This week’s Snapshot in Prose captures cornet and trumpet player Red Nichols at a relatively early point in his career, though he had already made hundreds of recordings under a variety of band names. But, to a certain degree, the more traditional jazz he favored, with its Dixieland flavor, was on the verge of being replaced by the new swing craze.
But Nichols survived and even thrived, continuing to record and perform until his death in 1965. In this 1935 profile, Nichols looks back at his salad days in the world of jazz.
Who plays the red-hottest trumpet in captivity? Red Nichols! Who has the grandest, wavy red hair and come-hitherest laughing brown eyes? Red Nichols! Yet, this utterly charming and totally unaffected young maestro, who became famous from the hour “Red Nichols and His Five Pennies” lit on Broadway, is almost shy.
The day, recently, when this fascinating, slim young leader celebrated his thirtieth birthday, he was also congratulated upon having devoted a quarter of a century to the art of playing a trumpet!
The “veteran” is of medium height. He doesn’t tan tan but red, and his face retains its ruddiness from one season to the next. While Red is remarkably good-humored, he literally sees red when he has to do with chiselers and liars. For the big red haired boy is a square straight-shooter himself.
He was born thirty miles from Salt Lake City. He lists Brigham Young among the half-dozen greatest men in history. However, the Nichols family were not practical Mormons.
Red’s father, E. W. Nichols, was professor of music at Weber College, Ogden, Utah, and at the State University in Salt Lake City. When little E. Loring (Red, to us) was three years old he was running around with a silver-plated trumpet in his mouth. At five, he played “America” before Weber’s entire student body.
“I always loved the cornet best. My trumpet technique improved under the guidance of Captain O’Callaghan,” he told me.
The boy was a good student. He also excelled on the track, and at basketball. A military career loomed ahead. For strangely enough, Red’s parents strenuously objected to their son having a musical career, unless he would devote himself exclusively to the classics.
“I ran away from home, the summer I was sixteen, to join a dance band at Piquet, Ohio,” the affable leader said. “It was called the Syncopating Five. We got stranded in Indianapolis. There was no work. I wouldn’t go home. Washed dishes in a lunch room for three weeks for my food.”
“Then, with nothing at all, I got Ralph Dunkee, of the now famous Sisters of the Skillet and organized a cooperative dance band. In Lake James, Indiana, we found ourselves broke. Luckily, about that time along came the Syncopating Five, and asked me—” Red gave us one of those priceless, roguish looks, and went on, “or rather I asked them, if I could have a job again.
If you’re a regular listener to Cladrite Radio (and if you’re not, don’t you think you ought to be?), you’ve no doubt heard the Dorsey Brothers Orchestra‘s 1935 bouncy recording of “Lullaby of Broadway” as part of our current playlist. But we like it so much, we decided to feature it here, as well.
It’s a song that’s been recorded by many orchestras and artists over the years, but this rendition, with Bob Crosby on vocals (Bing‘s brother, don’t you know, which must have felt in those days like being Babe Ruth‘s singles-hitting sibling), is a particular favorite of ours. When the backing vocalists slide in to sing counterpoint at the 1:28 mark, we’re left feeling downright gleeful. And when, after that, the orchestra takes over to bring the recording to a rousing finish — well, it’s as toe-tapping a 2 minutes and 44 seconds as one could hope for.
But don’t take our word for it — give it a listen.
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.