User:Fess1918
Per Oldaeus is an artist, musician (drummer), researcher with a profound love and encyclopedic knowledge of all types New Orleans music, in addition Blues, Gospel, Jazz, R&B, Soul, Folk music, plus various forms of 20th Century African & West Indian Music.
Since 1966, Oldaeus has made many visits to New Orleans. He has played in numerous bands, and toured the Scandinavian countries, plus, the UK, Germany, Holland, Belgium. Oldaeus has also played occasional jobs in New Orleans, with for instance: the late Sadie Goodson (pno & voc) and Nicholas Payton (trp).
Oldaeus is the leader of the NOLA Jazz Band, and the NOLA Brass Band. He lives in Stockholm, Sweden. Oldaeus' articles, records and book reviews etc., has been published in:
BLUES & RHYTHM... (UK): "Sister Rosetta Tharpe In Scandinavia" (1958), her first visit, including one of her rare inteviews, conducted by Olle Helander (No. 201, Aug. 2005), ufortunatly a heavily editet and reduced version of Oldaeus original piece.
FOOTNOTE mag, (UK): drummer Albert Jiles (the April / May, 1976 edition).
THE JAZZ ARCHIVIST (US): a news letter of Hogan Jazz Archive, New Orleans, La.(Non profit). A piece about "Blanche Thomas: New Orleans Songstress", in the Vol. XVII, 2003 edition. An article you'll find below as well. A forthcoming piece about little-known New Orleans drummer Dave Bob Ogden (1914 - '91), of Roy Brown 1947 fame: "Good Rockin' Tonight". This article will be published soon, if you're interested, please get in touch with the Hogan Jazz Archive.
JEFFERSON, Blues mag, (Sweden): Record & book reviews, for instance, "Dr. John: Under The Hoodoo Moon... Rebennack with J. Rummel, US. (Jefferson No. 4, 1994), plus various concert reviews and obituaries.
NEW ORLEANS MUSIC, (UK): Record reviews, obituaries & articles about: Paul Barbarin ( June 1992); Louis Barbarin (part 1: Dec. 2001, part 2: March 2001); Albert "Papa" French (June 2002); Harrison Verrett (Dec, 2004); Talking To Sven Stahlberg (Sep. 2005); Alonzo Stewart (part 1: Dec 2006, part 2: March 2007).
A forthcoming about Andrew H. Hilaire (1899 - 35), drummer of Jelly Roll Morton Red Hot Peppers 1926 fame.
The MISSISSIPPI RAG, (US): Articles: String player singer etc.: Creole George Guesnon - "To Eat Sleep Dream Nothin' But Banjo" (March 2006); Reed player etc., Norman Mason.
NOTERAT, No. 8, 2000,(Swedish Jazz Archive): A 22 pages piece in Swedish, with Claes Ringqvist as co-writer, about the black New Orleans La., born composer Spencer Williams (1889 - '65), who lived in Stockholm 1951 - '57.
ORKESTER JOURNALEN, (Sweden): Jazz and blues record reviews, published 1995.
Oldaeus also have so far unpublished articles about Snooks Eaglin, NEW ORLEANS TO JAMAICA (New Orleans R&B and its influence on Jamaican music), Clara Smith, plus a scrapbook about Professor Longahir.
Oldaeus is presently (June 2008) doing research for an article in Swedish about Sonny Boy Williamson's Swedish sojourns during 1963 - 64. Williamson is one of the musicians who made Oldaeus discover the blues, way back in 1962 - 63.
NEW ORLEANS DRUMMERS AND DRUMMING, is a dearly beloved subject of Oldaeus'. Below, you'll find his review of the book SECOND LINE - 100 YEARS OF NEW OLREANS DRUMMING by Antoon Aukes (2000). Previously published in the NEW ORLEANS MUSIC magazine (UK), and also on the web, in the Jazzgazette (now defunkt).
"Antoon Aukes is a Dutchman (born 1954) who lives in Enschede. His book is more or less a doctor's dissertation on the New Orleans parade beat (Second Line Beat), its roots and development etc. Aukes finished his education at the music conservatory in 1982. "Doc's" [smile] interest in New Orleans drumming started in 1972, since hearing Dr John's "Gumbo" album. Aukes has taken drum lessons from Fred Staehle (of the "Gumbo" album fame), John Vidacovich, and also Barry Martyn.
The contents of Aukes' book are: "PART 1: Brass Bands and Early Jazz; Bass drum and snare technique; Paul Barbarin, Zutty Singleton, Baby Dodds. PART 2: Rhythm and Blues; Rhumba and funk patterns; Earl Palmer, Smokey Johnson, Zigaboo Modeliste. PART 3: Modern Second Line; The Dirty Dozen, John Vidacovich, Herlin Riley, Herman Ernest. PART 4: Exercises; Main elements of second line drumming.
Aukes has transcribed a huge amount of two and four bar drum comps etc. from records, and he demonstrates ditto on the CD too. A CD that also contains Brass Band bass and snare drumming examples dubbed by the author. Which of course means that you don't have to be able to read to enjoy the book, you can listen to Aukes interpretations! He even teaches us how to make a coat hanger beater for playing the cymbal on top of the bass drum in a New Orleans Brass Band (page 118).
On page 19, Aukes states that it was Dee Dee Chandler (c.1866-1925) who invented the bass drum pedal. The source for the information is Charters' JAZZ NEW ORLEANS 1885-1963 (pages 5-6) and it is a statement found in many books. There are many reasons that we should not take everything in that book for granted. In other words, it is a book full of inaccuracies and errors, freely admitted by Charters. But he is of course acknowledged as one of the pioneer researchers. Karl Koenig's book SONIC BOOM - Drums, Drummers & Drumming In Early Jazz, shows that the invention of the bass-drum-pedal issue is complex. Papa Jack Laine (1873-1966) was another candidate.
Page 21 deals with the early recordings of jazz drumming. Obviously the recording companies that cut the King Oliver Creole J. B. 78s weren't capable of recording a drumset; Baby Dodds is mainly heard playing woodblock and cymbal crashes. The ODJB recordings cut a couple of years prior to Oliver's show that it was possible. The great ODJB drummer Tony Sparbaro (Spargo), is mentioned on page 25 and there are a couple of transcriptions of his licks as well (recorded on the CD too). I miss Sparbaro's colleague Ray Bauduc in the book, his drumming deserves studying by every drummer of the idiom. But I guess that we can't have it all, anyhow, check Bauduc's melodic drumming on, for instance; South Rampart Street Parade (Bob Crosby). On page 22 Aukes states that early drummers often played cymbals with rivets attached to them. As far as I know, Ray Bauduc was the first drummer who started to utilize that sizzling sound in the middle of the 30's. Page 23 contains, amongst others, the following Baby Dodds quote: "Every man in the band has his own rhythm to keep." which speaks for itself (the source for it is Russell's essential book - New Orleans Style). You will also find more quotes by, for instance, Dodds' famous statement: "To play for the benefit of the band" etc, is mentioned on pages 28-29 and 110: of course the foremost motto for every drummer (and for every one in a band for that matter!). Although some people are of the opinion that Dodds didn't always follow his motto! I once asked William "Brother Bill" Wagner (brother of Bill Russell) to characterize Dodds, and one of the words he used was "egotistical".
Aukes writes about the high hat (page 31 -32): "Doing a time roll the right way, you don't need a high hat". I have never felt that the high hat (sock cymbals) is a BIG ISSUE and neither have the New Orleans drummers that I have met. The art of brush playing is commented on page 32-33 (plus examples on the CD). Although Dodds said he didn't like brushes, there are many recorded examples of his rudimentary playing with ditto. One of the unaccredited New Orleans masters of brush-playing was indeed Freddie Kohlman (1918-1990), but that part of his playing is not commented on by Aukes. Albert Nicholas' Chicago 1959 Delmark sessions are excellent examples of Kohlman's brush virtuosity. Page 33 contains a comp pattern as played by Joe Watkins "in 1945" (the first issued Watkins tracks were cut in 1949). There are also three turn-arounds (two bar fill-ins), as played by Watkins, on page 34 and audible on the CD too. Undoubtedly drum licks familiar to every reader of this magazine. The meticulous reader will find Armstrong's Hot Five with Singleton (sic) erroneously mentioned on page 36. It was of course his Savoy Ballroom Five. Roughly the same kind of error is found on page 120.
In PART 2, 1945-1970; Chapter 3, Rhythm and Blues; modern drum set style. Aukes states that, "non-time keeping of the bass drum…" (among the be-bop drummers), became the common thing. The fact is that Dizzy Gillespie often stressed the importance of keeping time on the bass drum. Max Roach can be heard doing so at the legendary Toronto, Massey Hall Concert 1953, with Charlie Parker and Dizzy! The context of the sentence below (page 41) is a part where Aukes writes about the bass drum and how it "becomes the watermark of the new New Orleans sound" (sic). I guess that the proper word in that context is, 'trademark'.
Aukes states: "W. C. Handy prescribed the Caribbean feel for the bridge part of his famous St Louis Blues" (page 43). My knowledge of that rhythm-pattern etc, is rather that it is a Tango (Habanera) pattern, also heard on many other items from that era ("the Spanish Tinge", J. R. Morton etc). I'm impressed that Aukes is aware of Jelly Roll Morton's ingenious piano piece "New Orleans Joys,"(page 45) recorded as early as 1923, and rhythmically, far ahead of its time.
Professor Longhair's 1949 "Atlantic" recording of Paul Gayten's "Hey Little Girl" is mentioned on page 46, and the drummer is said to be one Al Miller. When interviewed by Rick Coleman, Lester Alexis (1914-1990) declared that he cut the item. Alexis' brush comp is written down and audible on the CD too. Aukes writes about the Cuban clave pattern on pages 50-51 and 85 (including sheet music examples). It is a two bar rhythm pattern of fixed accents and as such, very common in New Orleans music (Clave means key in Spanish). I find the following statement interesting: "…you always play the clave. Where you put your accents depends on how old the dude is you're playing with": as stated by drummer John Vidacovich (born NO. La. 1948). It is a pattern audible in Baby Dodds tom tom fill-ins, sometimes in Paul Barbarin's brush work in Armstrong's Big Band (1930s), Zutty Singleton (J. R. Morton's Hot Seven 1940 rec. etc), Sammy Penn's drum solos, Freddie Kohlman's snare drum roll comp, Alex Bigard solos, and "Tiger Rag" track (Kid Punch 1960, "Icon"), Chester Jones' and Louis Barbarin's snare drum work and so forth... It was also audible in Sing Miller's piano comp, etc. The fascinating Mardi Gras Indians are mentioned on page 53 etc. Aukes declares that the "lyrics is in Indian language" (sic), but I doubt that a person who speaks that language will understand what they sing about. According to my knowledge, it's more of a mishmash of different languages and so forth.
In chapter 4, 'From R&B to Soul and Funk' page 60 and 67, New Orleans R&B artist Joe Jones (of You Talk Too Much fame) is mentioned, plus a written down part etc. Aukes writes that the drummer on Jones' One Big Mouth (Two Big Ears) (1960) is Earl Palmer. I find that unlikely; the drummer is New Orleans born and bred Idris Muhammad, aka. Leo Morris.
On page 62, Aukes informs us about the bass drum double clutch (double downbeats). Legendary R&B drummer Charles "Hungry" Williams (1935-86) was famous for his double clutching, but Paul Barbarin (1899- 1968) is not mentioned in this context. He did the double clutching as well, as audible on, for instance, Arkansas Blues, cut in 1945, by Louis Armstrong's Band (with Bechet and Bunk Johnson etc.) live, in New Orleans' Municipal Auditorium. I suppose that Barbarin was a possible influence on "Hungry" Williams. The same page has some fascinating information concerning New Orleans drummers' influence on the funk of James Brown. Cornelius "Tenoo" Coleman (1929-1973), of Fats Domino fame is mentioned. He is an underrated drummer and indeed another of those R&B (Rock 'n Roll) drummers capable of playing the New Orleans traditional snare drum roll comp. Roughly the same kind of information (NO drummers and the funk of James Brown) is found a couple of pages later.
On page 61, Dave Bartholomew's "the Monkey" is said to have been recorded in 1947, the correct year was 1957. Page 66 has a photo of the AFO record label, and the men behind it including bass player Peter "Chuck" Badie Jr, the son of sax player Peter Badie Sr. Nowadays Badie Jr. is often heard at the Palm Court Café. Page 67 has a two bar drum transcription from Earl King's Trick Bag (also on the CD). Robert "Bob" French is said to be the drummer, but his brother George French denied that (email Jan 2005). George cites Joseph "Smokey" Johnson as the man; George was the bass player on the session. Aukes states that George plays the stand-up bass (string bass) but I'm convinced that it's an electric. Johnson is famous for his drumming on Fess Longhair's and Earl King's Mardi Gras item Big Chief (there is a two bar transcription in the book). "Smokey" Johnson penned "It Ain't My Fault" (page 69) which was also cut by Dejan's Olympia Brass Band.
Page 69 has two bars transcription (also on the CD) from Lee Dorsey's great hit "Working In a Coal Mine",(arr. by Allen Toussaint) recorded with Albert "June" Gardner on drums (plus Fender bass by Walter Payton). In my mind, I can still see trumpetist Kid Sheik bending down, chuckling and doing a mock shovelling coal on the floor, every time he heard that song on the jukebox at the down home Buster's Bar, New Orleans, in the fall of 1966.
On page 74 plus 80, Aukes states that Young Tuxedo Brass Band's recording of "It Feels So Good" was reworked into the R&B hit Feels so Fine" by Shirley and Lee. But the truth is the reverse, since the Shirley and Lee item was a "Billboard 100" hit in 1955 and Young Tuxedo's (cover) version was cut in Novemeber 1958. The tune was penned by singer Leonard Lee, and originally titled as "Feel So Good (Feel So Fine)," a track with some killer fill-ins by Earl Palmer.
Page 77 ("A short history of the New Orleans Brass Bands"), has the following sentence: "1940-1960. In this period the trumpets take over from cornets…" My opinion is that cornets gave away to trumpets much earlier. Armstrong certainly did so while recording with his Hot Five. According to Armstrong enthusiast Irakli de Davrichewy, Armstrong changed around February 1926, when the recording of "Come Back Papa" was done; hence it came to be Armstrong's first trumpet track. I believe that a whole bunch of horn men followed in the masters footsteps.
On page 80: Aukes states that Wilber Tillman played the "tuba"; he was of course a sousaphone player and surely one of the greatest ever! Aukes also writes about the excellent bass drum player Emile Knox (1902-'76) and his way of emphasising the backbeats. In passing, there is a "St Louis Blues" with Bunk's Brass Band ("American Music") where Marrero emphasises the backbeats, and nothing but the backbeats through out the whole number. This track (MX905) is included on the CD that goes along with Richard Knowles' FALLEN HEROES book (about Brass Bands).
Page 81 contains a written down part of great bass drum player Emile Knox, as played on the Young Tuxedo Brass Band 1958, "Atlantic" session. The two bars show his 4 / 4 playing which also includes (left hand) cymbal strokes on the second and fourth beat in each bar. In passing, this was a session witnessed by trumpet player Wendell Brunious, who, of course, was just a young kid. His father was one of the trumpeters. (You'll find Wendell and his big sister depicted on the original fold-out cover). Further, Aukes writes that one of "the rockiest songs on the session was Joe Avery's Piece". Well, he's certainly right, and the source of the tune is in fact, Bill Haley's Rock Around The Clock, minus the breaks; a song cut in 1954, as the sound track for 'Blackboard Jungle' (1955), that made it the hit it eventually became. Aukes has written down a 4 bar drum-break from the LP (audible on the CD too, but played by the author of course).
According to Aukes (page 84), "Capt" John Handy "refused to play sax in a brass band during the 1950s because he did not want to restrict himself to playing harmony whole notes. In the early 1960s, though he did play and record with the Eagle Brass Band". I think that dear Aukes has misinterpreted a sentence in Knowles' Brass Band book because there are many witnesses to Handy's participation (and greatness) in The Young Tuxedo Brass Band during the 50s. See for instance W. J. Shaffer's' Brass Band & New Orleans Jazz page 36. The reason for Aukes' statement is most certainly a line in Knowles' Brass Band book on page 23; he writes that Handy didn't want to play the alto horn parts as written for the dirges. That is, he preferred to ad-lib.
In chapter 6, ("Modern Second Line Drum Set Style") page 92, Aukes states that Paul [and Linda] McCartney came to New Orleans and invited Professor Longhair to play at a party aboard the Queen Mary. The ship is of course berthed at Long Beach, Cal. and not in New Orleans. The same chapter also contains, amongst others, two and four bar written down drum patterns as played on recordings by Dr John (Mac Rebennack) and so forth. In passing, Rebennack has written the foreword, indeed a man with profound knowledge and insight in the subject. Rebennack is cerainly a man who's aware of the whole spectrum of New Orleans music. Part 4 of the book deals with drum technique and "the main elements of second line drumming" and exercises. I find this sentence peculiar: "The snare drum roll adds a legato touché [sic] to the backbeat". I guess that "touch" is the proper word.
Aukes is obviously a witty guy, how about the following tongue in cheek statement: "Try this also: continue back beating on your cymbal [the cymbal on top of the bass drum], while having a drink with your bass hand". That is, the hand that you play the bass drum with! Sadly, there is nothing worse than a boozed up drummer, he will of course ruin a band completely.
On page 120 Aukes writes about Zutty Singleton's choked cymbal playing on Armstrong's Savoy Ballroom Five tracks, erroneously mentioned as "Hot Seven recordings" (there is a two bar part in the book and on the CD too). I think that Aukes misses a point there. He is not aware of the early drummers (1920s - early 30s) technique of playing the choked cymbal with a mallet in his right hand, thus producing a less staccato, more mellow and not so piercing sound. Beautifully and most effectively utilized by, for instance, John Robichaux during the 70s in the New Orleans Ragtime Orchestra.
Despite some minor errors, impossible to avoid, I find it a deeply researched book, and as such, essential for everyone with the slightest interest in the subject. Aukes' enthusiasm and love for the subject is quite obvious, and it shows on every page in the book, and on the CD too. Though I miss some kind of short biographical information, possibly more photos, on the drummers mentioned in the book. The drummers depicted are, amongst others, Arthur Ogle (once declared by Manuel Paul as the greatest brass band snare drummer), Jim Mukes, Baby Dodds, John Boudreaux, Zig Modeliste, Fred Staehle. The sources for the photos will mostly be familiar to many of the readers of this website.
In his "Authors Note" (page XV), he states: "These chapters reveal that Dixie and funk drum roots are more strongly entangled than is usually recognised". In what way? Well, why don't you find out for yourself!" Per Oldaeus, (revised 2008).
BLANCHE THOMAS - NEW ORLEANS SINGSTRESS
Blanche Thomas came on to sing, opening with Dartktown Strutters Ball. Ms. Thomas, for some reason, hasn't achieved the acclaim of a few other local singers, which is a pity - she is exceptional. With her deep, resonant and throaty voice and great stage presence, she rightfully made a big hit with the audience. You Gotta See Mama Every Night was another crowd pleaser. It also featured pianist Jeanette Kimball, who has chops as strong as tempered steel. Just a Closer Walk was masterful; Blanche Thomas reaching the gospel roots of the blues. With [Jack] Willis providing trumpet fills which fit surprisingly well and were executed with a gorgeous tone, it left the audience clamoring for more, and Ms. Thomas roared into Bill Bailey, the band blowing soft riffs behind her... The write-up above by Paul Lentz was published in the Down Beat magazine, it was probably Blanche Thomas' greatest ever in the major music press. It was written after her appearance at the New Orleans Jazz & Heritage Festival 1972. She sang in front of Papa French's Original Tuxedo Jazz Band with Jack Willis, Dave Bartholomew trumpets, Cornbread Thomas clarinet, Wendell Eugene trombone, Placide Adams bass, and probably Louis Barbarin drums. They played on a Mississippi River cruise aboard the S.S. President and shared the band duties with the World's Greatest Jazz Band.
Around five years later, she was fighting a gradually encroaching cancer and that's what killed her on April 21, 1977. When death arrived, she was dressed: "All in pink from head to her toes - she even had on her little pink Communion cap", said her daughter Betty Newton. Newton didn't allow a traditional jazz funeral because "my mama never discussed it at all." And the officiating minister emphatically rejected the consideration of one involving "his church". However, after the dismissal services Harold Dejan's Olympia Brass Band played a couple of gospel items softly, outside of the church. Just prior to Miss Thomas' death, plans were announced for a special musical tribute to be held May 15 in New Orleans. The benefit was to feature many New Orleans jazzmen, with the proceeds slated to pay for Miss Thomas' substantial medical expenses. It is not known if the benefit occurred.
Blanche Thomas (BT) was born October 15, 1922 in Orleans Parish in New Orleans and she grew up singing. Her father, Sam Thomas, was a musician. According to BT, in "the early days", he played bass and trumpet with Kid Howard and Jim Robinson. Although I did a search in an attempt to find the name Sam Thomas in the common literature concerning New Orleans Jazz, I have failed to find the name. Her mother was: Malvina Stripling.
On 235 South Rampart Street in New Orleans in the early thirties was the Tick Tock Roof Garden (or the Tick Tock), later to feature Lizzie Miles, Ella Fitzgerald and trumpeter Don Albert among its headliners. BT made her first public appearance at the Tick Tock, in the Kiddies Revue when she was 14 years old. The depression was an important factor in people's lives as BT grew up. While still in school B.T was a part-time waitress at the Pelican, listening to the music every night and waiting for her chance. The Pelican was just down the street from the Tick Tock. Her first big audience was when she sang at a USO engagement in a concentration camp in Texas, before 500 Japanese inmates. In the middle of the 40s she also toured with Dodison's World Circus working tent shows in the south. As the war went on and on BT came back to New Orleans and settled down, working the night clubs with groups including Alvin Alcorn, Louis Cottrell, Joe Robichaux, Sidney Desvinge, Dave Bartholomew (of Fats Dmonio fame) etc.
While in the UK in February 1959, Robichaux mentioned BT when interviewed by Brian Harvey for the JAZZ NEWS magazine. It seems as they worked as a duo during the late 1940s. When BT finally left school she sang at the Club Bali at 426 Bourbon St. with the guitar player Adam Lambert's Six Brown Cats. The band probably included: Thomas Jefferson trumpet; Adam's brother: Phamous Lambert piano; Otis Ducker (or Stewart Davis) bass and drummer Stanley Williams. While on tour in 1944 Miles Davis replaced Jefferson, Davis was just 18 years old then and in his auto-biography, he described the band as a "Modern swing style" band. But I don't think that BT was still in the band when Davis joined. Club Bali burned to the ground during her engagement there and all the musicians lost all their instruments.
On the third of July 1954 BT made her debut as a recording artist, for the "IMPERIAL" label, having Dave Bartholomew's R&B band to back her. BT's recording of "You Ain't So Such A Much" was a bit odd, because there were no brass or saxophones involved, only BT plus the guitarist Ernest McLean and a rhythm section. McLean did an excellent solo and the item became a regional hit as well. McLean is the son of the late bassist Richard McLean who used to play in Paul Barbarin's band in the early 50s. The song was a cash-in on Big Mama Thornton's Billboard hit: [You Ain't Nothing But A] "Hound Dog". Being such a big hit it's no surprise there were many cash-ins, including this one. The other song on the 78 was the Ed Frank song : "Not The Way That I Love You". Dave Bartholomew has confirmed that it's Frank on the piano chair as well. BT's vocal resembled female blues-shouters such as Thornton (1926 - 1984) and Big Maybelle Smith (1924 - 1972) etc. At the time, Thomas was the vocalist in Bartholomew's band at the Dew Drop Inn at 2840 La Salle Street. The uptown Dew Drop Inn was more than just an all black nightclub, it was also a Mecca for the younger musicians in the Crescent City during the 40s, 50s up to the early 60s. It was venue to which Thornton also made visits, so it's quite possible that they actually met. The Restaurant was known all along the circuit the black musicians traveled. Tenor saxist Robert "Catman" Caffrey, whose sidlines included MC'ing at the Dew Drop, once recalled the atmosphere of the place;
There were two major clubs in New Orleans [during the early 50s], and they were the Dew Drop and the Tijuana. The Dew Drop was the up-marked place - it had a night-club atmosphere. People would dress. In fact there was a time when Frank [Painia, the proprietor] didn't allow you to enter unless you were properly dressed. This was such a different era, in that era people dressed all the time, they were not wild, but they were a groovy crowd and they understood what was going on. Frank got the people automatically because they knew no matter who the stars were, they would be at the Dew Drop... The shows were terrific - it was all day and an' all night thing, Friday, Saturday and Sunday, after that they would rest, but that weekend was terrifying, it was around the clock, it was grind, there was no resting. You started at 12 midnight, and you were supposed to get off at 4.30 really, but that never happened because the average musician got off from Bourbon Street and got there at two or three. The night's entertainment always consisted of a show. The show would start off with an MC, and he would be capable of doing jokes or singing, guys like Harold Batey or Tec Stephen. Then a shake dancer would be second, or else you'd have a tap dancer like Streamline Harris. After that the feature would come on, and there was always a fight who was gonna close the show. Maybe Joe Tex, Joe Turner, the big acts would come on at the end, but we would stay after the show was over, then the guys would come on and jam until 10 o'clock in the morning. The Dew Drop had no clocks inside, it was always dark at the front, so you don't really realize that it was daylight outside. The bass player on "You Ain't So Such A Much" was Frank Fields and he was to record with BT in the 60's as well. Bartholomew's drummer was Earl Palmer (born 1924). In his autobiography he stated that: "Thomas was the first chick I had anything to do with. I was about twelve, she was three or four years older and lived on Dumaine Street, between Claiborne and Robertson. It was the kind of thing where the grown ups are gone and you're in the house. Blanche was a very forward girl. She dared me. "You don't know how to do nothing.", being a young, feisty dude, I said, "Yes I do!" You know, the kind of braggadocio attitude. "I bet you never had a girl." "Sure I did!" "Aw, you don't know what to do." I had sensed this was going to be the time. But I still wouldn't have been surprised if she'd slapped me and said, "Get the hell away from here!" I was kissing on her and feeling on her and I told her I was going to put it in her. Next thing you know, that's just what I did. I remember thinking, "Jesus, I really don't know how to do this" All I could think afterwards was "I should have done this earlier!"
During the 1950s, BT also performed at trumpet player Leon Prima's 500 Club, at Bourbon & St. Louis Streets. After her Bartholomew engagement at the Dew Drop Inn, she moved to the Mardi Gras Lounge at 333 Bourbon St. It was the white clarinet virtuoso Sid Davila who was the owner and he used to sit in with the bands as well. BT said that "this was THE place to work". Another great New Orleans female singer who performed there was Lizzie Miles. Freddie Kohlman heard BT at the Mardi Gras Lounge and Freddie subsequently became the drummer at "Jazz At, Ltd." in Chicago Ill. Kohlman recommended BT to the owners: Ruth and Bill Reinhard. The Crescent City songstress sang in the Windy City for two years, and she also worked at the Show Boat and the Pick Collier Club in that City. She gigged with reed player Franz Jackson's Band at his 'Red Arrow Club', in Chicago in 1962 as well. BT returned to the Windy City in 1964, for an engagement with piano player Art Hodes, at the 'Showboat Sari-S'. There's a rumor that BT appeared with Elvis Presley, in the 1958 film "King Creole" and also of a performance with Presley on Dave Garroway's TODAY show, NBC-TV, 1961. Incidentally, a short sequence of the King Creole film was shot in the backyard of the Preservation Hall. It's the part where Presley walks down an outdoor stair to the backyard.
In 1958, trumpet player Wallace Davenport recorded with BT in New Orleans, the result was a 45" on Davenport's small "Ponchartrain" label. The band consisted of Davenport, Nat Perilliat tenor, Ed Frank organ (also responsible for the beautiful arrangement), Richard Payne bass and Ed Blackwell drums. Thomas sang the lovely ballad: "This Love Of Mine", a song from 1941 with words by Frank Sinatra. Drummer Blackwell, was soon to gain fame in alto saxophonist Ornette Coleman's brand of avant-garde Jazz.
It was the great drummer Paul Barbarin (1899 - 1969) who introduced BT in the traditional Jazz world. The occasion was the New Orleans Jazz Club's 11th concert, at the Municipal Auditorium in October 26, 1959. Barbarin had added BT to his "All Stars" and it was the Barbarin Band that opened the show. The concert was a part of the "International Week" and the other acts were Chris Barber's band with Ottilie Patterson (first US tour) and the local Pete Fountain band. The concert was recorded, but so far BT's contribution remains unissued. The New Orleans Jazz Club member Helen Arlt stated that: "I'll never forget her. Blanche came on stage in her shiny lime green, tight fitting dress. Paul had boasted of Blanche as "crowd charmer". How right he was. Before she was half way through her opening number, there was fluttering through the audience, signifying its complete approval of the robust gal on the stage."
In the early 60's Thomas' made a couple of recordings with the Barbarin band for the "South-land" label, and she was with the band when they crossed the Pacific Ocean 1967 to entertain the US. troupes in South Vietnam and Cambodja. The notorious General Westmoreland, during this USO tour, presented BT and the Barbarin band, and a Green Beret was given to her as a souvenir.
Of BT's recordings with Barbarin, I have a certain fondness for her 1961 rendition of: "Fine And Mellow" ("New Orleans Creole Jazz Band", GHB 143), a 12-bar blues supported by the ingenious piano playing of Lester Santiago. An item often associated with Billie Holiday, but it seems as the perennial Alberta Hunter made the first recording of it, in 1939.
Around 1965, Al Clarke's "NOBILITY" label did a session that was one of BT's best efforts. Although the repertoire may have been hackneyed, new life was put into the tunes, with the very effective arrangements by the wonderful funky trombonist Waldren Frog Joseph (1918 -'04). The band was led by Albert "Papa" French, and the personnel was: Alvin Alcorn, Joseph "Cornbread" Thomas, Jeanette Kimball, Frank Fields, and Louis Barbarin. The session was cut by the legendary Cosimo Matassa, at his 525 Governor Nichols Street studio.
In the fall of 1968, trombonist Santo Pecora organized an all-star group for the annual Dixieland at Disneyland concert, Disneyland Park, Anaheim, California. The band included BT, plus Thomas Jefferson (trp), Harry Shields (cl), Pete Monteleone (p), Emanuel Sayles (bjo), Milton Stevens (b) and Freddie Kohlman (dr). From around 1970, there's a mysterious BT live version of Bill Bailey, produced and released by the "Louisiana Tourist Development Commission" on their 'BOURBON STREET' label. The liner notes states that the track is from: "Nobility N-703" (Louis Cottrell's band Nov. '64) but that's clearly not the case. The band behind BT on "Bill Bailey" is Louis Cottrell's and it sounds like: Teddy Riley trumpet, Frog Joseph trombone, probably Walter Lewis piano, an unknown bass player and drummer Freddie Kohlman. The track is unlisted in the main Trad jazz discographies. It sounds as if it's a Dixieland Hall recording, possibly from an unknown Nobility session. In 1970, BT also sang with the Al Hirt Band, doing local club dates in St. Louis, Miss.
During the 60's and 70s BT was a constant attraction at the Dixieland Hall and later at the Heritage Hall and some other venues in New Orleans. BT was featured when Cottrell's band did a concert at New York's Carnegie Hall, on February 12, 1974. A show recorded for the small "VIKO" label. From the early 1970s, there's an interesting 45" on the "Capricorn" label with: "Bald Headed Beulah", vocal by BT, and "Why Don't You All Go To New Orleans" (Papa French voc.). Both items were penned by one Marge Baird, and behind BT was Papa French's band with: Jack Willis (trp), Cornbread Thomas (cl), Homer Eugene (trb), Jeanette Kimball (pno), Frank Fields (bass)and drummer Louis Barbarin. "Bald Headed..." is a swinging shuffle tune, with a certain touch of R&B.
In the summer of 1975, BT made her initial visit across the pond, and the 'Grand Parade du Jazz' in Nice, France. She was backed by the fine band of Louis Cottrell, with Teddy Riley (trp), Frog Joseph, Walter Lewis (pno), Placide Adams (bass) and once again Freddie Kohlman. In addition, the former Ellington and Louis Armstrong clarinetist Barney Bigard, as an extra attraction. It's a joy to hear how drummer Kohlman (1918 - 1990) propelled that band. Fortunately, there is a private recording of the concert, and a "RARITIES" LP was issued containing 7 items, including two vocals by BT: "A Good Man Is Hard To Find" and "Bill Bailey". Thomas in her second chorus sang the line: "A Hard Man Is Good To Find" (sic)! There are at least two BT recordings of that song, but on the studio recording, with the Last Straws from early 70s, she didn't sing the line: "A Hard Man..."! There are 26 unissued tracks in the can, from the Nice July '75 concert, including two with vocals by BT. "A Good Man Is ..." was written in 1918, by the African American Eddie Green, and it became a vaudeville chestnut during the 20s. In 1927, it was immortalized by a Bessie Smith recording. The song was also cut by Lizzie Miles in 1952 , and possibly it was Miles who inspired BT to pick it up. In 1959, Big Maybelle's (Mabel Smith 1924 -'72) recorded a R&B interpretation of the item. Obviously, BT found a "good man" whom she married, but I only know his surname as Collins.
BT returned to the "Old World" in the fall of '75, and yours truly caught her at a November concert in Stockholm. She was then a part of Dick Hyman's New York Repertory Company's multimedia show: "The Musical Life Of Louis Armstrong". BT sang "Cake Walking Babies", "Saint Louis Blues," and "Nobody Wants You When Your Down And Out" as a substitute for Carrie Smith. New Orleans born trumpet player Joe Newman did the customary "call and response" to her vocals on "Saint Louis Blues" ,and "Nobody Want's You..." In Sweden the New York Repertory Company did at least two performances, and they performed in many European countries as well. Her vocals at the show in Stockholm, weren't well received. One of the reviewers in the jazz magazine: Orkester Journalen, compared her to Bessie Smith, and that I find ridiculous. (What's the point of comparing Louis Armstrong to, say: Percy Humphrey?). Just as Bessie Smith had an incredible sense of time, BT was also blessed with ditto. Her vocals were more positively judged by reviewer Bo Sherman, of the same magazine. In Sherman's review of the Jazz Festival in Umea, and the New York appearance, on October 25, 1975, he stated: "Although she is not among the top class vocalists," he appreciated her singing and "vaudeville manners," calling her a "stage personality" etc.
Besides the November '75 Stockholm concert, I also heard her at the Dixieland Hall at 522 Bourbon Street, in the fall of 1966 and '69. Of her recorded legacy, around 31 tracks, very little is reissued on CD. In fact in my collection I only have one tune, that is: "You Aint So Such A Much". The track is included in’ Spirit of New Orleans - THE GENIUS OF DAVE BARTHOLOMEW (EMI): A double CD with IMPERIAL recordings. Below is trumpet player Clive Wilson's view on Thomas: Blanche was a good all round singer, very much like Della Reese, though you didn't hear her sing many standards and ballads in Dixieland Hall. You had to hear her sing at a private job to know what she could do. She was a great performer on stage, very professional in the old tradition of Black clubs and shows. She reminds me a lot of Della Reese, or vice versa, both in her singing and stage presentation.
Blanche Thomas is buried in the Holt Cemetery, besides her daughter she also left a son, one brother, four sisters plus a couple of grandchildren. When doing a search on the Internet I just got a handful of hits such as the one with her NOBILITY LP for sale, but no information whatsoever on her career etc. Per Oldæus 2002. (revised 2008)
ADDENDA, March, 2008. During 2004 - '05, the whole "NOBILITY" catalogue was reissued on CD, on the "Aesthetics" label, although sadly, no extra material included. Which makes the CDs pretty expensive, and the vinyls prefered, a better sound and so forth. P.O.
SOURCES, AND GREATFUL ACKNOWLEDGEMENTS:
Linernotes: BLANCHE THOMAS meets the Last Straws in New Orleans "Shalom" records SH-16; "AM I BLUE", BT with the Papa French Band, "NOBILITY" LP 705; BRUYNINCKX Traditional Discography; The DOWN BEAT mag. Nov. 14, 1968; BACKBEAT - EARL PALMER'S STORY with Tony Sherman, Smithsonian; UP FROM THE CRADLE OF JAZZ by Berry, Foose and Jones; NEW ORLEANS JAZZ FAMILY ALBUM by Rose & Souchon; ORKESTER JOURNALEN No. 12, December 1975; The SECOND LINE, summer and fall 1977; Sheldon Harris' BLUES WHO'S WHO, Da Capo Press N.Y. 1979; MILES THE AUTOBIOGRAPHY, Miles Davis with Qunncy Troupe, Picador.
Nils-Gunnar Anderby, Dave Bartholomew, John Broven, Lars Edegran, Peter Haby, Hakan Hakansson, Clive Wilson, and Brian Wood.