H.B. Hall

Most Us citizens would understand who’s being discussed in the next phrase: “Abe Lincoln dominates these sections, but of even more ominous interest may be the amalgamated representation from the First Council of Battle painted simply by H.B. Hall.” Trombonists, or fanatic followers from the brass device sometimes referred to as a “pitch approximator,” may have another interpretation, where the Abe Lincoln involved is not the fantastic American chief executive, but probably one of the most essential early virtuosos from the slipping horn. For the reason that trombone case, H.B. Hall would no more be the popular painter and engraver who chronicled the Civil Battle period, but a trombonist who was simply a member from the ’20s place band referred to as the Chickasaw Syncopaters. The first choice of this group was non-e apart from Jimmie Lunceford, whose afterwards popularity led the manufacturers of vintage big music group compilations and various other reissues to retroactively rename the music group Jimmie Lunceford & His Chickasaw Syncopaters. This can’t actually be looked at misleading, because so many areas of the Lunceford design had been already set up, and the people from the Chickasaw Syncopaters had been oftentimes as adept players as the better-known jazzmen who caused Lunceford later. It might be difficult to find players who are even more unidentified than trombonist Hall or a few of his peers, such as for example trumpeter Charlie Douglas and bassist George DeLeon, without engaging in the mysteries of music artists who never documented in any way. Hall barely produced the quality in this respect, as the 1927 periods with Lunceford represent his singular discographical credit. There can be an unproven theory that Harrison Hall, a tuba participant who also performed on only 1 recording program — that one in 1925 — may be the same man having a different horn.