DANNY'S BLOG

CLEF NOTE: - "SPOTLIGHTS - Vol. #1"

2012-05-21T00:55:09Z

During the early decades of jazz it was a customary procedure for jazz musicians to compose an original jazz tune or melody that was based on segments of their ad-lib solos utilizing the chord progressions of popular standard songs that were on the Hit Parade during that period of time.

**** Many of these original compositions have become future JAZZ standard tunes

which are often played by Jazz musicians worldwide.

MISSOURI - "A WALK DOWN THE CORRIDORS OF JAZZ"

2012-05-13T04:25:57Z

Kansas City, during the 1920's and 1930's was a wide-open, 24-hour town controlled by gangsters, that attracted musicians from all over the Southwestern region.

The city was filled with nightclubs, dance halls, vaudeville houses and juke joints that rocked the city from dusk until dawn, with jam sessions, which was a Kansas City specialty. These jam sessions lasted for hours and hours even though the prohibition laws were in effect.

Bennie Moten and his Orchestra was one of the most popular bands that was formed in the early 1920's. It was here that a young piano player named Bill Basie, from Red Bank, New Jersey, got his start in jazz.

The jam sessions played an important part of the careers of Lester Young, Hershal Evans, Coleman Hawkins, Charlie Parker, and vocalists Jimmy Rushing and Big Joe Turner who was a blues- singing bartender in one of the juke joints.

Most of these jazz clubs were small neighborhood bars located behind store-front properties that were located in a six block area that was centered by 18th and Vine Streets.

STAN ROSS - SAXOPHONIST ***SPOTLIGHT PERFORMANCE #2

2012-05-10T03:52:09Z

-"I remember the first time I heard Stan Ross playing the Saxophone" –

It was back in the early 1970s at a Jam Session in South Jersey. The place was Schilligs Black Horse Farms Restaurant and Cocktail Lounge. This place was not only well-known for their food menu but also for the entertainment provided by recording star Billy Duke & His Dukes this house-band also featured name celebrities that always stopped-in to perform and take part of the entertainment. – Billy Duke (aka Bill Tesone) he and his brother Jazz bassist Ace Tesone were native South Philadelphians that played the entertainment circuit on both the East & West Coasts and Las Vegas.

On the bandstand one evening, that was located behind a Large Bar in the cocktail Lounge section of the establishment. A jam session was taken place with various guest musicians from the Delaware Valley. Joe Fortunato who was the lead tenor sax man with Billy Duke’s six-pc combo invited me to sit-in to take part and play in a Jam Session for the attending large crowd that was requesting a sax- battle between the saxophone players. While we played a swingin’ rendition of Lionel Hampton’s Flyin’ Home – Joe Fortunato invited another young sax man from the audience . . . his name was Stan Ross. Stan came-up on the bandstand and joined us playing and swingin’ the familiar jazz standards that generated a crowd reaction from all the patrons who were sitting three deep at the bar.

I was very impressed at Stan’s style of playing and professional manner in being a true Gentleman musician. Joe Fortunato, Stan Ross myself and other members of the band spoke in conversation about the music business until the early hours of the morning. During our conversation’s Stan mentioned that the first time he heard Stan Getz who played with creativity and fluency of a tenor sax sound that was pure and clean. We all became friends and played again from time to time. There were times when our instruments needed repair. We would pay a visit to our mutual friend George Sarkis known as “The Doctor Of Horns” this gave us opportunity to meet other friends that included Ray Hyman . . . Ray was a friend that was responsible for the invention of “The Ray Hyman Saxophone Strap” which was distributed worldwide and used by the majority of leading saxophonists throughout the world.

George Sarkis was like a father to Stan; while spending time in George's quaint shop waiting for the instrument repairs to be completed. One day Sonny Stitt walked in with his alto sax repairs. He needed the instrument to be in excellent playing condition for his engagement at the SHOWBOAT Jazz Club. During the time George needed to make the repairs, Stan Ross and Sonny Stitt went next door to the (Musician’s Union – Local 77) for a quick lunch.

It was in 1972 – I had just returned from working on a road engagement in Florida. During this time, I was spending much time in Atlantic City with a Jazz trio that I formed which included drummer Pete Marsico and a young organist George Mesterhazy. While we were playing the various Atlantic City cocktail lounges and accumulated a large following of friends & music lovers. The idea was formulated . . . this production was to be our rendition of a saxophone jam session. I called Stan Ross and distinctly wanted him to be part of a production “The Battle of the Saxes” which also would feature Joe Fortunato and our friend saxophonist Ray Fern. Stan agreed, and a special friendly relationship and bond of four local Philadelphia tenor sax men was the beginning of “The Philadelphia Four Brothers”

ENCORE . . .

"Keeping Mainstream & Straight Ahead JAZZ Alive"

DON PHILLIPS - V.P - AMERICAN GUILD OF VARIETY ARTISTS

2012-04-24T04:41:24Z

Another fond memory, was back in the early 1980's when close friend and associate Don Phillips, Vice President of American Guild of Variety Artists (AGVA) invited my colleague Guy Galante and me to attend a guest invitation at the world renowned Friars Club, located at 57 East 55th Street in New York City.

While at this dinner engagement, stopping by to say hello were numerous entertainers that included comedians Dick Shawn, Henny Youngman, and Jackie Mason. Don's association with many entertainers and musicians ranged from the small- time comics and variety acts to the biggest names in show-business plus all categories of musicians from the big bands to especially his favorites in the jazz community such as Dizzy Gillespie, Buddy Rich, Arthur Prysock, Woody Herman, Bobby Short, Count Basie and a countless group of jazz legends that included female vocalist's Sarah Vaughan, Billie Holiday and his longtime friend Ella Fitzgerald, who he often referred to as "Miss Ella." Don Phillips became a well-known personality in Atlantic City from the many years presenting the above acts and many others while serving as emcee and manager of the LeBistro Club, located on the corner of Pacific and Missouri Avenues next door to the famous 500 Club owned by "Skinny" D'Amato. His career began as a teenager singing and dancing which gave him the opportunity to perform on many stages on both the East and West coasts. My association with Don was not only as a friend but we worked on many promotions and fund-raising community affairs for Atlantic City and surrounding areas-where Guy Galante directed and Don would emcee the events, which I had the opportunity to produce. "The Big Band Explosion" was an event that filled Wildwood, NJ Convention Hall on July 4th, 1985.

The show was a memorable happening that featured The Count Basie Orchestra, Directed by Thad Jones and Maynard Ferguson and his band on stage for this one-time event. To get these two bands together for a one-time appearance was an arduous task, because of their prior booking commitments that involved re-routing of their traveling schedules.

During the telephone conversations Don, Guy and myself had with Thad Jones and Maynard Ferguson, they assured us that there would be no problem in making the play date. Maynard Ferguson had a few days off from his work schedule and The Basie Band was returning to the states from an engagement being played in Europe. An un-forseen incident occurred when the Basie Band had problems clearing Customs in New York City as they entered the USA.

I owe a debt of gratitude to my friend agent Larry Bennett who was able to secure an Executive Attache in order to escort the band through Customs on such a short notice. All-in-all the show was a success in drawing a large crowd that enjoyed the performance of these two legendary bands that ended with a jam session between Thad Jones and Maynard Ferguson sharing the spotlight of center stage as they rocked Wildwood's Convention Hall for "The Big Band Explosion." Whenever, Don Phillips was in need of assistance with his promotions he knew he could depend and rely on Guy Galante and myself to lend a helping-hand whenever necessary. He also produced a sell-out concert with pianist Bobby Short at the Rainbow Room in New York City in which he was in need of television exposure in order to promote the show. Guy was a big help in securing the necessary exposure that was needed and I was able to help with the print media.

I happened to know that Don had a secret desire to go to Hollywood to make it in the movies. Well, he did make it to Hollywood and he was in a movie. His friend, comedian Jackie Mason was instrumental in getting him a part in CaddySack II. Before his sudden illness of heart problems in the early 1980's we were in the negotiating process with Sam DeStefano, Executive V.P. of the Playboy Hotel & Casino in Atlantic City, to produce a television series of 13 shows that was to eminate from the Playboy Casino. The show was to be called "JAZZ ...One More Time" which was to feature many jazz legends such as Woody Herman, Thad Jones, Mercer Ellington, Buddy Rich, Sarah Vaughan and many others performing and talking candidly about the future of jazz and the music industry. During this period, Don also contacted another one of his colleagues, radio personality William B. Williams who was a longtime friend to Frank Sinatra. William B. agreed to make scheduled appearances on the show throughout the series to share interesting anecdotes and friendly stories about Frank Sinatra plus some of his own personal experiences as a radio personality. Unfortunately, the timing, scheduling and ill-fated illnesses of occurances happened to many of the key-players that the project was never able to see the light of day. To this present day . . . I still get inquiries from some of the interested investors that were to take part in the financial backing of such a project. They want to know if the possibility of resurrecting the production is feasible. Well, my reply has been, that I firmly believe it is virtually impossible to produce such a quality package since the music business and jazz has changed drastically and most of the traditional jazz legends male and female are no longer with us. So consequently, the project has been put on hold for the time being. But, the intentions of producing a quality series package still remains. The consideration of a multi-media computer project utilizing vintage jazz film footage and personal interviews with some of the greats in jazz has been discussed and negotiated with these potential investors who have a warm feeling in their hearts for this American Art Form called ... JAZZ - in "Keeping Mainstream JAZZ Alive."

Stay tuned ...

MICHIGAN - "A WALK DOWN THE CORRIDORS OF JAZZ"

2012-04-20T07:31:18Z

As far back as the 1800's the African- American musicians that lived in Detroit played a very important role in the entertainment scene. Throughout the years the many changes in music that has shifted from society bands, rhythm & blues, to jazz, this city is predominantly known for the Motown sound. Although known for its contribution to the commercial pop field, Detroit and surrounding areas has also produced an enormous number of jazz musicians, many of whom later moved to the Big Apple in order to attain their portion of success.

During the 1950's and mid-1960's many jazz musicians and vocalists born in Detroit were able to pursue their dreams and get their start in the city of Motown. The talents of Betty Carter, Donald Byrd, Yusef Lateef, Paul Chambers, Thad Jones and his brothers Hank and Elvin gained them the respective notoriety that has prevailed over the decades. Kenny Burrell, Alice Coltrane, Barry Harris, Tommy Flanagan, Charles McPherson, and Pepper Adams also made their mark in jazz during this time.

***A Special Time To Remember:

- The Big Band Explosion -

“The Big Band Explosion” – Was celebrated at Wildwood Convention Hall Wildwood, NJ on July 4, 1985. The sell-out crowd enjoyed a one-time experience featuring “The Count Basie Orchestra – Directed by Thad Jones & Maynard Ferguson and his 10piece Orchestra.

The both bands appeared on the same stage playing their Big Band specialties. As a closing finale, Thad Jones & Maynard Ferguson had a swingin’ jam session that generated a standing ovation in the concert hall

SONNY SCHWARTZ -"ATLANTIC CITY AWARD-WINNING COLUMNIST, AUTHOR, TALK SHOW HOST"

2012-04-14T08:24:06Z

"The days of nightclubs, cocktail lounges and musical bars are a thing of the past in Atlantic City . . .and probably will never return."

Between 1950 and the early 1970's, Atlantic City was filled with nightclubs, cocktail lounges, musical bars and small intimate jazz clubs. These nightspots catered to singles looking for a date . . .lovers spending an enjoyable evening listening to live entertainment and too music enthusiasts who just wanted to listen to good music and jazz. The many celebrities and jazz musicians that were working these venues or just visiting Atlantic City in those days all had one thing in common, they were all met and interviewed by Sonny Schwartz. Just by a mention in his column a performer could be 100% sure that he/she would play to a full house.

Sonny Schwartz was an award-winning columnist, author, and syndicated radio talk-show host. His entertainment variety sports nostalgia show is heard throughout the world and can also be reached via the internet. Born and educated in Atlantic City, New Jersey, Sonny began his journalistic career in the fourth-grade when he earned his first byline for the Atlantic City Press. He later became a sports correspondent for the same newspaper.During his many years working for the Atlantic City Press, he won numerous citations and awards for his writing and communication skills and volunteer efforts. His columns for the newspaper ran from heartwarming humanistic stories about the surviving families of police, firefighters and rescue squad personnel killed in the line of duty to interviews with many top celebrities and aspiring young performers.

I was even mentioned in his column once, back in the early 1970's. After traveling with various bands across the United States, and Canada. I decided to take some time off and work in the Philadelphia, and New Jersey area. I formed a jazz organ trio that featured Pete Marsico on drums, and young George Mesterhazy on organ and myself on tenor sax. While playing the Riverboat Lounge in Somers Point, NJ, I had called Sonny Schwartz. I had met him only once before back in the 1960's when I was working at the Hialeah Club on Atlantic Avenue with the "Virtues" who recorded the million seller hit song "Guitar Boogie Shuffle." I explained to him an idea I had. I wanted to resurrect the infamous "Battle of the Saxes." featuring four or five tenor saxes in the front line . . . swinging and houserockin' to many favorite jazz tunes reminiscent of "The Jazz at the Philharmonic" concerts that were produced in the past by Norman Granz. My trio was currently booked at Tom Battles Marina Restaurant & Cafe which was located in the marina section of Atlantic City. This was a popular spot that sat 500 people comfortably.

The owner Tom Battles, was an old friend who always had an exceptional reputation as a restaurateur and was a force in city politics who also liked the idea and wanted to launch our first presentation. While the menu preparations were being planned and the bandstand was being built, other details were handled by Tony Genaro, General Manager of the restaurant. Since I had worked for Genaro at his nightclub in Philadelphia and he was related to our drummer, Pete Marsico, he made sure that we had full cooperation from all of the service staff.

Sonny frequently mentioned upcoming events in his column. One of the events he wrote about was my "Battle of the Saxes." Sonny's confidence in my idea and his help and support were a major part of generating our sell-out crowd. It was gratifying and exciting for myself and all the band members to have such a phenomenal reception from the standing room only audience. That night's success led to many future performances of "The Battle Of The Saxes" in other nightclubs on the East Coast.

After spending some time in Las Vegas at business meetings and working on various entertainment projects, I returned to Atlantic City in 1979 to open a booking agency. Immediately, after I arrived I called Sonny Schwartz to bring me up to date and to get some input about the city. Always there to lend a helping hand, he would immediately ask "how can I be of any help?"

From that point on we developed many projects together. We also collaborated on vital fund raising events for the Hebrew Academy in Margate, New Jersey. We raised a substantial amount of money for the children of the school and for several other humanitarian causes.

In the seven years since Sonny started his syndicated show,

Dateline: Atlantic City with Sonny Schwartz, he has had thousands of guests amoung those thousands, Frank Sinatra, Tony Bennett, Nancy Sinatra, Leroy Neiman, Steve Allen and his wife Jayne Meadows, Connie Francis, Chris Connor, Gloria Lynne, Vic Damone, Don Rickles, Joey Bishop and Buddy Hackett have made appearances. Sports figures, authors and city representatives have been guests on the show as well as young performers that are seeking a break in show business.

In a recent conversation, someone had asked Sonny how he felt about the changes that have taken place in Atlantic City. I was struck by what he said about the entertainment scene and jazz clubs of years gone by: "The days of nightclubs, cocktail lounges and musical bars as we once knew them are a thing of the past in Atlantic City and probably will never return. Although Atlantic City is growing with casinos and abounding with new residents every day, they will see a different city."

Unfortunately, they'll never experience what this town used to be." Sonny mentioned in particular the headline stars that played the Hialeah Club, Le Bistro, and the late night jam-sessions at the four corners on Arkansas Avenue. He also reminisced about Count Basie and his Orchestra swinging at the showroom in the Club Harlem while Chris Columbo's band played in the cocktail lounge. Most importantly, he talked about Frank Sinatra, Dean Martin, and Sammy Davis Jr. making their entrance on stage for the 6:00 a.m. fifth show at the world famous 500 Club on Missouri Avenue, which was operated by the legendary Paul Skinny D'Amato the man responsible for giving Dean Martin and Jerry Lewis and many other mega stars their break in show business.

Even though we didn't see each other as much, we always joked . . . that we are only a

phone call and a favor away! . . . Unfortunately, Sonny is no longer with us -

We still remained good friends until his passing in 1998.

***SPECIAL ADDITION! - SPOTLIGHT PERFORMANCE #1

2012-04-11T05:51:55Z

LOUISIANA - "A WALK DOWN THE CORRIDORS OF JAZZ"

2012-04-04T07:59:20Z

The city of New Orleans is a collection of urban villagesthat played a big part in developing various music styles. Their extensive list of JAZZ, BLUES, and RHYTHM & BLUES musicians, which have made their mark of excellence throughout the past years that have left an indelible presence to the younger musician of today.

Since the early 1900's the sounds of Buddy Bolden, Louis 'Satchmo' Armstrong, Sidney Bechet, Johnny Dodds and Jelly Roll Morton continues to live. During the late 1940's, '50s and '60s brought forth a strong influence of rhythm & blues that becomes a culmination tothe New Orleans distinctive sounds of rhythmic and harmonic patterns that are known worldwide as the New Orleans sound.

Now in the 1980's to this present time a new renaissance is revolving with the presence of Wynton Marsalis, Brandford Marsalis, Harry Connick Jr., Terrence Blanchard and many others who are at the helm of the music scene in New Orleans.

CHRIS FIO RITO - "Entertainment King" of the Las Vegas Strip during 1960s & 1970s

2012-03-31T08:13:42Z

During his childhood in New Rochelle, NY in the early 1940's, Chris Fio Rito always knew that his dreams would come true someday. When Chris was five years old, his father took him to the Paramount Theater in New York City to see a movie and a stage show, it only cost fifty cents back then. For Chris the excitement he felt seeing the live stage show was the highlight of his day. Chris recalls, "sometimes I don't remember what movie was playing, other than it may have been a western or musical film. I just couldn't wait until the live show came on with the big bands and the popular singers of that time." The first time Chris saw Louis Prima and his band, was on that stage at the Paramount. Prima played his golden trumpet that glistened like a jewel in the spotlight, sang, and joked. He would always create such a rapport with his audience that would receive many standing ovations."When I saw Louis Prima and his golden horn, I knew inmy heart that I wanted to be an entertainer," Chris said. He did become one and he even became a close friend of Louie Prima's. A few years later, Chris' Dad, Chris Sr. who drove a taxicab for a living, found a banged-up trumpet in the back seat of his cab. When nobody had claimed it after a period of time, it became Chris Sr's property. Knowing that his son was inspired by what he saw in Louis Prima, he brought the trumpet home to Chris.

The beat- up old horn was hard to play, mostly because the valve keys were leaking air and the badly damaged tone holes needed much repair work done. Nevertheless, Chris had the drive and determination to learn as much as he could and he was able to overcome the obstacles a damaged instrument presented.

It was about seven years before his father could afford to buy a new trumpet for his son. "It was a pleasure to play a new trumpet, I couldn't believe how easy it was to play an instrument that was able to respond quickly to what I wanted to play." He diligently listened during his trumpeting lessons and practiced hours upon hours, and eventually, he was able to start a small combo and dance band. After he was drafted, he headed up a 30 piece US Navy orchestra while in the Navy. His big break came after leaving the Navy. He was booked at the Americana Club in Miami, Florida but he wanted to work somewhere else. The Dream Lounge, also in Miami, was another hot spot that attracted Ella Fitzgerald, Frank Sinatra, Jackie Gleason and other top personalities in the music and entertainment business, and it also attracted Chris.

The owner of the Dream Lounge was so impressed by Chris' performance at the Americana that he instantly hired him to work for him. Ironically, what was supposed to be a four week booking lasted four years.

The many personalities and musicians that were working in the Miami area at the time would always stop-in to see Chris play. His performance of Louis Prima's favorite tunes like "Oh Marie, Angelina" and many others, gained him his nickname of "Little Louie," a name that he was proud to be associated with.

Chris recalls that one day Louis Prima came in to see his show, and after his performance he said, "Hey, you're the guy they call 'Little Louie!.'" When Chris admitted that he was, Prima turned to him and said, "you're not bad kid, not bad. "Louie also asked, if Chris had ever been to Las Vegas, and when Chris said no, Prima said, "I know that someday you will, so here's my number. I have a home on a golf course, you do play golf, don't you?" Chris said he did, he did not know that quite a memorable event was going to happen on that golf course one day. As time passed, Chris found jobs working at many of the top showrooms and lounges in Miami, while at the Fontainbleau Hotel, the owner of the ritzy El Morroco in New York City saw the act and invited Chris to play a private party for Manhattan's elite jet set at the world famous, Copacabana.

The entertainment director for the Sands Hotel in Las Vegas had also heard so much about the act that he booked Chris and his band for a two week engagement. It turned into a two-year contract, because of the amount of people and business that Chris brought into that casino.

Finally he had arrived in Las Vegas! That contract was just the beginning of a long career that awarded him the title of "The Greatest Entertainer in Las Vegas. A Man and His Horn." During the day, Chris would spend most of his time playing golf with Dean Martin, Joey Bishop and other celebrities on the golf course named "Fairway to the Stars," owned by his idol, Louis Prima. Over the entrance to the fairway was a sign with a motto that read: "Be Happy, Have Fun, Relax, Enjoy Yourself!" This couldalso be considered Chris Fio Rito's motto. That eventful day on the golf course finally took place. Louis Prima and Chris were in a golf cart, passing right next to Prima's house. Louie stopped the cart, got out and walked inside. Prima emerged from his house carrying the same golden horn that so captivated Chris at the Paramount Theater so long ago.

Prima handed the trumpet to a surprised Chris, saying, "the doctors tell me I can't play this anymore. So here, you take it. Only promise me one thing, you'11 play pretty for the people."That was in the Spring of 1975. During the summer of that same year, Louis Prima was operated on for a brain tumor. After the

operation he remained in a coma for three years and died in 1978. He was 66 years old. The memories of Louis Prima will continue for a long time to come. He and his wife, Keeley Smith, along with Sam Butera and the Witnesses, entertained thousands of people on both coasts since the inception of the band in 1954. Their

band also had a top selling album entitled The Wildest. To this day, Keeley Smith ends her performance in concert or nightclub setting, with a dedication to her former husband Louis Prima.

Chris also recalled when he met our mutual friend, Tony Torcasio, in Las Vegas. Tony was CEO at the Tropicana Hotel and Casino. "He was one of a kind," Chris remarked, "Tony came to see my band at the Desert Inn and said to give him a call when my contract was up. After a few months, my contract expired and I made the call to Tony. He booked us for two years with options. That's the type of person

he was, always trying to lend a helping hand."In a recent conversation I had with Chris in Atlantic City, NJ while he was performing in the lounge at Harrah's Marina Hotel and Casino, we talked extensively

about how jazz and the music business has changed through the years. He told me about when he was working in Las Vegas.

"There were many places to play and sit-in all along the strip. Ella Fitzgerald, Harry James, Buddy Rich, Dinah Washington, Louis Bellson, the Dukes of Dixieland and others could be seen just sitting-in and relaxing after their performance. They would often stay out till dawn. -... Currently, in Las Vegas and Atlantic City live music is almost a thing of the past. Taped music, also known as canned music, is used more and more in all of these places, because the corporate budgets allocated for live entertainment and production shows are so lousy. It's not the same, that's for sure!"

I was curious and asked him, how he feels about the younger jazz musicians who are on the scene today. He smiled, chuckled a little and said, "although the young players today are better schooled, there aren 't too many places where they can go to jam and practice their craft like in the old days."He also told me his favorite musicians are Louie Armstrong, Chet Baker, Scott Hamilton, and Sam Butera, just to name a few, and, of course, my friend and mentor Louis Prima.

Time passed quickly while we were talking about the good old days. But I still had one more question I wanted to asked him. Since we are both jazz players at heart and have played many tunes and played many improvised choruses throughout our careers, we both know that an improvised solo can never be duplicated to sound the same when played at another time.

Therefore, I wanted his opinion on where all those improvised notes go after they have been played by us all and all those jazz greats throughout the years. Chris replied with warm glow in his eye, "I hope they went with the people when they left our club, after experiencing a moment that can never be duplicated, no matter what. I just hope for the future, I can live up to Louie Prima's expectations of me and his horn, to play pretty for the people."

As we said our good-byes, we embraced one another and Chris said in a soft voice,

"Danny, please remember, be happy, have fun, relax, and enjoy yourself!"...

ILLINOIS - "A WALK DOWN THE CORRIDORS OF JAZZ"

2012-03-23T08:54:29Z

If wasn't until 1915 when the first jazz musicians started to arrive in Chicago. They made their way up from New Orleans and surrounding areas of the South. By the mid- 1920's the city became a melting-pot for many jazzmen that migrated from other parts of the country.

Joe "King" Oliver was known as the undisputed king of the jazz scene in the early years of Chicago. He was a mentor to Louis Armstrong during their friendship in New Orleans, and partly responsible for introducing "Satchmo" to the Chicago area, while they worked together in many of the night spots that were featuring jazz.

The opening of the Savoy Ballroom and theaters and clubs including the Regal Theater and the Dreamland Cafe during these early years, paved the way for many jazz musicians to gain notoriety through the future decades.

Albert Ammons, known as one of the fathers of the boogie-woogie piano style often teamed-up with Duke Ellington's pianist Pete Johnson and Meade "Lux" Lewis sharing the bandstand at Cafe Society playing the blues and rockin' the establishments to sell out crowds.

Did You Know?

The South Side of Chicago had three times as many theaters and nightclubs as New York City until the Stockmarket Crash in 1929.