The real jazz; Buster Bailey

Well this is a man from base in St. George Mercer inviting you to sit back relax and give a listen to the real jazz. William S. Buster Bailey was born in 1902 during his lifetime he went from the Creole Jazz Band to symphonic orchestras and that's our jazz toy Buster Bailey and his clarinet. He was born in Memphis Tennessee July 9th 1902 and studied clarinet under various local teachers when he was 14 years old he became a member of W. C. Handy's famous orchestra. This was in 1917. A couple of years later he moved to Chicago where he played with Tate's orchestra and studied clarinet under French. His teacher became famous in later years as the Chicago Symphony Orchestra teacher who told Bindi Goodman. Buster Bailey and Benny Goodman were both taking clarinet lessons from Shoop at the same time.

Both of them went into jazz later into swing and then into symphonic orchestras. Buster Bailey was the first academically trained jazz man to make a name for himself in jazz. Well Buster Bailey joined Fletcher Henderson's band in one thousand twenty four and was with Hinder Scn in for five years when he quit and made a trip to Europe with noble sessile one thousand twenty four The Henderson orchestra gotten into a great early blues singer Moll Rainey. On some of her most women remembered records Louis Armstrong was Henderson's Cornett man Charlie Green handle trombone while Buster Bailey completed the frontline on clarinet. Fletcher Henderson was on piano Charlie Dixon banjo and probably Kaiser Marshall's on drones. Ma Rainey on vocals and Buster Bailey weaving call and response patterns behind release cornet lead and Charlie Green's rhythm and trombone. CC Rider blues the the

the the. No one was.

When our next selection featuring clarinetist Buster Bailey came out on both the

pathname labels and perfect records. It was cut New York in October 1905 and the discography and historians are sure that Prince Robinson is on tenor Willie The Lion Smith is on piano buddy Christian banjo and Buster Bailey is on clarinet and soprano sax. They think that Johnny Clarke is on trumpet and most likely Jimmy Harrison handles that trombone parts. And they're probably right on this one because Harrison was about the first trombonist in jazz to break away from the earlier rhythm style trombone and use it as a solo instrument. And you'll hear both on this selection. The outfit was called the Blue Rhythm orchestra the October 925 recording of Holder deacon. I am

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I am I am I am I am. One of the best solos Buster Bailey ever recorded is what he did with Bessie Smith in March 1926. And least it's one of his best early efforts

when clarinet was beginning to be heard more and more as a solo instrument. Fletcher Henderson's own piano and Buster on clarinet Bessie Smith on vocals and jazz Bo Brown from Memphis town. He. Was.

Then there.

Was. A day that I gave you home. Nineteen twenty seven and Buster Bailey records with Clarence Williams washboard band. It Allen his own trumpet band weighted tenor sax Clarence Williams

on piano and Floyd Casey washboard. Don't know who they're for or who the gal vocalist is on our first elation but it was recorded in New York March 8th 1927. It's call cushion foot stomp. And then we're going to segue a blues call PD Q. blues Buster Bailey on clarinet. Will be

in and you could. Management. Well Buster Bailey joined Fletcher Henderson's orchestra nine hundred twenty four and stayed until

1920 now and he made his European trip with noble Sissel. And then came back to the states and rejoined Henderson in 1983. We're going to play two more cuts now with Buster Bailey on clarinet. This time with Fletcher Henderson's orchestra the first one was recorded in one thousand twenty seven and the second in one thousand thirty four. The first selection is St. Louis shuffle with Tommy Ladd near Russell Smith and Joe Smith on trumpets. Benny Morton and Jimmy Harrison trombones. Don Redmen and alto Coleman Hawkins tenor treasure Henderson piano. Charlie Dixon banjo June Cole tuba and Kaiser Marshall drums. The second selection is called hocus pocus. And featured red Alan Russell Smith and Joe Smith on trumpets. Johnson and Sandy Williams trombones Russell Procope and Hilton Jefferson alto sax is. Coleman

Hawkins again on Tanner Henderson on piano. Bernard Addison guitar John Kirby bass and Vic Gangle on drums. Buster Bailey on clarinet the first selection recorded April twenty seven thousand nine hundred twenty seven is call the St. Louis shuffle and the second is hocus pocus recorded March 6 934 with Legend Fletcher Henderson's orchestra. I

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I am. I am. In 1036 Buster Bailey was playing clarinet the stuff Smiths Onyx club always

on. Fifty second Street in New York City. Fifty second Street had become the new jazz headquarters and when Smith quit the Onyx club the bass man John Kirby took over the band in 1038. It was a house band but but became known as the biggest little band in the land. Binny Goodman became known as a king of swing and was a top clarinet man running him a close second was already shell but. Buster Bailey was in there pitching too. Well the John Kirby band was very popular on radio during the late 30s and early 40s. And here's one of the reasons tight arrangements and good musicianship. Charlie Shavers on trumpet. Russell Procope Alto. Billy Kyle piano John Kirby and swinging bass was O'Neal Spencer on drums and Buster Bailey featured on clarinet. This one was recorded August 10 1939 rose room.

By 1938 the big bands had taken over most small combos fell by the

wayside and are an exception to the rule was John Kirby's orchestra during this period it became one of the most amazing success stories of the swing era. It was a success in nightclubs own Radio 1 and in the big hotels. They were booked into the suite New York Hilton that had never employed a colored band before. And they were a spice wherever they appeared. One of their gimmicks was jazz ing the classics softly swinging the light classical selections. Buster Bailey's academic training came in real handy on this especially on number such as our next one. The same personnel recorded in July 1940 the sextet from which. I am I

am. I am. Lester Bailey again featured on clarinet and another one of those swinging a classical

selections at the John Kirby outfit used to do so well. This one is called Beethoven riffs own and it features Buster throughout. Plus some driving breaks by Charlie Shavers on trumpet and short bass solo by John Kirby. With Billy Kyle on piano and Russell Procope on alto. Well this one is from an old 16 inch radio transcription record which was cut by the Kirby band about 940 Beethoven riffs on. It. Well that was a good example of the tight and perfect ensemble work that helped

the John Kirby orchestra hold its own during the era of the big bands. Even though only a six man outfit the band has the feel of a large orchestra. Buster Bailey's clarinet became is important within the band has been the Goodmans was in a much larger orchestra. This one was recorded about one thousand forty for a radio transcription recording. They call it. I give you my word. Yeah. But during the mid 40s bebop came in in the swing bands were lost in the shuffle.

One of the casualties was John Kirby his band which was disbanded 946 Buster Bailey though went on to Wilbur to pairs his outfit which featured CDM bass Shea on soprano sax. With des Paris on trombone Albert snare trumpet James P. Johnson piano Walter page bass and George weaponing on drums. Buster Bailey has all the clarinet parts on this one and it was recorded in January 1999. Who. I am.

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AM I AM I AM I AM. Buster Bailey spent most of his time in New York after the John Kirby band split up. He worked with Wilbur to Paris Eddie Condon Henry red Allen while Bill Davison. He played quite a few concerts and jazz festivals. I was in the pit orchestra of Porgy and Bess and appeared in a movie Splendor In The Grass. One of his 1958 recordings featuring his own quartet was called All about Memphis and featured his clarinet backed by Red Richard on piano. Jean Rainey bass and Jimmy Crawford on drums back to is a origination point now W. C. Handy's Memphis Blues and this was when he said he never forgot.

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You're. And now once again Buster Bailey and his quartet had a tune devoted to a

famous district of Memphis. Hatton Avenue and Gala So St.. While Buster Bailey dad is home in Brooklyn April 13th one thousand sixty seven.

He had the ability to play anything on his clarinet and did during his lifetime. From jazz to the classics. His early studies under classical musicians and teachers made him an expert reader. And he was at home in any musical background. Truly one of the great clarinet man in the history of the real jazz. While this is a man from Basin Street George Mercer inviting you to be with us at the same time and over this same station. For the real jazz. Our engineer has been Steve Schulin Frei. And this program originated from the studios of W.A. you have

on the campus of the American University in Washington D.C..