Bam Brown

In the dramatis personae of mid-20th century jazz, bassist and jive vocalist Tiny Bam Brown is appreciated for having offered as Bulee Slim Gaillard’s right-hand guy during the period of about two years. Gaillard’s initial achievement started in 1938 in collusion with performing bassist Slam Stewart, who was simply drafted through the Second Globe War and joined up with the Artwork Tatum Trio. When Gaillard slice his famous documenting of “Concrete Mixing machine Put-Ti-Put-Ti” in LA on January 12, 1945 with Bam Dark brown and drummer Zutty Singleton, it had been the inauguration of the trio that could serve as the kernel of Gaillard’s ever more popular bop-flavored novelty take action throughout a lot of this era, and which became a quartet with the help of pianist Dodo Marmarosa. This group made an appearance in a brief film carrying out “Laguna Oreenee,” and Gaillard and Dark brown cut twelve game titles for the Ruler label with bigger ensembles billed as Slim Gaillard & His Boogiereeners; furthermore to formidable youthful players like trumpeter Howard McGhee and saxophonist Lucky Thompson, these recordings also presented a pianist called Fletcher Smith who doubled on harpsichord, as well as the drumming and/or scatting of Leo Scat Watson, previous leader from the Spirits of Tempo and an ideal addition to the mayhem-inducing firm of Gaillard and Dark brown. During the last weeks of 1945, while reducing about 40 edges with Marmarosa, Singleton, or Watson, Gaillard and Dark brown perfected their peculiarly slaphappy regular, which generally contains boogie, golf swing, and bop-based jive music sung by Gaillard while Dark brown echoed his utterances within a funny small high-pitched voice. This is Gaillard’s second great amount of documenting activity, riddled with unparalleled amounts of non-sensical crosstalk, hepcat horseplay, foolish subject material, and interesting game titles like “Voutoreene,” “Ding Dong Oreenee,” “Drei Six Cents,” and “Oxydol Highball.” The pinnacle of the entire story happened on Dec 29, 1945, when the Slim Gaillard Quartet cut four game titles with Dizzy Gillespie, Charlie Parker, and tenor saxophonist Jack port McVea. Immortalized beneath the proceeding of “Slim’s Jam,” these information document Brown’s capability to support large hitters like Parrot and Diz while participating in vocal duets with Gaillard on “Level Feet Floogie” and “Popity Pop.” The next knee of Brown’s two-year experience with Gaillard started using a visitation from boogie-woogie pianist Wini Beatty and another great date regarding Thompson and McGhee alongside bop clarinetist Marshall Royal. It had been at this program that Gaillard and Dark brown introduced among their most reliable numbers, “Rooster Tempo.” After knocking off several V-Discs with Leo Watson, both performed their definitive collaborative opus, the “Opera in Vout” or “Groove Juice Symphony,” in the Embassy Theatre in LA within Norman Granz’s Jazz in the Philharmonic bundle on Apr 22, 1946. Weeks later on, the two males waxed four game titles with pianist Expenses Early and drummer Scatman Crothers. A short engagement at Billy Berg’s golf club constituted Watson’s last cooperation with Gaillard and Dark brown; a film soundtrack produced shortly thereafter offers drumming by Crothers. Brown’s last classes with Gaillard consist of 16 edges released within the MGM label, using the just other identified individuals becoming Marmarosa and one Jim Hawthorne who barks just like a puppy within the “Serenade to a Poodle.” Definitely the best game titles from 1947 are “Down with the Station” as well as the engaging “Money, Money, Cash.” Following this, Bam Dark brown disappears in the Gaillard discography, and from the history of jazz background. He was changed with Ernie Shepard who was simply been successful by Clyde Lombardi, Ray Dark brown and Percy Heath — great contemporary bassists, but certainly none of these clowned around and continued the way he previously.