Ernest Elliott

Given birth to Ernest Smith, this early 20th hundred years jazz clarinetist is among the many music artists who carry the nickname “Sticky.” In his case, as in lots of of others, the name may have stuck due to a background like a thief, although occupants of Detroit will be offended if one jumped to the conclusion due to Sticky Elliot’s roots on that city’s jazz picture of 1919, as an associate of Hank Duncan’s music group. Possibly the implication is usually that such a new player would need to take to survive, as thin as the pickings may have been. Soon thereafter, he arrived in NEW YORK, where he started collaborating with Johnny Dunn, Mamie Smith, and Clara Smith. This increase in Smiths was accumulating to his documenting classes with blues queen Bessie Smith in 1927 and 1928. On these recordings, aswell as the classes using the additional blues-Smiths, the design which produced this clarinetist popular is simple to discern. He tends to float aside into dreamland during his solos, which can not appear to be a lot of an achievement with regards to a protracted jazz single, but this horn participant could make this happen in the area of six- and eight-bar breaks. So far as clarinet will go, it really is Gunter Hampel, consume your center out, specifically “Haunted Home.” Several blues sessions had been recorded with little bands come up with with the interesting pianist Ernest Matson, like the unlucky Matson’s Lucky Seven, probably unlucky because there appear to possess just been four of these. With regards to discography credits, the “Sticky” didn’t often stick, as much of the artist’s performances are detailed as Ernest Elliot. Included in these are his past due-’20s periods in rings led by Ruler Oliver, even though soprano saxophonist Stump Evans is certainly on hand, probably encouraging the usage of various other nicknames. The current presence of Dope Andrews in the lineup of Mamie Smith’s Jazz Hounds also still left Ernest Smith un-sticky at move contact. The Gulf Coastline Seven is certainly another group he caused during this time period, musically a wonderful venture since it included many fine players from your Duke Ellington militia, such as for example Barney Bigard, aswell as the rhythmically stout Wayne P. Johnson on piano. Just as much as this reed participant documented in the ’20s — and he turns up everywhere, including some superb early edges by Alberta Hunter — he appears to have eliminated into concealing in the ’30s. He reappeared up in the first ’40s, employed in a trio in the Astoria Resort under the management of Cliff Jackson. He continuing playing through the ’40s, including some unforgettable looks with Willie “the Lion” Smith, which dug deeply in to the origins of his musical background. He retired in the past due ’40s.