The young Nichols heard the early recordings of the Original Dixieland Jazz Band (which was not in fact “original,” but was the first “jazz” band to record), and later those of the white trumpet star Bix Beiderbecke. These bands had a strong influence on the young cornet player. His style became polished, clean and incisive.
Over his long career, Nichols recorded in a wide variety of musical styles, and critic [[Steve Leggett|Steve Leggett ] describes him as "an expert cornet player, a solid improviser, and apparently a workaholic, since he is rumored to have appeared on over 4,000 recordings during the 1920s alone."
A sample of videos of Red Nichols. For more videos, see: Red Nichols Videos
To see the songs that Red Nichols recorded, see the Red Nichols Discography
Early life and careerEdit
Red Nichols is a name which comes to us from the jazz of the 1920s, a time when Nichols was a thriving recording artist. His name got a second lease on life when Hollywood made a movie, The Five Pennies, (starring Danny Kaye) which was very loosely based on Nichols’ life, in 1959.
Ernest Loring (“Red”) Nichols was born on May 8, 1905 in Ogden, Utah. His father was a college music professor, and Nichols was a child prodigy, because by twelve he was already playing difficult set pieces for his father’s brass band.
In the early 1920s Nichols moved to the midwest and joined a band called The Syncopating Seven. When that band broke up he joined the Johnny Johnson Orchestra and came with it to New York City in 1923. New York would remain his base for years thereafter.
Jazz was still comparatively young then and consisted of two, racially separated, streams. The musicians of both races mingled, listened to each other, and played together at least in after-hours jams, but white bands remained largely white, and African-American bands remained largely black.
Brunswick Records EraEdit
Red Nichols had good technique, could read music, and easily got session and studio work. In 1926 he and Miff Mole began a prodigious stint of recording with a variety of bands, most of them known as “Red Nichols and His Five Pennies.”
Very few of these groups were actually quintets; the name was simply a pun on “Nickel,” since there were “five pennies” in a nickel. “That was only a number we tied in with my name,” Nichols once explained. “We’d generally have eight or nine [musicians], depending on who was around for the session and what I was trying to do.”
Under that band name Nichols recorded over 100 sides for the Brunswick Records label. But he also recorded under a number of other names, among them, The Arkansas Travelers, The California Red Heads, The Louisiana Rhythm Kings, The Charleston Chasers, Red and Miff’s Stompers, and Miff Mole and His Little Molers. Nichols and his bands were making ten to a dozen records a week in some weeks.
His recordings of the late 1920s are regarded as the most progressive jazz of the period, in both concept and execution, with widely-ranging harmonies and a balanced ensemble. They were small-band Dixieland groups, emphasizing collective improvisation and playing, very different from Louis Armstrong’s Hot Fives of that period. Nichols’ band started out with Mole on trombone and Jimmy Dorsey on alto sax and clarinet. Other musicians who played for a time in his bands were Benny Goodman (clarinet), Glenn Miller (trombone), Jack Teagarden (trombone), Pee Wee Russell (clarinet), Joe Venuti (violin), Eddie Lang (banjo and guitar), and Gene Krupa (drums) – a veritable Who’s Who of important white jazz musicians in the following decade. The Five Pennies’ version of “Ida” was a surprise hit record.
Other labels Nichols recorded for included Edison 1926, Victor 1927, 1928, 1930, 1931 (individual sessions), Bluebird 1934, 1939, back to Brunswick for a session in 1934, Variety 1937, and finally OKeh in 1940.
The next decade was The Swing Era. Swing eclipsed the Dixieland that Nichols loved to play. He tried to go along with the changes, and formed a swing band of his own, but his recording career seemed to stall in 1932. Michael Brooks writes:
"What went wrong? Part of it was too much, too soon. Much of his vast recorded output was released in Europe, where he was regarded by early jazz critics as the equal, if not the superior of Louis Armstrong and Bix Beiderbecke. People who make fools of themselves usually find a scapegoat, and when the critics were exposed to the music of Duke Ellington, Benny Carter, Coleman Hawkins and others they turned on Nichols and savaged him, trashing him as unfairly as they had revered him. Nichols' chief fault was an overly stiff, academic approach to jazz trumpet, but he did recognize merit as far as other jazz musicians were concerned and made some wonderful small group recordings."
Nichols kept himself alive during the first years of the Great Depression by playing in show bands and pit orchestras. He led Bob Hope’s orchestra for a while, moving out to California. He married Willa Stutsman, a “stunning” George White “Scandals” dancer, and they had a daughter. She came down with polio (misdiagnosed at first as spinal meningitis) in 1942, and Nichols quit a gig playing with Glen Gray and the Casa Loma Orchestra and left the music business to work in the wartime shipyards.
Unable to stay away from music, Nichols formed a new Five Pennies band and began playing small clubs in the Los Angeles area soon after the war ended. Before long the word was out and musicians began showing up, turning his gigs into jam sessions.
Soon the little club dates were turning into more prestigious bookings at the chic Zebra Room, the Tudor Room of San Francisco’s Palace Hotel, and Pasadena’s posh Sheraton. He toured Europe as a goodwill ambassador for the State Department. In 1965 Nichols took his Five Pennies band to Las Vegas, to play at the then-new Mint Hotel. He was only a few days into the date when, on June 28, 1965, he was sleeping in his suite and was awakened by paralyzing chest pains. He managed to call the front desk and an ambulance was summoned, but it arrived too late. That night the band went on as scheduled, but at the center of the band a spotlight pointed down at an empty chair in Nichols’ customary spot. Red’s bright and shiny cornet sat alone on the chair. Around it swirled the “happy music” Nichols had loved all his life.
Biographical Film & Film CareerEditThe 1959 Hollywood film The Five Pennies, the film biography of Red Nichols, starring Danny Kaye as Red Nichols, was very loosely based on Nichols' career. Nichols played his own trumpet parts for the film, but did not appear on screen. The Paramount movie received four Academy Award nominations. "The Five Pennies" movie theme song was composed by Sylvia Fine, the wife of Danny Kaye. Nichols also made a cameo appearance in the biopic The Gene Krupa Story in 1959.
Nichols and his band performed briefly, billed as themselves, in Quicksand, a 1950 crime film starring Mickey Rooney. And in 1956 he was the subject of one of Ralph Edwards’ This Is Your Life TV shows, which featured his old buddies Miff Mole, Phil Harris and Jimmy Dorsey, who praised Nichols as a bandleader who made sure everybody got paid.
Compositions by Red NicholsEdit
Red Nichols' compositions include:
"Hurricane" with Paul Madeira Mertz
"Five Pennies" (1927)
"That's No Bargain"
"Get With It"
"Hangover" with Miff Mole
"The King Kong"
"Trumpet Sobs" (1926)
"The Parade of the Pennies"
"Meet Miss 8 Beat".
In 1986, Red Nichols was inducted into the Big Band and Jazz Hall of Fame.
- Jimmy Dorsey
- Arthur Schutt
- Miff Mole
- Joe Venuti
- Eddie Lang
- Adrian Rollini
- Manny Klein
- Pee Wee Russell
- Lennie Hayton
- Dick McDonough
- Fud Livingston
- Carl Kress
- Chauncey Morehouse
- Benny Goodman
- Tommy Dorsey
- The Boswell Sisters
- Glenn Miller
- Jack Teagarden
- Babe Russin
- Rube Bloom
- Charlie Teagarden
- Joe Sullivan
- Wingy Manone
- Nappy Lamare
- Roy Bargy
- Gene Krupa
- Harold Arlen
- Sid Appleman
- Rollie Culver
- Joe Rushton
- Bill Wood
- ↑ http://www.allmusic.com/album/r614606
- ↑ Michael Brooks, liner notes to Columbia C3K 52862, Swing Time! The Fabulous Big Band Era 1925-1955.