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The Red Heads

Unlike a wide-eyed, nostalgia-fed pop vocal trio who documented for Epic through the middle 1950s as Somethin’ Smith & the Redheads, the jazz band recognized to the record buying public through the mid- to past due 1920s as the Red Heads had not been a knot of neo-vaudevillians topped with brick-tinted ivy group crew cuts. The average person whose locks color influenced the name of the jazz music group involved was Utah-born cornet and trumpet guy Crimson Nichols, among the busiest sessionmen of the complete era. After somebody at Brunswick imagined in the name Crimson Nichols & His Five Pennies, various other record companies implemented fit by inventing different holders for rings of adjustable mass and thickness led or co-led by Nichols; on Columbia his group became the Charleston Chasers, while Cameo, Romeo, and Lincoln discovered them as the Alabama Crimson Peppers; on Apex these were the Ten Blackbirds, and on Domino, the Six Dark Diamonds. Whenever a equivalent group documented for Edison, trombonist Miff Mole distributed a lot more than nominal command of Crimson & Miff’s Stompers. And whenever the band’s recordings made an appearance emblazoned using the Oriole, Pathe, Ideal, or Melotone logos, these were billed as the Crimson Heads. Through the years 1925-1927, the Crimson Minds cranked out a wholesome supply of scorching instrumentals while portion as an experienced backup music group for pop vocalists Cliff Edwards, Jay C. Flippen, Frank Gould, and Arthur Areas. Furthermore to Nichols and Mole, an intensive evaluation of instrumentalists who documented beneath the banner from the Crimson Heads contains Nichols’ second seat trumpeter Leo McConville; cornetists Brad Gowans and Wingy Manone; clarinet and sax handlers Jimmy Dorsey, Fud Livingston, Bobby Davis, Fred Morrow, Alfie Evans, and Jimmy Lytell; pianists Arthur Schutt and Rube Bloom; guitarists Dick McDonough and Eddie Lang, and get good at percussionist Vic Berton, who augmented his drum package with tympanum and vibraharp. A lot of the greatest of the Crimson Heads was offered on compact disk in 1998 in the EPM Musique Jazz Archives series; a no-stone-left-unturned overview that included scads of vocals by Edwards and Flippen made an appearance in 2004 on the triple-disc edition made by a diligent group of professionals at Jazz Oracle.

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