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Bob Casey

Given birth to Robert Hanley Casey, this musician was adept in bass and acoustic guitar, performing and saving on both as well as perhaps owing a complex debt of appreciation to his early teaching around the tenor banjo, a musical instrument which is used a technique like the acoustic guitar, but just like the regular bass, offers only two pairs of strings. Bob Casey trained himself this sort of banjo at age 14 and many years later on was functioning professionally using the Egyptian Transport System Orchestra, structured out of Illinois as opposed to the shadow from the pyramids. By the end of 1927, he shifted to St. Louis and through another half-decade became referred to as a sideman with market leaders such as for example Joe Gill and Joe Reichman. During this time period he found the bass and continuing doubling on your guitar. In 1933 he shifted to Chicago, notching up a little with regards to jazz prestige by registering with trumpeter Wingy Manone. Casey was a typically active participant in the anxious Windy Town music picture, gigging with various other bands like the King’s Jesters and functioning as an employee musician for the NBC affiliate marketer. Muggsy Spanier, another of Chicago’s exciting Dixieland combo honchos, nabbed Casey for his tempo section commencing in the stifling summertime of 1939. This intended even more of a lifestyle on the highway, but when the first choice broke the group up, Casey returned to Chicago and started dealing with Gus Arnheim and Charlie Spivak, amongst others. In the first ’40s he arrived in NEW YORK, playing frequently on the Nick’s place, generally with Brad Gowans. Condon’s Membership was another NY place where a normal tempo section would feature him on either bass or electric guitar. Proprietor and bandleader Eddie Condon’s usage of Casey by itself may be the makings of the beefy discography. Casey became section of a picture involving players such as for example trumpeter Bobby Hackett and pianist Artwork Hodes, all heartened by the actual fact that the general public didn’t appear to be abandoning traditional types of jazz in the end. This situation gladly continued no real matter what area Casey chose to get a home bottom. In 1957 he visited bat in Florida, and in the first ’60s, was using the Dukes of Dixieland and evidently enjoying even more bookings than ever before. Casey briefly made a decision to slow down by the end of that 10 years yet within a couple of years was back NY answering the decision for veteran players in a position to deliver a particular type of genuine rhythmic believe that younger generations just haven’t captured onto.

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