Tuesday, June 16, 2026

Sam 'The Man' Taylor • Music with the Big Beat - Blue Mist

 



American jazz and blues saxophonist (tenor, baritone), born July 12, 1916 in Lexington, Tennessee, died October 5, 1990 in Lexington, Tennessee.
Worked with Scat Man Crothers (late 1930's), Cootie Williams, Lucky Millinder (early 1940s), Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan, Big Joe Turner, Ella Fitzgerald and many others.


Artist Biography by Ron Wynn
A certified honking sax legend, Sam "The Man" Taylor's non-stop drive and power worked perfectly in swing, blues, and R&B sessions. He had a huge tone, perfect timing, and sense of drama, as well as relentless energy and spirit. Taylor began working with Scat Man Crothers and the Sunset Royal Orchestra in the late '30s. He played with Cootie Williams and Lucky Millinder in the early '40s, then worked six years with Cab Calloway. Taylor toured South America and the Caribbean during his tenure with Calloway. Then, Taylor became the saxophonist of choice for many R&B dates through the '50s, recording with Ray Charles, Buddy Johnson, Louis Jordan, and Big Joe Turner, among others. He also did sessions with Ella Fitzgerald and Sy Oliver. During the '60s, Taylor led his own bands and recorded in a quintet called the Blues Chasers. He currently has one session available on CD, recorded in the late '50s with Charlie Shavers and Urbie Green.

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Saxofonista americano de jazz y blues (tenor, barítono), nacido el 12 de julio de 1916 en Lexington, Tennessee, fallecido el 5 de octubre de 1990 en Lexington, Tennessee.
Trabajó con Scat Man Crothers (finales de los años 30), Cootie Williams, Lucky Millinder (principios de los años 40), Cab Calloway, Ray Charles, Buddy Johnson, Louis Jordan, Big Joe Turner, Ella Fitzgerald y muchos otros.


Biografía del artista por Ron Wynn
Una leyenda del saxofón, Sam "The Man" Taylor, con su potencia y su conducción ininterrumpida, funcionaba perfectamente en sesiones de swing, blues y R&B. Tenía un tono enorme, una sincronización perfecta y sentido del drama, así como una energía y espíritu implacables. Taylor empezó a trabajar con Scat Man Crothers y la Sunset Royal Orchestra a finales de los años 30. Tocó con Cootie Williams y Lucky Millinder a principios de los 40, y luego trabajó seis años con Cab Calloway. Taylor hizo una gira por Sudamérica y el Caribe durante su estancia en Calloway. Luego, Taylor se convirtió en el saxofonista elegido para muchas fechas de R&B hasta los años 50, grabando con Ray Charles, Buddy Johnson, Louis Jordan y Big Joe Turner, entre otros. También hizo sesiones con Ella Fitzgerald y Sy Oliver. Durante los años 60, Taylor lideró sus propias bandas y grabó en un quinteto llamado The Blues Chasers. Actualmente tiene una sesión disponible en CD, grabada a finales de los 50 con Charlie Shavers y Urbie Green.


jasmine-records.co.uk ...


Al Hirt • At The Jazz Band Ball

 



Al Hirt (7 de noviembre de 1922 – 27 de abril de 1999) fue un trompetista y líder de banda de nacionalidad estadounidense. Es recordado por sus millonarias ventas del tema "Java" y de su álbum acompañante, Honey in the Horn (1963). Algunos de los apodos que recibió fueron 'Jumbo' y 'The Round Mound of Sound'. Hirt fue miembro del Louisiana Music Hall of Fame.

Su nombre verdadero era Alois Maxwell Hirt, y nació en Nueva Orleans, Luisiana. Era hijo de un oficial de policía, y a los seis años de edad le dieron su primera trompeta. Tocó en la Banda Juvenil de la Policía con los hijos de Alcide Núñez, y a los 16 años Hirt ya tocaba de modo profesional, a menudo con su amigo Pete Fountain. En esa época fue contratado para tocar en las carreras de caballos locales, empezando con ello una relación con el deporte que se extendió a lo largo de seis décadas.

En 1940 Hirt fue a Cincinnati, Ohio, para estudiar en el Conservatorio de Música de Cincinnati con Frank Simon (antiguo solista de la Orquesta de John Philip Sousa). Tras tocar el clarín durante su servicio en el Ejército de los Estados Unidos durante la Segunda Guerra Mundial, Hirt actuó con varias big bands de estilo swing, entre ellas las de Tommy Dorsey, Jimmy Dorsey, Benny Goodman, y Ina Ray Hutton, siendo en 1950 el primer trompeta y solista de la Orquesta de Horace Heidt.

En Nueva Orleans Hirt trabajó con varios grupos Dixieland y dirigió grupos propios. A pesar de afirmar que no era un trompetista de jazz, Hirt hizo algunas grabaciones tocando en ese estilo en la década de 1950, tocando entre otros con Monk Hazel para el sello local Southland Records.

La virtuosidad y el fino tono de su instrumento atrajeron pronto la atención de compañías nacionales como RCA Records. En las décadas de 1950 y 1960 Hirt tuvo 22 álbumes en las listas de éxitos de Billboard. Los discos Honey In The Horn y Cotton Candy entre los diez más vendidos en 1964, el mismo año en que su versión del tema de Allen Toussaint "Java" fue nº 4 de Billboard, ganando posteriormente un Premio Grammy. Tanto Honey in the Horn como "Java" vendieron más de un millón de copias, llegando los dos a ser Disco de Oro.

Otro éxito de Hirt, "Sugar Lips" (1964), posteriormente sería el tema musical del concurso de la NBC Eye Guess, presentado por Bill Cullen y emitido a fínales de los años sesenta. Hirt también fue escogido para grabar el frenético tema del show televisivo "The Green Hornet", del famoso arreglista y compositor Billy May. Temáticamente reminiscente de la obra de Nikolai Rimsky-Korsakov El vuelo del moscardón, demostraba la destreza técnica de Hirt. La grabación volvió a utilizarse en el film de 2003 Kill Bill.

Desde mediada la década de 1950 a los inicios de la de 1960, Hirt y su grupo tocaron por las noches en Dan's Pier 600, en Nueva Orleans, nightclub propiedad de Dan Levy, Sr. En 1962 Hirt abrió su propio club en Bourbon Street, en el Barrio Francés, el cual dirigió hasta 1983. En 1967 también fue propietario parcial del club de la National Football League New Orleans Saints.

En 1962, en un esfuerzo por presentarse con un diferente marco musical, Hirt colaboró con el arreglista y compositor Billy May y con el productor Steve Sholes para grabar un disco titulado Horn A Plenty. Con una ecléctica variedad de estándares populares y melodías de espectáculos, que incluyó una gran banda completada por timbales, trompas y arpa.

El 8 de febrero de 1970, mientras tocaba en una carroza de un desfile de Martes de Carnaval en Nueva Orleans, Hirt resultó herido. Aunque no se conocieron con detalle sus heridas, Hirt hubo de someterse a cirugía y tardó un tiempo en poder volver a tocar con normalidad.

En 1987 Hirt hizo una interpretación del "Ave María" durante la visita a Nueva Orleans llevada a cabo por el Papa Juan Pablo II.

Al Hirt falleció en 1999 en Nueva Orleans, Luisiana, a causa de un fallo hepático tras haber pasado un año en una silla de ruedas como consecuencia de un edema en una pierna. Tenía 76 años de edad. A pesar del edema, Hirt había seguido tocando en clubs locales, entre ellos el Chris Owens Club. Sus restos fueron enterrados en el Cementerio Metairie de Nueva Orleans.
Alois Maxwell "Al" Hirt (November 7, 1922 – April 27, 1999) was an American trumpeter and bandleader. He is best remembered for his million-selling recordings of "Java" and the accompanying album Honey in the Horn (1963), and for the theme song to The Green Hornet. His nicknames included "Jumbo" and "The Round Mound of Sound". Colin Escott, an author of musician biographies, wrote that RCA Victor Records, for which Hirt had recorded most of his best-selling recordings and for which he had spent much of his professional recording career, had dubbed him with another moniker: "The King." Hirt was inducted into The Louisiana Music Hall of Fame in November 2009.

Hirt was born in New Orleans, Louisiana, the son of a police officer. At the age of six, he was given his first trumpet, which had been purchased at a local pawnshop. He would play in the Junior Police Band with the children of Alcide Nunez, and by the age of 16, Hirt was playing professionally, often with his friend Pete Fountain. During this time, he was hired to play at the local horse racing track, beginning a six-decade connection to the sport.

In 1940, Hirt went to Cincinnati, Ohio, to study at the Cincinnati Conservatory of Music with Dr. Frank Simon (a former soloist with the John Philip Sousa Orchestra). After a stint as a bugler in the United States Army during World War II, Hirt performed with various swing big bands, including those of Tommy Dorsey, Jimmy Dorsey, Benny Goodman, and Ina Ray Hutton.

In 1950, Hirt became first trumpet and featured soloist with Horace Heidt's Orchestra. After spending several years on the road with Heidt, Hirt returned to New Orleans working with various Dixieland groups and leading his own bands. Despite Hirt's statement years later "I'm not a jazz trumpeter and never was a jazz trumpeter", he made a few recordings where he demonstrated his ability to play in that style, during the 1950s with bandleader Monk Hazel, and a few other recordings on the local Southland Records label.

Hirt's virtuoso dexterity and fine tone on his instrument soon attracted the attention of major record labels and he signed with RCA Victor. Hirt posted twenty-two albums on the Billboard charts in the 1950s and 1960s. The albums Honey in the Horn and Cotton Candy were both in the Top 10 best sellers for 1964, the same year Hirt scored a hit single with his cover of Allen Toussaint's tune "Java" (Billboard No. 4), and later won a Grammy Award for the same recording. Both Honey in the Horn and "Java" sold over one million copies, and were awarded gold discs.

Hirt's Top 40 charted hit "Sugar Lips" in 1964 would be later used as the theme song for the NBC daytime game show Eye Guess, hosted by Bill Cullen and originally airing during the mid-to-late 1960s. "Green Hornet Theme"

Hirt was chosen to record the frenetic theme for the 1960s TV show "The Green Hornet", by famed arranger and composer Billy May. Thematically reminiscent of Nikolai Rimsky-Korsakov's Flight of the Bumblebee, it showcased Hirt's technical prowess. The recording again gained public attention in 2003 when it was used in the film Kill Bill.

From the mid-1950s to early 1960s, Hirt and his band played nightly at Dan's Pier 600 at the corner of St. Louis and Bourbon Street. The club was owned by his business manager, Dan Levy, Sr.

Al Hirt - Bourbon Street at St Louis in the French Quarter, 1977

In 1962 Hirt opened his own club on Bourbon Street in the French Quarter, which he ran until 1983. He also became a minority owner in the NFL expansion New Orleans Saints in 1967.

In 1962, in an effort to showcase him in a different musical setting, Hirt was teamed with arranger and composer Billy May and producer Steve Sholes to record an album titled Horn A Plenty that was a departure from the Dixieland material that he was generally associated with. Covering an eclectic variety of popular, standard and show tunes, it featured a big-band supplemented by timpani, French horns and harp. "Memories of You"

On February 8, 1970, while performing in a Mardi Gras parade in New Orleans, Hirt was injured while riding on a float. It is popularly believed that he was struck in the mouth by a thrown piece of concrete or brick. Factual documentation of the details of the incident is sparse, consisting primarily of claims made by Hirt after the incident. Whatever the actual cause of his injuries, Hirt underwent surgery and had to wait a while and then practice slowly to make a return to the club scene. This incident was parodied in a Saturday Night Live skit from their second season Mardi Gras special, the "Let's Hit Al Hirt in the Mouth with a Brick Contest".

In 1987, Hirt played a solo rendition of "Ave Maria" for Pope John Paul II's visit to New Orleans.

In 1999, Hirt died, aged 76, in New Orleans of liver failure, after spending the previous year in a wheelchair due to edema in his leg. Despite the bout with edema, Hirt continued to play in local clubs including Chris Owens Club. Hirt was buried in Metairie Cemetery in New Orleans.

Hirt had eight children. In 1990 he married Beverly Estabrook Essel, a friend of 40 years.

He is referred to in the 1987 film Good Morning, Vietnam, in a broadcast made by Lieutenant Hauk (Bruno Kirby).

Jacky Giordano • Organ Plus

 



Another brilliant library by Jacky Giordano, many great tracks here, Nothing to throw away, superb synth + Rhodes + Organ works, beautiful eclectic themes, charming low fi production, plenty of potential samples, check it!! The last release on this famous label and one of the rarest.

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Otra biblioteca brillante de Jacky Giordano, muchas pistas excelentes aquí, Nada para tirar, excelente synth + Rhodes + Organ funciona, hermosos temas eclécticos, encantadora producción de baja fidelidad, muchas posibles muestras, ¡compruébalo! El último lanzamiento de este famoso sello y uno de los más raros.
 
 
 


King of the Queen Cityː The Story of King Records

 



King of the Queen City is the first comprehensive history of King Records, one of the most influential independent record companies in the history of American music. Founded by businessman Sydney Nathan in the mid-1940s, this small outsider record company in Cincinnati, Ohio, attracted a diverse roster of artists, including James Brown, the Stanley Brothers, Grandpa Jones, Redd Foxx, Earl Bostic, Bill Doggett, Ike Turner, Roy Brown, Freddie King, Eddie Vinson, and Johnny "Guitar" Watson. While other record companies concentrated on one style of music, King was active in virtually all genres of vernacular American music, from blues and R & B to rockabilly, bluegrass, western swing, and country.
A progressive company in a reactionary time, King was led by an interracial creative and executive staff that redefined the face and voice of American music as well as the way it was recorded and sold. Drawing on personal interviews, research in newspapers and periodicals, and deep access to the King archives, Jon Hartley Fox weaves together the elements of King's success, focusing on the dynamic personalities of the artists, producers, and key executives such as Syd Nathan, Henry Glover, and Ralph Bass. The book also includes a foreword by legendary guitarist, singer, and songwriter Dave Alvin.
 
 
Jon Hartley Fox (Autor) 


Xavier Cugat • Plays Continental Hits

 



Artist Biography
Xavier Cugat was the first bandleader to front a successful Latin orchestra in the United States. He was largely responsible for popularizing Latin music among North American audiences, paving the way for such future stars as Perez Prado, and Tito Puente.
Sources differ widely on Cugat's early life and career. It seems, though, that he was born on January 1, 1900, in the Catalonian region of Spain and moved to Cuba with his family when he was only a few years of age. A child prodigy on the violin, at age 12 he earned a seat as first violin with the orchestra of the Teatro Nacional in Havana. The young Cugat also apparently struck up a friendship with famed opera singer Enrico Caruso, who brought him to America near the end of the First World War. In New York Cugat met pianist and fellow Catalonian Agusto Borgunyó. Together they formed a classical duo.
In the early 1920s Cugat decided to abandon classical for popular music. His main interest lay in Latin rhythms, and picking up on the tango craze he formed a short-lived band called the Gigolos. He spent the next few years playing odd engagements and working with such popular orchestras as those of Vincent Lopez and Phil Harris. In the late 1920s he jumped on the sound movie bandwagon and formed a new version of the Gigolos. With this group he finally achieved a modicum of success, opening at the Los Angeles Coconut Grove in 1928 and appearing in the 1929 film Mexicana.
Cugat worked in Anson Weeks' orchestra during the early 1930s before forming a new outfit of his own. He continued to lead his band throughout the 1930s and into the 1940s, spending a great deal of time at the Waldorf- Astoria Hotel in New York. Cugat also had his own radio program. In the early 1930s he had a big hit with the song ''El Manicero'' (''The Peanut Vendor''), which started a rumba craze across America. His other hits were “Perfida” in 1940, and the original recording of “Babalu” in 1944. Cugat’s band always had very fine musicians and singers, and he put on a top notch performance on stage.
He was married five times, including to two of his vocalists, Abbe Lane and in the ‘60’s to Charo, who incidentally is still capitalizing on her association with him. He used his popularity in the music business to also have a very successful film career and made scores of film 1930 to 1960. During the ‘50’s and 60’s Cugat continued performing and recording, both on the Mercury and Decca labels. He left quite a recorded history and his music is still very popular today, and always sells. He briefly had his own television program in 1957 and also spent time in Europe directing Italian television. He was also quite a talented cartoonist and his caricatures are now valued by collectors. Cugat retired from show business in 1971 after suffering a stroke. In 1978 he settled in Barcelona.
Xavier Cugat died in 1990 from heart failure.
https://musicians.allaboutjazz.com/xaviercugat

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Biografía del artista
Xavier Cugat fue el primer director de orquesta en liderar una exitosa orquesta latina en Estados Unidos. Fue en gran parte responsable de popularizar la música latina entre el público norteamericano, allanando el camino para futuras estrellas como Pérez Prado y Tito Puente.

Las fuentes difieren ampliamente sobre los comienzos de la vida y la carrera de Cugat. Parece, sin embargo, que nació el 1 de enero de 1900 en la región catalana de España y se trasladó a Cuba con su familia cuando sólo tenía unos pocos años de edad. Niño prodigio del violín, a la edad de 12 años obtuvo un asiento como primer violín con la orquesta del Teatro Nacional de La Habana. Al parecer, el joven Cugat también entabló una amistad con el famoso cantante de ópera Enrico Caruso, que lo trajo a América cerca del final de la Primera Guerra Mundial. En Nueva York, Cugat conoció al pianista y compatriota catalán Agusto Borgunyó. Juntos formaron un dúo clásico.

A principios de la década de 1920, Cugat decidió abandonar la música clásica por la música popular. Su interés principal residía en los ritmos latinos, y recogiendo la moda del tango formó una banda de corta duración llamada The Gigolos. Pasó los siguientes años tocando en compromisos extraños y trabajando con orquestas tan populares como las de Vincent Lopez y Phil Harris. A finales de la década de 1920 se subió al tren de las películas de sonido y formó una nueva versión de los Gigolos. Con este grupo finalmente logró un mínimo éxito, abriendo en Los Angeles Coconut Grove en 1928 y apareciendo en la película Mexicana de 1929.

Cugat trabajó en la orquesta de Anson Weeks a principios de la década de 1930 antes de formar su propio equipo. Continuó dirigiendo su banda durante los años 30 y 40, pasando mucho tiempo en el Hotel Waldorf-Astoria de Nueva York. Cugat también tenía su propio programa de radio. A principios de la década de 1930 tuvo un gran éxito con la canción ''El Manicero'' (''El Manicero''), que inició una locura de rumba en toda América. Sus otros éxitos fueron "Perfida" en 1940 y la grabación original de "Babalu" en 1944. La banda de Cugat siempre tuvo músicos y cantantes muy buenos, y él hizo una actuación de primera clase en el escenario.

Se casó cinco veces, incluyendo a dos de sus vocalistas, Abbe Lane y en los años 60 con Charo, quien por cierto sigue capitalizando su asociación con él. Utilizó su popularidad en el negocio de la música para tener también una carrera cinematográfica muy exitosa e hizo partituras de películas de 1930 a 1960. Durante los años'50 y'60 Cugat continuó tocando y grabando, tanto en los sellos Mercury como Decca. Dejó una historia bastante grabada y su música sigue siendo muy popular hoy en día, y siempre se vende. Tuvo brevemente su propio programa de televisión en 1957 y también pasó un tiempo en Europa dirigiendo la televisión italiana. También era un caricaturista con mucho talento y sus caricaturas son ahora muy apreciadas por los coleccionistas. Cugat se retiró del mundo del espectáculo en 1971 tras sufrir un derrame cerebral. En 1978 se instaló en Barcelona.
Xavier Cugat murió en 1990 de un paro cardíaco.
https://musicians.allaboutjazz.com/xaviercugat