recorded with the Quality Four and Howard's Quality Serenaders.
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Crumb has frequently drawn comics about his musical interests in blues, country, bluegrass, cajun, French Bal-musette, jazz, big band and swing music from the 1920s and 1930s, and they also heavily influenced the soundtrack choices for his bandmate Zwigoff's 1995 Crumb documentary. In 2006, he prepared, compiled and illustrated the book R. Crumb's Heroes of Blues, Jazz & Country, with accompanying CD, which derived from three series of trading cards originally published in the 1980s.Danny Baker, "What a feast of Crumbs", The Observer, 8 October 2006. Retrieved December 17, 2013 Crumb was the leader of the band R. Crumb & His Cheap Suit Serenaders, for which he sang lead vocals, wrote several songs and played banjo and other instruments.
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Pelham played bones and was the lead clown; Harrington (bass) and White (baritone) sang and played banjo, a newly- introduced instrument at the time; Stanwood (tenor) played accordion; and Germon (alto) played tambourine and sang comic ballads. Their songs included "Buffalo Gals", "Lucy Neal", and "Old Dan Tucker". For most of 1846, they performed regularly at the St James's Theatre in London. "Juba and the Ethiopian Serenaders in the UK: 1842-52: Timeline: Itinerary and Reviews", The JUBA Project. Retrieved 6 October 2020 They played in taverns and theatres, as well as private concerts for the aristocracy; they appeared before the Duke of Devonshire, "Negro Minstrels", The New York Clipper, October 7, 1876.
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In Filipino music, the kapanirong is a serenade (from the root word sirong which means "to go beside a house") by a group of young bachelors who would go to a maiden's house and play their music by the window. The house occupants would then invite the serenaders into the house and in the ensuing merrymaking some courtship could take place among the young. The instrumental ensemble consists of a two-stringed guitar or lute called kotiyapi, a bamboo flute called insi, a bamboo harp called kobing, a two-stringed bamboo tube zither called sirongaganding, and a brass tray called tintik. The kapanirong may or may not have added percussion from the portable gandang drum.
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Detail from cover of The Celebrated Negro Melodies, as Sung by the Virginia Minstrels, 1843 Dan Emmett performing in blackface The Virginia Minstrels or Virginia Serenaders was a group of 19th-century American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy Whitlock, Dick Pelham, and Frank Brower. After a successful try-out in the billiard parlor of the Branch Hotel on New York City's Bowery, the group is said to have premiered to a paying audience nearby at the Chatham Theatre, probably on January 31, 1843.Whitlock, who detailed the beginnings of the group, stated that the event was a benefit for Pelham.
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Yvonne Curtis with the Serenaders in 1978 A local recording producer needed a backing vocalist for his musical project and a contest was held in Stockwell, South London. Having been advised to enter, the young Curtis came second in the contest to her best friend who came first from which producer took them both on asking them to conduct vocals session works. During the mid-1970s Curtis joined a local band called the Okendoes and Chalis thereafter to which she found no real success. After many different small projects in 1975 and no real commercial success she began working with a record label called Third World Music under Shelly Barrett aka Count Shelly who released Curtis's first song entitled "What's Your Name" which was an instant success.
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Things began moving and she soon left Third World Records to sign with London's Empire Records which was a subsidiary division of Jamaica's Channel One Studios with whom she released another hit song called 'Convenient Woman', written by Curtis. After two years she left Empire Records to release her own single called 'No Charge' which was on World Sounds Records before joining a successful Reggae band called The Serenaders who were signed to Brown's Music Records. The first release by this band was a single entitled 'Only for Lovers' and soon after came 'Sweet Loving' which was a successful hit song written by Curtis. The song did extremely well and caused a huge demand for her tours and performances globally.
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Lloyd Hunter's Serenaders were one of several black territory bands that played venues in the African American community of the Near North Side of Omaha from the early 1920s through the big band era. In 1924, Hunter formed his first six-piece band. In 1927 it became an 8-piece band with Lloyd Hunter on trumpet, Elmer Crumbley on trombone, Noble Floyd on clarinet and alto sax, Bob Welch on trombone, tenor sax and bass sax; Burton Brewer on piano; Julius Alexander on banjo; Wallace Wright on tuba, and; Amos Clayton on drums. As was usual, the band toured the area playing one night stands. By 1929, the band was heard on radio stations KGBZ in York, Nebraska; KFAB in Lincoln, Nebraska; and WOW in Omaha.
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Elbern H. "Eddie" Alkire (December 6, 1907 – January 25, 1981) was America's most recognized performer, teacher, and innovator of the twentieth-century Hawaiian guitar. Born and raised in rural West Virginia Alkire utilized his skills as a guitarist and musician to become a teacher and composer for Oahu Music Company in October 1929 after having traveled to Pittsburgh to study electrical machines as an employee for a West Virginia coal company. He became music director for the Oahu Serenaders which performed on over 1000 coast-to- coast broadcasts for NBC and CBS that aired from Cleveland, Ohio during the first years of network radio. In 1934 Alkire started his own company in Easton, Pennsylvania to publish music and teach the guitar.
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A Mr Glover opposed the application for a licence (it appears Mr Glover was another publican), but the licence was granted in any event. The Hotel originally provided, apart from food and drink, lodgings for travellers, and a stables. The Supreme Court of South Australia case of Wayland v Taylor concerns a dispute between a contractor and a sub-contractor for building work done in relation to the Hotel in 1851. On 19 May 1851 a meeting of residents of the north-east corner of Adelaide took place at the Hotel, to consider proposals for a road from the city through the Parklands to Kensington and Norwood. In July 1851, a number of concerts were given at the Hotel by a group known as the 'Ohio Serenaders'.
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In 1979 Tyle played and recorded with the Turk Murphy Jazz Band in San Francisco, then returned to Portland to form a swing music band named Wholly Cats (named after a number written and recorded by Benny Goodman and Count Basie). The band was a popular fixture on the Portland scene from 1979–1984, releasing an album in 1982. After disbanding the group's vocalist and guitarist, Rebecca "Becky" Kilgore, went on to become a popular freelance artist and has made many recordings and festival appearances. Tyle moved to New Orleans in 1989, immediately becoming an in-demand performer with a number of groups, including Steve Pistorius's Mahogany Hall Stompers, Jacques Gauthe's Creole Rice Jazz Band, and John Gill's Dixieland Serenaders .
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In the early 1920s, Smith played with local Memphis jazz bands before going on the road with territory bands such as the Connor and McWilliams Boston Serenaders, William Holloway and the Merrymakers, and Eli Rice's Plantation Cotton Pickers. In Kansas City he led his own bands and in 1930 played with George E. Lee and then in Pennsylvania led his own White Hut Orchestra and worked with Blanche Calloway and Charlie Gaines. Around that time he recorded with the Washboard Rhythm Kings.Grove Dictionary of Music and Musicians Arriving in New York City in 1934, he worked with Benny Carter, Claude Hopkins, and Hot Lips Page and into the 1940s worked in the bands of Lucky Millinder, Andy Kirk, Snub Mosley, among others.
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The siblings' aggregate body of musical compositions in the Hawaiian language numbers in the hundreds. According to the Smithsonian Institution's museum curator John Troutman, music composed by the Na Lani ʻEhā, "became wildly popular" during their lifetimes, published in the media of its day, and performed by numerous groups throughout the kingdom. The Hawaiian Music Hall of Fame, formed in 1994, acknowledges the royal siblings as their patrons, stating that the Royal Four were the progenitors of the music and arts culture that Hawaii has come to be known for. In 2007, the Hawaiian Music Hall of Fame released an album, titled Na Lani ʻEhā, featuring renditions of the works of the four royal composers performed by Ku‘uipo Kumukahi and the Hawaiian Music Hall of Fame Serenaders.
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Blue Goose Records was an American independent record label set up in the early 1970s by Nick Perls. While on Blue Goose's sister label, Yazoo Records, Perls compiled rare 78 rpm recordings from the 1920s by Charley Patton, Blind Willie McTell, Memphis Jug Band, Blind Blake, and Blind Lemon Jefferson. On Blue Goose Records he recorded not only 'rediscovered' black blues artists like Sam Chatmon, Son House, Yank Rachell, Shirley Griffith and Thomas Shaw, but also younger blues and jazz performers, including Larry Johnson, Jo Ann Kelly, Woody Mann, John Lewis, Roy Book Binder, R. Crumb & His Cheap Suit Serenaders, Rory Block, Roger Hubbard and Brett Marvin and the Thunderbolts' member Graham Hine. Most of the Blue Goose Records albums were re-released in 2002 on CD by the Japanese record company, Air Mail Recordings.
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Sam recorded with a plethora of ensemble arrangements, under names such as Lanin's Jazz Band, Lanin's Arcadians, Lanin's Famous Players, Lanin's Southern Serenaders, Lanin's Red Heads, Sam Lanin's Dance Ensemble, and Lanin's Arkansaw Travelers. He did not always give himself top billing in his ensemble's names, and was a session leader for an enormous number of sweet jazz recording sessions of the 1920s. Among the ensembles he directed were Ladd's Black Aces, The Broadway Bell-Hops, The Westerners, The Pillsbury Orchestra and Bailey's Lucky Seven. He had a rotating cast of noted musicians playing with him, including regular appearances from Phil Napoleon, Miff Mole, Jules Levy, Jr., and Red Nichols, as well as Jimmy Dorsey, Tommy Dorsey, Mannie Klein, Jimmy McPartland, Bix Beiderbecke, Eddie Lang, Bunny Berigan, Nick Lucas and Frankie Trumbauer.
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Only one disc actually saw release, Randy Newman's "I Think It's Going to Rain Today", a track from his self-titled debut album (with "The Beehive State" on the flipside). Reprise did not proceed further with the series due to a lack of sales for the single, and a lack of general interest in the concept. In 1978, guitarist and vocalist Leon Redbone released a promotional 78 rpm record featuring two songs ("Alabama Jubilee" and "Please Don't Talk About Me When I'm Gone") from his Champagne Charlie album. In 1980, Stiff Records in the United Kingdom issued a 78 by Joe "King" Carrasco containing the songs "Buena" (Spanish for "good," with the alternate spelling "Bueno" on the label) and "Tuff Enuff". Underground comic cartoonist and 78 rpm record collector Robert Crumb released three vinyl 78s by his Cheap Suit Serenaders in the 1970s.
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Gene Ramey (April 4, 1913 - December 8, 1984) was an American jazz double bassist. Ramey was born in Austin, Texas, and played trumpet in college, but switched to contrabass when playing with George Corley's Royal Aces, The Moonlight Serenaders, and Terrence Holder. In 1932 he moved to Kansas City and took up the bass, studying with Walter Page. He became a fixture on the Kansas City swing jazz scene in the 1930s, and played with Jay McShann's orchestra from 1938 to 1943. In 1944 he moved to New York City, where he played with Lester Young, Count Basie, Ben Webster, Coleman Hawkins, Charlie Parker, Hot Lips Page, Horace Silver, Thelonious Monk (as a member of Monk’s first trio in 1947, together with drummer Art Blakey),Texas State Historical Association Retrieved 2012-08-27 and Miles Davis.
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Barney Fagan was born as Bernard J. Fagan in Boston, son of Douglass and Ellen Fagan. His father was the deputy wharfinger (old term that today is called a harbormaster) at Battery Wharf. He made his first professional appearance in Boston at the Howard Athenaeum in 1860, as the Cabin Boy in The Pilot of Brest. He remained at this theatre several seasons until 1865 when he played his first minstrel engagement with the Morris Brothers in Boston. In 1870, Fagan went to Saint John, New Brunswick, Canada, and appeared with Pete Lee's Minstrels. In 1873 he joined Buckley's Serenaders in Boston, and took a fellow dancer, Joe Parks, as a partner. During the period 1873-1876, Fagan and Parks, known as the American Lads, played variety engagements. In 1876 he did the famous Heifer dance with Richard Golden in Evangeline.
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Ellington eventually took over leadership of the band, which contained the nucleus of what later became his famous orchestra. Snowden made numerous appearances as a session musician, sideman, or accompanist on almost every New York City label from 1923 on, often in trios with Bob Fuller on clarinet and Lou Hooper on piano. Although these musicians accompanied dozens of well-known female blues singers, they rarely received named credit, except for two sides with Bessie Smith in 1925, and six sides with the Sepia Serenaders in 1934. Snowden was also a renowned band leader – Count Basie, Jimmie Lunceford, Bubber Miley, "Tricky Sam" Nanton, Frankie Newton, Benny Carter, Rex Stewart, Roy Eldridge and Chick Webb are among the musicians who worked in his various bands. Very active in the 1920s as an agent and musician, Snowden at one time had five bands playing under his name in New York, one of which was led by pianist Cliff Jackson.
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Fanny Davenport (April 10, 1850 - September 26, 1898) was an American stage actress. The daughter of Edward Loomis Davenport and Fanny Vining, she was born in London, England, but was brought to America when a child and educated in the Boston public schools. When seven years old she appeared at the Howard Athenæum in Boston, as the child of Metamora. Barney Fagan (January 12, 1850 - January 12, 1937) made his first professional appearance in his native city of Boston at the famous Howard Athenaeum in 1860, as the Cabin Boy in the "Pilot of Brest." He remained at this theatre several seasons until 1865 when he played his first minstrel engagement with the Morris Brothers in Boston. In 1870 Mr. Fagan went to St. Johns, New Brunswick, Canada, and appeared with Pete Lee’s Minstrels. In 1873 he joined Buckley’s Serenaders in Boston, and took a fellow dancer, Joe Parks, as a partner. During the period 1873-1876, Fagan and Parks, known as the American Lads, played variety engagements.
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There is little evidence to > indicate whether Juba portrayed the wench role in sexual or burlesque style. > However, a review from Manchester, England, implies that it was the former: > >> With a most bewitching bonnet and veil, a very pink dress, beflounced to the waist, lace-fringed trousers of the most spotless purity, and red leather boots,—the ensemble completed by the green parasol and white cambric pocket handkerchief,—Master Juba certainly looked the black demoiselle of the first ton to the greatest advantage. The playing and singing by the serenaders of a version of the well-known negro ditty, furnished the music to Juba's performance, which was after this fashion:-Promenading in a circle to the left for a few bars, till again facing the audience, he then commenced a series of steps, which altogether baffle description, from their number, oddity, and the rapidity with which they were executed ... The promenade was then repeated; then more dancing; and so on, to the end of the song. > > A caricature of Juba and Pell from the 1848 season shows Juba in a > characteristic dance pose.
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