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Omer Simeon

Omer Simeon’s profession can easily end up being split into three parts because of significant organizations with Jelly Move Morton, Earl Hines, and Wilbur DeParis. Although blessed in New Orleans, Simeon ironically didn’t begin to play clarinet until he transferred with his family members to Chicago in 1914. He had taken lessons from Lorenzo Tio, Jr. and shortly afterward was functioning professionally. After using his sibling/violinist Al Simeon’s music group, Omer spent four years (1923-1927) with Charlie Elgar’s Creole Orchestra. It had been during this time period that he fulfilled up with Jelly Move Morton (he shortly became Morton’s preferred clarinetist) and documented classic edges with him in 1926 and 1928; among the countless gems had been “Black Bottom level Stomp,” “The Chant,” “Someday Sweetheart” (going for a hesitant single on bass clarinet), “Doctor Jazz,” and a trio rendition from the organic “Shreveport Stomp.” Simeon proved helpful regularly with Ruler Oliver in 1927, and along with his successor Luis Russell the next year. After time for Chicago, he was with Erskine Tate’s Vendome Orchestra (1928-1930); and joined up with Earl Hines’ big music group in 1931, where through the following six years he was well highlighted on both clarinet and tenor, producing many recordings with the fantastic pianist. After departing Hines, Simeon spent briefer intervals in the best rings of Horace Henderson (1938), Walter Fuller (1940), and Coleman Hawkins. He was an associate from the Jimmie Lunceford Orchestra from 1942 on, not merely staying through the big band’s declining years but staying after Lunceford’s loss of life in 1947 through the 3 years that Ed Wilcox led the ghost orchestra. Simeon also documented Dixieland with Child Ory during 1944-1945. Shifting back to NY, Omer Simeon became the clarinetist with Wilbur DeParis’ “New New Orleans Jazz Music group,” touring and documenting using the spirited ensemble until his loss of life in 1959. Although an extremely ranked clarinetist for 35 years and regarded as probably one of the most theoretically skilled of most New Orleans-born reed players, Omer Simeon’s just opportunities to business lead record sessions led to just two tunes in 1929, and a Jazztone trio occur 1954.

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