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“Don’t Be a Joe” (1947), the unreleased and lost movie with Cab Calloway

It takes a collector’s serendipity to find a clue about a movie nobody ever saw. When opening a program dated with pencil by the original owner “November 14, 1947,” we found at the penultimate page a mysterious photo with a tagline: “A scene from ‘DON’T BE A JOE’” After years of unsuccessful research to see this film and a last-minute discovery by jazz film specialist Mark Cantor, we have decided to share what little we know about it -- which is quite a bit considering the total absence of information in all the usual sources.  Plus some of our speculations are included for context. Read the full story →

Lockwood Lewis: the forgotten Missourians’ bandleader before Cab Calloway’s coup

Lockwood Lewis is associated with Cab Calloway’s rising fame at the moment the latter took over the baton of the Missourians after a famous (and supposedly) battle of bands at the Savoy in 1930. This event has overshadowed Lockwood Lewis’ long career that spanned from an admired teacher, to one of the Harlem’s favorites and a respected Union man and circus bandleader. Meanwhile, he was one of the Black Devils during World War One. What a life. What a forgotten artist! Not anymore, thanks to The Hi De Ho Blog. Read the full story →

Cab Calloway’s engagements at the Apollo Theater in Harlem (part 1)

  The Apollo Theater in Harlem is a milestone in the showbusiness’ landscape. Not only for jazz but also for soul, pop, rock, rap, comedy, dance and amateur performances. This venue who has revealed to the world artists like Ella Fitzgerald, James Brown thank to its famous Wednesday Amateurs’ Night, has welcomed thousands of performers, vaudeville acts, Black or white. And among them, Cab Calloway. Thanks to the considerable surviving archives, the many photos, press ads and testimonies (by other performers, reviewers, members of the audience), The Hi De Ho Blog proudly presents the very first history and survey of the 26 week-engagements (plus the many benefits evenings, and other events) when “Hi De Ho” resonated in the 125th Street’s temple of music. Part 1: The Thirties, when the Cotton Club star comes to real Harlem   Read the full story →

ONE NIGHT CLUB AT A TIME: THE STORY OF MAE DIGGS (part 1)

Mae Diggs was a singer, dancer, drummer, bandleader, composer and producer. She sang popular songs of the day, sultry blues numbers, and her own compositions.  She danced, usually solo on stage, with sexy, exotic moves dressed in a variety of costumes including a collection of evening gowns.  She played the drums.  She produced entire night club productions and occasionally conducted jazz bands and, for over twenty years, fronted a Rhythm & Blues combo. This is her story of resilience and reinvention. Read the full story →

Leroy MAXEY: The drummer without solo (part 3)

Is there a curse for the Cab Calloway’s musicians from the rhythm section? Like Cab’s first pianist, Earres Prince with Benny Payne, like guitar player Morris White with Danny Barker, like Al Morgan with bass player Milt Hinton, drummer Leroy Maxey remains in the shadow of his successor Cozy Cole. And yet, Leroy ‘Cash’ Maxey had long been the drummer of the Missourians when Cab took over as leader of the band. Jazz historians have since recognized him as a classic drummer, notable for his use of the bass drum pedal and his four-to-the-floor technique. The Hi de Ho Blog will tell you what we know about the man who was a small star in his time, a great seducer (almost a bigamist) who was fired overnight by Cab because he couldn’t play an up-to-date solo... + Vintage drummers specialist Nicholas D. Ball offers deep research on Maxey’s playing and drum kit. A must-read! Read the full story →

Leroy MAXEY: The drummer without solo (part 1)

Is there a curse for the Cab Calloway’s musicians from the rhythm section? Like Cab’s first pianist, Earres Prince with Benny Payne, like guitar player Morris White with Danny Barker, like Al Morgan with bass player Milt Hinton, drummer Leroy Maxey remains in the shadow of his successor Cozy Cole. And yet, Leroy ‘Cash’ Maxey had long been the drummer of the Missourians when Cab took over as leader of the band. Jazz historians have since recognized him as a classic drummer, notable for his use of the bass drum pedal and his four-to-the-floor technique. The Hi de Ho Blog will tell you what we know about the man who was a small star in his time, a great seducer (almost a bigamist) who was fired overnight by Cab because he couldn’t play an up-to-date solo... + Vintage drummers specialist Nicholas D. Ball offers deep research on Maxey’s playing and drum kit. A must-read! Read the full story →

THE MAN FROM HARLEM MEETS THE CINCINNATI KID

  In 1965 Cab Calloway appeared in a superb dramatic supporting role in the Steve McQueen film The Cincinnati Kid. Based on a best-selling novel, the movie was a wonderful opportunity for Cab to show his assets in poker, since he was himself a definite player. And it was also the perfect time to fullfill a quite empty schedule on stage... For The Hi De Ho Blog, Keller Whalen retraces the history of the shooting, the casting, the release, and has unearthed anecdotes, documents and rare pictures about this unique gambling film. Read the full story →

“Hi De Ho” (1937): the Cab Calloway Vitaphone movie with genuine actors… and real music! 2/2

“Hi De Ho” is a Vitaphone movie released on February 20, 1937 by Warner Bros in the Melody Masters Series, that wonderfully demonstrates the musical qualities and stage persona of Cab Calloway and his musicians. But there’s more to know about this 11-mn and 1 reel movie, rarely seen, and often ignored by jazz historians and film or theater scholars: his uncredited cast shows besides Cab three distinguished and established actors nobody noticed.  Until now! (PART 2/2) Read the full story →

“Hi De Ho” (1937): the Cab Calloway Vitaphone movie with genuine actors… and real music! 1/2

“Hi De Ho” is a Vitaphone movie released on February 20, 1937 by Warner Bros in the Melody Masters Series, that wonderfully demonstrates the musical qualities and stage persona of Cab Calloway and his musicians. But there’s more to know about this 11-mn and 1 reel movie, rarely seen, and often ignored by jazz historians and film or theater scholars: his uncredited cast shows besides Cab three distinguished and established actors nobody noticed.  Until now! (PART 1/2) Read the full story →

Cab Calloway on Television: 2 - The Forties

“Recognized as a ‘natural’ for television, Cab has made several test performances before the television cameras” states The Macon News dated February 2, 1947. But Cab Calloway’s first known TV appearance is only dated a few weeks before, on January 17, 1947 between 11:30 pm and 1 am. Cab indeed performs on the debuting TV Show “Cavalcade of Bands” for the March of Dimes Telethon, along with bandleaders Jimmy Dorsey and Guy Lombardo. The show, probably shot in Chicago, was telecast on the CBS Network. From then on, Cab will appear frequently on many TV shows and will participate in numerous telethons on TV until the late 1980’s. I haven’t found yet any other appearance for 1947. Remember that at the end of 1947, his feature movie “Hi De Ho” is released in movie theaters. But, starting 1948, Cab will progressively share his time among stage, radio, and TV studios. And that’s the right time for Cab: in April 1948, he disbanded his orchestra, only keeping a small combo with him. The forthcoming years will be hard for Cab, Duke, Count, Woody, Benny and many more! Cab quickly understands the power of television and struggles to get a spot on the small screen that is starting to get a room in many homes in the USA. He almost got his own show but the black and white screens still had issues having an African American artist as the main feature on a regular TV show. Read the full story →

Cab Calloway on Television: 1 - The Thirties

Before merchandized television sets were sold to the American customer, a couple of movies using the primitive and experimental television as a futuristic subject of fantasy welcomed Cab Calloway in a couple of scenes. And that started as early as 1933! In this first episode in our series "Cab Calloway on Television" by decades, we'll see that even when the television invention is at its dawn, Cab Calloway already has many assets to become one of the new big stars of the small screen... Read the full story →

Mabel GARRETT, The Story of a Cotton Club Girl (1/2)

Appearing just a few seconds dancing with Cab Calloway in the movie Manhattan Merry-Go-Round (1937), this graceful, tall and jumping dancer remained unidentified until we asked jazz dance historian Harri HEINILÄ from Helsinki to help us. Then, with the name in mind, after several weeks of research, we are now able to tell you the story of Mabel GARRETT whose dancing feet crossed those of Cab Calloway many times as well as the path of many other artists of the Harlem scene. A journey with one of those performers who made it on Broadway, on Harlem stages and then had to struggle when hard times come with age… Read the full story →

Cab Calloway in the movie “Manhattan Merry-Go-Round”, 1937

Among the cameos Cab Calloway did in several movies, this one for Manhattan Merry-Go-Round remains quite obscure and barely appears in people’s minds when talking about jazz on screen. Yet, this short sequence within a mediocre “filmusical” produced by the low budget Republic Studio is in fact interesting for jazz and dance fans: the song, the music with a great tenor sax solo by Chu Berry in his only known filmed appearance and the Lindy Hoppers gyrations plus the peculiar advertising for the movie make it worth some attention. The Hi De Ho Blog tells you everything we know about it! Read the full story →

Edwin SWAYZE, The muted story of an extraordinary trumpet 4/4

Crowned ”The King“, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. For this last part, trumpeter and jazz historian Yves François analyses Edwin Swayze's solos and use of mutes during his reign in the trumpet section of the King of Hi De Ho. Part IV: The Trumpet section during Swayze's reign Read the full story →

Edwin SWAYZE, The muted story of an extraordinary trumpet 3/4

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part III: USA and Europe with Cab Calloway at the Cotton Club Read the full story →

Edwin SWAYZE, The muted story of an extraordinary trumpet 2/4

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part II: In Paris and Holland with the Blackbirds and the Plantation Orchestra Read the full story →

Edwin SWAYZE, The muted story of an extraordinary trumpet 1/4

Crowned “The King”, inspired by King Oliver, leader of his own band for a while, famous for composing Jitterbug, noted soloist on muted trumpet and high notes, Edwin Swayze is a musician who deserves to be rediscovered for his intense career that started in Arkansas, made him a bandleader, lead him twice to Europe, and ended abruptly at only 29 during a stay the world-famous Cotton Club in Cab Calloway’s orchestra. Part I: With Alphonso Trent, Sammy Lewis, Jelly Roll Morton, Chick Webb and many more Read the full story →

The “ST. LOUIS BLUES” movie (1958): A MISSED OPPORTUNITY

St. Louis Blues (1958) starring Nat King Cole, Eartha Kitt, Pearl Bailey and Cab Calloway is a truly awful film with an outstanding cast.  Our friend and fellow Cab Calloway fan Keller Whalen has left no stone unturned in uncovering the behind-the-scenes details – he even watched the movie several times.  The Hi De Ho Blog is pleased to present a fascinating look at the story of how a bad film was made and the often hilarious reviews that followed its release.  Read the full story →

Morris ‘Fruit’ WHITE: from the Missourians’ banjo to Calloway’s guitar

Very little is known about Morris WHITE, Cab Calloway’s first rhythm guitarist and banjo player.  While French critics seem to have appreciated his musicianship during the 1934 European tour, he attained little or no place in jazz literature.  In the history of Cab’s orchestra, it’s Danny BARKER who is recognized as the star of the guitar in the rhythm section. The musicologist Gunther SCHULLER, however, awarded White many compliments throughout his study of the music of the Cab Calloway orchestra.  The Hi De Ho Blog is excited to tell you everything we know about Morris ‘Fruit’ White.  And as a bonus, thanks to Nick ROSSI, guitarist, writer and jazz historian, we are able to offer you an extra deep dive into analyzing Morris' technique and instruments.   Read the full story →

BEN BAGLEY, CAB CALLOWAY AND THE GREAT BROADWAY COMPOSERS

On several occasions in the 1970s Cab teamed up with producer Ben Bagley to record musical comedy show tunes for LP salutes to the great popular songwriters.  Bagley’s Revisited series of albums pay tribute to the iconic Broadway composers and lyricists with some of their more obscure and forgotten songs. Those exceptional albums are cherished and widely coveted by collectors. Keller Whalen, for The Hi De Ho Blog, tells you the whole story. And it’s history! By Keller WHALEN Read the full story →

Elmer: Cab Calloway’s (not so) hidden brother

  The name “Calloway” was a huge path to success.  Before Cab, of course, there was Blanche, the elder sister (born in 1903) who started out with Louis Armstrong before having her own orchestra in 1931.  But what few of us know is that Cab had a younger brother who also happened to lead his own orchestra.  But to find out more about Elmer Calloway, you have to search and search and search.  But don’t try searching at Cab’s house.   Read the full story →

Avis ANDREWS: The Sepia Prima Donna

Billed alternately in the ads as “Sepia Prima Donna”, “The Sepian Nightingale”, “Siren of Songs”, “Songbird of the South”, “Bundle of Blues”, “Popular and petite songbird”, “The aristocrat of song”, “The Broadway Favorite and Singing Sensation”, “Second to Marian Anderson” or “Greatest colored soprano” (sic). Still: if we had to rely on Cab Calloway’s autobiography to find out a little more about this singer who was the canary for the orchestra for more than 7 years, we wouldn’t get very far! The Hi De Ho Blog invistigated and tells you almost everything about a great singer (cousin of the singer and TV star Leslie Uggams) admired then and forgotten today. Read the full story →

Cab Calloway’s RCA Studio album “Hi-De-Hi-De-Ho” (1960)

Recorded in December 1958, this album was supposed to let people discover Cab Calloway’s “stylized vocal” in full stereo, backed by a big band orchestra. It was eventually released in June 1960! The Hi De Ho Blog tries to explain the story of those tracks, neglected by Jazz historians, forgotten by most but which are a lively experience of Cab Calloway’s sound and voice in this era: timeless! Read the full story →

“The Pajama Game” (1973-1974): tops and bottoms in black and white

After Cab Calloway’s success on Broadway with Porgy and Bess (1952-1954) and Hello, Dolly! (1968-1972), the Great White Way seemed to be wide open to another long-term run with the revival of The Pajama Game. Despite great cards in hand, the curtain dropped on the show after just 65 performances. The Hi De Ho Blog tells you why Cab has better luck in a white tuxedo than in black pajamas… Read the full story →

Cab Calloway’s “Blues Make Me Happy”

Cab Calloway’s 1962 album of standards, Blues Make Me Happy has recently been released on CD on the Sepia label. The original Coral LP has been re-mastered and cleaned up for the first time using the CEDAR noise-reduction process, with rare bonus material from the Coral and ABC-Paramount labels.  The new CD “Blues Make Me Happy The ABC-Paramount and Coral Years 1956-1961” includes a booklet with full discographic details and very informative liner notes by Christopher POPA, webmaster of the Big Band Library website. It’s unfortunate that Cab didn’t record more albums of standards or contemporary tunes during this era, because he was at the height of his powers as a vocalist.  Although the rapid high-pitched scatting and vocal pyrotechnics of the hot-jazz 1930s were somewhat diminished, they were more than equaled by a mature and powerful voice, perfect diction and breath control, and an impressive three-octave range. The Hi De Ho Blog brings you the whole story, reviews the CD, and adds new information about this milestone yet underrated album.     Read the full story →

The Cab Calloway TV Show in 1959 from the Rancho Don Carlos in Winnipeg, Canada

This show is one of a kind testimony of the way Cab Calloway sang and toured in the late fifties, when times were harder than during the Swing era. And, on a personal matter, this is a TV show I’ve been privileged to watch at Cab Calloway’s house in Westchester along with Cab’s daughter, Cecelia. I thought I’d never see it again, but here it is, after a dedicated fan posted it on YouTube. Read the full story →

Cotton Club Revue Season #2: 1958, from Miami to...

The second year, expected to fulfill the hopes of the first season, didn’t happen the way it was supposed to. With many changes in the leading parts, certainly lacking pizzazz, with a downgraded show, the 1958 Cotton Club Revue had also had to face bad luck. Even the GONE Album recorded to support the show was released right after the closing of the engagement in Miami… But it takes much more to dishearten Cab Calloway! Read the full story →

Cotton Club Revue Season #1: 1957, from Miami to New York and Las Vegas

In the Fifties, Miami became the place to be: hotels and resorts, nightclubs, beaches, the city was magic. Before retirees, tourists were the main source of income. It made sense for entrepreneurs to try their luck with an ambitious revue. Glamour, chorus girls, tap dance and entertainment were on the menu. And if you add Cab Calloway as the main course, you’re headed for success. So they say. And so it happened... well, at the beginning.     Read the full story →