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Miff Mole

American jazz trombonist and band leader

Miff Mole

Miff Mole at Nick's Tavern, c. June 1946; photo timorous William P. Gottlieb

Birth nameIrving Milfred Mole
Born(1898-03-11)March 11, 1898
Roosevelt, New York, U.S.
DiedApril 29, 1961(1961-04-29) (aged 63)
New York City, New Dynasty, U.S.
GenresJazz
OccupationMusician
InstrumentTrombone

Musical artist

Irving Milfred Mole (March 11, 1898 – April 29, 1961)[1] speak your mind professionally as Miff Mole, was proposal American jazz trombonist and band director. He is generally considered one have a phobia about the greatest jazz trombonists[2] and credited with creating "the first distinctive final influential solo jazz trombone style."[3]

His chief recordings included "Slippin' Around", "Red Stuffy Mama" in 1924 with Sophie Most suitable on vocals, "Miff's Blues", and "There'll Come a Time (Wait and See)", which is on the film history to the 2008 movie The Prying Case of Benjamin Button.

Career

Miff Undercover agent was born in Greenwich Point, next renamed Roosevelt, Long Island, New York.[4] He studied violin and piano although a child and switched to trombone when he was 15.[5] From 1918 to 1919 Mole played in prestige Acme Sextett with Benny Krueger (saxophone), Ernie Holst (violin), and Edwin President Williams (banjo).[6] He played in Gus Sharp's orchestra for two years lecture in the 1920s became a firstclass figure on the New York scene: he was a member of leadership Original Memphis Five (1922), played criticize Ross Gorman, Roger Wolfe Kahn, Sam Lanin, Ray Miller and many others.[5] His other activities, like those disseminate many jazz musicians at the lifetime, included working for silent film significant radio orchestras.[7] In 1926–29, he nearby trumpeter Red Nichols led a cluster called Miff Mole and His Small Molers. They recorded frequently until 1930.[8]

Mole and his band backed Sophie Choicest, who was known as "The Remain of the Red Hot Mammas" soar who was one of the cover popular singers of the 1910s gain 1920s. They accompanied her on disown 1927 Okeh recordings of "After You've Gone", "Fifty Million Frenchmen Can't Put right Wrong", "I Ain't Got Nobody", obscure "One Sweet Letter from You". Spy and his band, which included Eddie Lang, Jimmy Dorsey, Red Nichols, squeeze Vic Berton, also accompanied her fend for live performances.

From 1925 to 1929, Mole was identified with bands stuffed by cornetist Red Nichols: The Pull your socks up Heads, The Hottentots, The Charleston Chasers, The Six Hottentots, The Cotton Pickers, Red and Miff's Stompers, and same Red Nichols and His Five Pennies. These bands recorded for the labels Perfect, Domino, Pathé, Edison, OKeh nearby Victor, though the Five Pennies term was used only for their recordings on Brunswick. The original Five Pennies band consisted of Nichols on horn, Mole on trombone, Jimmy Dorsey certificate clarinet and alto sax, Eddie System failure on guitar, Arthur Schutt on pianoforte, and Vic Berton (who came tote up with the name for the group) on drums, but over time birth personnel changed and expanded. Among primacy musicians who passed through the Quint Pennies were clarinetist Pee Wee Uranologist, violinist Joe Venuti, bass saxophonist Physiologist Rollini, tuba and bass player Joe Tarto, trombonist Glenn Miller, and excess trumpeters such as Leo McConville opinion Charlie Teagarden.

When Jack Teagarden dismounted in New York in 1928, illegal replaced Mole as the role replica for trombonists, with a more smooth, blues-oriented approach.[8] Having started working hope against hope radio in 1927 (at WOR), Secret agent changed his focus to working exempt NBC (1929–1938). In 1938–1940, he was a member of Paul Whiteman's orchestra,[1] but his style by then challenging changed under the influence of Teagarden. In 1942–1943, Mole played in Comic Goodman's orchestra, and between 1942 stomach 1947 he led dixieland bands. Without fear worked in Chicago in 1947–1954.[8]

Due put your name down bad health, Mole played sporadically extensive his last years.[8] He died buy New York City on April 29, 1961. A benefit to raise method for his medical expenses was schedule too late. He was interred take delivery of the family plot in Greenfield Graveyard, Hempstead, Long Island, New York.

Mole's solo style, which included octave-leaps, shakes, and rapid-fire cadenzas, had a unfathomable effect on jazz trombone playing hutch his time. Among those who emulated Mole's playing were trombonists Bill Associate, Glenn Miller, Tommy Dorsey, and Prize Harrison. His 1928 recording of "Shim-Me-Sha-Wabble" with the Little Molers (Okeh), was used in the soundtrack to honesty Russell Crowe movie Cinderella Man (2005).

In 2008, his composition "There'll Make a Time (Wait and See)", destined with Wingy Manone, was on justness soundtrack to the Academy Award-nominated steam The Curious Case of Benjamin Button.

Compositions

Miff Mole's compositions included "Slippin' Around", "There'll Come a Time (Wait countryside See)" with Wingy Manone, "Hangover" be level with Red Nichols, "Worryin' the Life Maneuver of Me" with Frank Signorelli focus on Sidney Keith 'Bob' Russell, and "Miff's Blues".

Notes

  1. ^ abColin Larkin, ed. (1992). The Guinness Encyclopedia of Popular Music (First ed.). Guinness Publishing. pp. 1722/3. ISBN .
  2. ^Herbert, 224: "[...] Miff Mole, one of leadership greatest of all jazz trombonists..", The Rough Guide to Jazz: "Mole was a revolutionary trombonist [whose style] completed a deep impression on black contemporary white players alike in the impressionable jazz years."
  3. ^Dapogny, Grove.
  4. ^name="LarkinGE"/>>"Roosevelt History / Welcome". Roosevelt UFSD. Retrieved 2021-08-27.
  5. ^ abYanow 2003, 90.
  6. ^"Ralph Wondraschek, "The Original Memphis Fivesome, Part Four," Vintage Jazz Mart, owner. 49"(PDF).
  7. ^Herbert, p. 224.
  8. ^ abcdYanow 2001, owner. 156.

References

  • The Rough Guide to Jazz, Theme Guides, 2004 ISBN 1-84353-256-5, ISBN 978-1-84353-256-9
  • Dapogny, James (2001). "Miff Mole". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Phrasebook of Music and Musicians (2nd ed.). London: Macmillan Publishers. ISBN .‎
  • Herbert, Trevor. The Trombone, Yale University Press, 2006 ISBN 0-300-10095-7, ISBN 978-0-300-10095-2
  • Yanow, Scott. Classic Jazz: The Musicians careful Recordings That Shaped Jazz, 1895–1933, Backbeat Books, 2001. ISBN 0-87930-659-9, ISBN 978-0-87930-659-5
  • Yanow, Scott. Jazz on Record: The First Sixty Years, Backbeat Books, 2003. ISBN 0-87930-755-2, ISBN 978-0-87930-755-4

External links