Jerry Jerome

Jerry Jerome (1912 - 2001) was a tenor saxophonist from the Big Band era of jazz.  He played as a soloist in many well-known orchestras, such as Red Norvo, Glenn Miller, Artie Shaw, and Benny Goodman (New York Times 2001).  Later in life, Jerome began conducting and directing for both radio and television. Prior to his death in Sarasota, FL, Jerome had been “the resident host of the city’s annual jazz festival” (New York Times 2001) and had been “playing...at festivals and at local clubs” (New York Times 2001).  Additionally, he recorded two CDs which featured Bobby Hackett, Teddy Wilson, and Bob Haggart just before his death in 2001 (New York Times 2001).

Jerome was born in New York City in 1912.  He had not initially intended on becoming a jazz musician but instead had attended medical school at the University of Alabama (The Fillius Jazz Archive 1996). Interestingly enough, he funded his graduate education through his saxophone talent, by playing with the Clicquot Club Eskimos (The Fillius Jazz Archive 1996).  After playing with the Eskimos, he moved onto Miller’s orchestra, then Norvo’s, then Benny Goodman’s and finally Artie Shaw’s (New York Times 2001).

Jay “Hootie” McShann

Jay McShann, or Hootie to his friends, was born in Muskogee, Oklahoma on January 12, 1916. Despite his parents wishes, he began teaching himself how to play the piano at a young age. Once McShann was seventeen years old he hopped on a bus with the plan to move to Omaha. However, the bus stopped for two hours in Kansas City and McShann walked into a club and never left. Within two days in the new city he found work (Swingmusic.net). In December 1936, he became part of a trio with Oliver Todd and a drummer named Elmer Hopkins. A year later he formed his own sextet with musicians including Buster Smith and trumpeter Dee Stewart. Then in late 1939 he formed his own big band with Charlie Parker, Gene Ramey, Gus Johnson, Buddy Anderson, and Orville Minor. McShann is primarily responsible for finding Charlie Parker and launching his jazz career. This band became very successful; they performed in New York in 1941 in the Savoy Ballroom and even made recordings for Decca, a powerful record company (PBS.org). He also performed in Tulsa, Oklahoma, and Arkansas (Swingmusic.net).

In 1943, McShann was drafted in the army and served for a year, but this hardly interrupted his jazz career. Once he came back he reformed his band to the best of his ability and performed in clubs in New York and California and after 1950 he moved back to Kansas City (PBS.org). During his time he also helped kick off the career of Jimmy Witherspoon (NPR.prg). From 1969 through the 1980s McShann performed around the midwest, in festivals, and abroad. He became famous for singing the blues in a nasal style and his percussive piano playing that drew on elements of the blues and the boogie-woogie (PBS.org). His blues-flavored style of jazz piano helped establish what is now known as the ‘Kansas City Sound’, which is a brand of jazz rooted in the blues, driven by riffs and a powerful, yet relaxed, rhythmic pulse (Swingmusic.net). On December 7, 2006, at the age of 90, Jay ‘Hootie’ McShann passed away in Kansas City (NPR.org), but he will forever be remembered for his powerful influence in the world of jazz.

Claude Williams

Claude “Fiddler” Williams was born on February 22nd, 1908. The youngest of six kids, Williams was raised in Tuskegee, Oklahoma. It wasn’t long before he was introduced to music, and by the time he was ten, Williams was a capable violinist and guitarist. The guitar and violin would prove to be his most preferred career instruments. At that young age, Williams found an outlet for his new-found love of music through his brother in law, Ben Johnson, and his string band. Williams never looked back. “Fiddler” Williams eventually joined Andy Kirk’s Twelve Clouds of Joy, leading him to what would be his eventual home: Kansas City.

Williams rose to prominence in the national jazz scene in the 1920’s primarily through his work with groups such as Count Basie’s Band and Nat King Cole’s trio. With Count Basie, Williams focused on guitar playing. At one point, he was even named the best guitarist of the year by Downbeat Magazine. This still didn’t leave Williams satisfied. After leaving Basie’s ensemble, Williams reported to the National Endowment for the Arts: “If I had stayed with Count, I would have just been playing that ching-ching rhythm guitar for 40 years” (Citation). His musical style and influence flourished because of his choice to leave and ultimately focus on the violin.

Claude Williams has a lasting legacy both in the Kansas City and national jazz scenes. Marked by his virtuoso abilities, he often refused to sacrifice personal style for the more tame sounds of a rhythm section. In fact, Williams arguably did more for the credibility of the violin as a jazz instrument than anyone else in the twentieth century. In the 1920’s and 30’s, Williams was known for dominating the Kansas City violin scene, taking on other musicians head to head in nightly jam sessions. In the 50’s and 60’s, Williams played a significant role in the Kansas City jazz club scene, shaping both its culture and musical style. Introduced to the Oklahoma Music Hall of Fame in 1997, the contribution of Williams will not be forgotten. Living an incredible 96 years, he shared his gifts with other aspiring youth and musicians well into his 80’s. Claude “Fiddler” Williams passed away in his Kansas City home on April 26th, 2004.

Claude Williams 253