Jake Frazier

Without the best-known trombonist from the first times of jazz, Jake Frazier has a tune named after him. “Jake’s Weary Blues,” the just recording to become digested under Frazier’s name within a discography stuffed fats with sideman credits, was cut with pianist and bandleader Elmer Snowden in the mid-’20s. Although posting credits because of this song head to Frazier as well as the pianist and arranger Louis Hooper, Snowden indicated in interviews that the theory for the piece originated from manufacturer Joe Davis, a relentless experimenter with instrumental combos who apparently made a decision enough time was to feature Frazier within an close setting, a period that appears to have under no circumstances come once again. The trombonist’s period of documenting activity occurred in an interval around six years from 1921. By enough time it had been over he previously shown through to some 50 documenting periods, this stack of first edges spawning a constantly growing assortment of reissues. Frazier proved helpful frequently with Snowden and frequently provides horn obligatti on recordings by traditional blues singers such as for example Viola McCoy, Mamie Smith, and Rosa Henderson. He is commonly singled out even more for his are an accompanist than being a soloist, including the vamp he has behind cornet and clarinet solos for the Kansas Town Five’s wonderfully entitled “Get hold of a Monkey Man and Make Him Strut His Squash.”