Andrew Dewey Kirk was born on
the 28th of May 1898 in Newport, Kentucky and the family later moved
to Denver, Colorado. It was there as a teenager he studied piano and
alto saxophone, but in fact became a mail man before he decided to turn
to music as a profession.
Andy Kirk's first big time break came in 1925 when he joined Terrance
Holder
and His Dark Clouds of Joy, playing tuba and bass saxophone. He was
well respected, kind, intelligent and was the obvious choice to take
over the leadership of the band when in January of 1929 a financial
dispute arose and Holder absconded. The band responded well to Kirk's
appointment and they became known as Andy Kirk and His Twelve Clouds
of Joy. They were soon to gain popularity as a territory band working
around Oklahoma and the adjacent states.
At that stage there was little
to suggest that Andy Kirk would become the leader of a successful and
renowned swing band. One that was said to rival the up and coming Count
Basie band when they were both 'paying their dues' around the Kansas
City area. A recommendation for The Clouds of Joy to become the house
band at the Pla-Mor Ballroom in Kansas City was the opportunity the
band well deserved. At that time the Pla-Mor was one of the leading
ballrooms in the southern states. Kansas City was a hot bed for jazz
musicians and soon developed the characteristics of what became known
as the Kansas City Sound. It is recognised by its loosely swinging ensemble
playing, the use of simple phrasing and repeating brass riffs backed
by a solid rhythm which placed equal emphasis on all four beats. The
Kansas City style was typified not only by the Kirk band but also those
of Jay Mc Shann, Harlan Leonard, Count Basie and others.
It was during the Pla-Mor engagement
that the Andy Kirk band successfully auditioned for the Brunswick Label
and were contracted to cut their first records. The story goes that
at the audition the regular pianist Marion Jackson failed to show and
hastily a replacement pianist were sought.
Mary Lou Williams sat in and did an admirable job, she was the wife
of John Williams the alto sax player in the band. She had in fact played
at one time in the Terrance Holder band. When the time came to make
the actual recording Jack Kapp of Brunswick insisted on Mary Lou Williams
being included in the line-up. Of the six numbers recorded at the first
session four of the titles were written wholly or in part by Mary Lou.
Mary Lou Williams was soon to
join the band as a permanent member and during her many years with the
Clouds of Joy did sterling work as an arranger and composer. She did
much to improve and enhance the band's library and their presentation.
Andy Kirk named her 'the pest' as she was always around giving well
intended advice and suggestions on how to further improve the band's
performance. But he certainly had much to thank her for as she was a
tower of strength and helped mould the band into a first-rate swinging
group.
Her arrangements and solo work were extremely variable and on occasions
were said to be not dissimilar from the style of Earl Hines, yet traces
of Ragtime can be noted on some of her other work.
The success of the early recordings
prompted bookings further afield. This of course led to national recognition
and a lengthy engagement at the Roseland Ballroom in New York, the year
1930. Fletcher Henderson had heard the band play in Kansas City and
was so impressed with their performance that he arranged for them to
follow him at the Savoy Ballroom in Harlem later that year. During their
spell as a house band in 1931 at the Pearl Theatre in Philadelphia,
the theatre manager tried to disrupt the band by offering certain members
the opportunity to form a separate backing group for Blanche Calloway.
Fortunately this attempt failed and the Clouds of Joy continued to tour
and record with further success.
By 1936 Andy Kirk had met up
again with record producer Jack Kapp now working for the Decca Label,
the result was that the band recorded solely for Decca from 1936 to
1946. In all 135 titles were recorded and only seven were not issued.
The 1936 recordings were said to be some of the best the band ever made,
both their instrumental and vocal numbers were highly rated.
Pha Terrell was the singer on 'Until The Real Thing Comes Along' and
it immediately established him as a leading vocalist. He was well presented
during his stay with the Kirk band and was also featured on many of
their recordings including another big seller 'Dedicated To You'.
Pha had been discovered by Andy Kirk working as a nightclub bouncer
in Kansas City. His high pitched tenor voice and phrasing could be said
to be an acquired taste, but the Kirk fans apparently liked what they
heard and it set the mould for future vocal efforts as developed by
the Ink Spots and the Platters.
Andy Kirk tended to feature heavily on the vocal aspect, both on recordings,
dates and public performances. In addition to Pha Terrell there was
Henery Wells and June Richmond who joined the band in 1939 and brought
a touch of Rhythm and Blues to the scene. Also featured on occasions
were Joe Turner and Joe Williams who then went on to enjoy celebrated
success with the Count Basie Orchestra before embarking on their solo
careers.
Numerous musicians of standing
worked with Andy Kirk during the band's heyday including Ben Webster,
Don Byas and Buddy Tate in the saxophone section. 'Hot Lips' Page, Howard
McGee and 'Fats' Navarro were in the trumpet section at various times.
But one musician who caused quite a stir when he joined the band in
1939 was Floyd Smith. He recorded 'Floyd's Guitar Blues' using an amplified
instrument. Guitar amplification was in its infancy at the time, but
in the right hands it certainly had an appeal, in fact Benny Goodman
offered Kirk a handsome sum in an attempt to gain the services of Smith.
Joe Glaser, who was by then Andy Kirk's manager, soon put paid to Goodman's
advances and Floyd remained with The Clouds of Joy.
The Kirk band, as most other
coloured bands, found the going tough in the 30's and 40's constant
touring, poor accommodation and often questionable means of transport,
with only occasional residencies available meant the inevitable one
night stand circuit. In fact many of the choicest and best paying jobs
at the leading hotels and ballrooms were often closed as far as coloured
bands were concerned. Despite the hardships suffered Andy Kirk was successful
in keeping his band together as an operational unit until 1948. In the
later years, judging by some of his recordings and critics comments,
there were times when the band had lapses resulting in mediocre performances,
yet on other occasions they approached the near brilliance of their
1936 sessions.
It has been suggested that perhaps Andy Kirk was too nice a guy and
a little too lenient when it came to controlling the band and getting
the best out of his musicians. Some are of the opinion that what the
band lacked towards the end was the services of a good modern big band
style arranger the calibre of a Sy Oliver or a Don Redman in order for
the band to keep up with the opposition. Although it should be noted
they did have the services of Eddie Durham at one time before he joined
Jimmie Lunceford and Count Basie for whom he produced some very fine
scores.
The demise of Andy Kirk and His
Twelve Clouds of Joy along with so many others became inevitable as
the appeal of the big bands lessened. Andy Kirk settled for a spell
on the West Coast and entered into the real estate business.
Shortly afterwards he moved to New York City where he became manager
of the Hotel Theresa, a popular musicians hangout. Occasionally in the
1960's he would form a band for special occasions, but sadly he passed
away in December of 1992. Andy Kirk remains to this day a name to remember
and respect, one to be revered in Big Band History.
Big Band Buddies
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Your
comments most appreciated.
Thankyou.
1 Comments
Posted By: fred
Date: 2/9/2010
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Thanks
for sending your latest issue of Big Band Buddies. I enjoy reading what
other Glenn Miller fans are saying about him and his music.
Cordially,
George Spink (USA)
.........................
Anyway
this is to say that the BBB Mag which arrived safely and I have just
finished all the reading .......full of interesting stuff. You certainly
work very hard at it all.
Chris Nash. UK
.......................
Hi Peter,
Got the magazine the other day. Just wanted to tell you that you did
a
wonderful job . I also would like to thank you for the membership card,
Let's stay in touch.
Charlie Staump. USA
…………………….
Hey Pete!!!!
Paul Tanner phoned me a few minutes ago, and is MOST VERY VERY PLEASED
with the articles you used in the concert book!!!!!!
He said that you did a SPLENDID job on the WHOLE BOOKLET and is so happy
with the way it was presented!!!!
Many kudos my good friend, I knew that you would come thru with a superlative
publication, and I'm very , very proud of you.!!! Your deep love for
Miller Music and your impeccable integrity shines thru, and I'm VERY
proud of you.!!!!
When Paul Tanner gives a compliment like he said about you and your
book, It really is a great, great ocasion, coming from the LAST band
member that was with Glenn Miller ALL the life of his civilian band!!
Once again, I'm OVERJOYED with Paul's response!!!
Once again, My sincere and proud CONGRATULATONS,on your fine publication!!
Keep "Em' Flyin'
Your Big Band Buddy,
Lynn Roby. USA
……………………..
Dear Pete,
Just received your book. You really did a splendid job and I enjoyed
the entire work. I thank Lynn Roby for putting us together for this.
Congratulations!
Best regards,
Paul Tanner
……………….
Peter
Many thanks indeed for the mag which arrived today. It gets better and
better! Most enjoyable.
Particularly enjoyed the contribution from my old mate Paul Tanner.
Nice one!
Sorry to be so brief as I dash around. Hope all is well with you.
Didn't get a chance for a good 'natter' at the Fairfield ... another
time, I hope.
Best
Malcolm Laycock (BBC Big Band Programme Presenter). UK
…………………………
Hi Pete thanks for wonderful magazine....
cheers
Jane . UK
…………………….
Hi Pete. Many thanks for the latest magazine and enclosures. A quick
scan through shows, yet again, so many interesting features. Personally
I appreciate all the work you do to compile these magazines and I know
how difficult it can be.
Tony Cutter. UK
………………..
Thanks Pete: Pat Friday, really an interesting article and first hand
account. Have a
great day. John Dimon. Canada
.....................................
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