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Topic: Bubber Miley

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	James "Bubber" Miley - Wikipedia, the free encyclopedia
		James "Bubber" Miley (April 3, 1903 – May 20, 1932) was an early jazz trumpeter, specializing in the use of the plunger mute.
		Miley was born in Aiken, South Carolina into a musical family.
		Miley was an alcoholic and died of tuberculosis in New York City.
	en.wikipedia.org /wiki/Bubber_Miley (384 words)

	Bubber Miley (Site not responding. Last check: 2007-10-01)
		Bubber Miley was the master of the plunger mute.
		Miley was influenced by King Oliver, but developed his own distinctive style of playing with mutes and derbys.
		Miley co-wrote "East St. Louis Toodle-OO" and "Black and Tan Fantasy" and starred on many of Ellington's recordings during the years 1926 to 1928.
	www.redhotjazz.com /bubber.html (184 words)

	Bubber Miley (Site not responding. Last check: 2007-10-01)
		James "Bubber" Miley (April 3, 1903 - May 20, 1932) was an early jazz trumpeter, specializing in the use of the plunger mute.
		Miley was an alcoholic and died of tuburculosis in New York City.
		Ironically, Miley lived just a little longer than his contemporary, Bix Beiderbecke, whose life was also tragically cut short from alcohol abuse.
	www.serebella.com /encyclopedia/article-Bubber_Miley.html (282 words)

	NationMaster - Encyclopedia: Bubber Miley
		The Washingtonians: Louis Metcalf, Bubber Miley, t; Joe Nanton, tb; Barney Bigard, cl, ts; Otto Hardwick, as, cl, ss, bs, bsx; Harry Carney, bs, cl, ss, as; Duke Ellington, p; Fred Guy, bj; Wellman Braud, b; Sonny Greer, d.
		The Harlem Footwarmers: Bubber Miley, Arthur Whetsel, t; Joe Nanton, tb; Barney Bigard, cl, ts; Johnny Hodges, as, ss, cl; Harry Carney, bs, cl, as; Duke Ellington, p; Fred Guy, bj; Wellman Braud, b; Sonny Greer, d.
		Whoopee Makers: Bubber Miley, Arthur Whetsel, t; Joe Nanton, tb; Barney Bigard, cl, ts; Johnny Hodges, as, ss, cl; Harry Carney, bs, cl, as; Duke Ellington, p; Fred Guy, bj; Wellman Braud, b; Sonny Greer, d.
	www.nationmaster.com /encyclopedia/Bubber-Miley (1414 words)

	Bubber Miley (Site not responding. Last check: 2007-10-01)
		James "Bubber" Miley (April 3 1903 - May 20 1932) was an early jazz trumpeter specializing in the use of the mute.
		Miley also performed with in public albeit either in the uniform a doorman or hidden from view by screen.
		Ironically Miley just a little longer than his contemporary Beiderbecke whose life was also tragically cut from alcohol abuse.
	www.freeglossary.com /Bubber_Miley (416 words)

	Bubber Miley - GRP Records
		Miley was with Elmer Snowden's Washingtonians as early as 1923 and freelanced on recordings during 1924-1926.
		Miley worked in France with Noble Sissle, played in the U.S. with society bandleader Leo Reisman (taking a memorable solo on "What Is This Thing Called Love"), and formed his own band in 1930, recording six titles.
		Bubber Miley played in a few shows in 1931, but died the following year of tuberculosis at the age of 29.
	www.vervemusicgroup.com /artist.aspx?ob=per&src=prd&aid=5538 (270 words)

	Bubber Miley - Bedeutung, Definition, Erklärung im netlexikon (Site not responding. Last check: 2007-10-01)
		Bubber Miley starb bereits 1932 an den Folgen von Alkoholmissbrauch und einer Tuberkulose.
		Bubber Miley ist zusammen mit dem Posaunisten Joe "Tricky Sam" Nanton der Schöpfer des Growl-Stils bei dem die Trompetenventile nur teilweise heruntergedrückt werden und gleichzeitig ein Plunger-Dämpfer mit der linken Hand vor dem Schalltrichter des Instruments bewegt wird.
		Nach Mileys Ausscheiden wurde die Tradition dieses Spiels bei Ellington von Cootie Williams weitergeführt.
	www.lexikon-definition.de /Bubber-Miley.html (216 words)

	Bubber Miley :: TrumpetJazz.com
		NYC, NY Bubber developed the sound of the "wah-wah" plunger mute (inspired by King Oliver) while playing in Duke Ellington's band.
		Bubber helped the Duke compose many of his earlier compositions, including East St. Louis Toodle-oo, Creole Love Call, and Black and Tan Fantasy.Miley stayed with Ellington for 6 years before being replaced by Cootie Williams in 1929.
		Bubber died at the young age of 29, but the lasting influence of his solo work has inspired many who have followed.
	trumpetjazz.netfirms.com /Artists/Bubber_Miley.html (215 words)

	Vintage Music Productions: Bubber Miley (CD)
		Rather, they were speaking of Bubber's peculiar manner of playing the trumpet, which combined the use of "blue notes" with the "jungle effect" of using a plunger mute, while growling into the horn.
		In fact, without Bubber Miley's trumpet and the compositions he wrote*, it is arguable whether the jazz world would have ever regarded Duke Ellington's name with any significance, at all.
		Bubber Miley was born James Wesley Miley, in Aiken, South Carolina, on April 3, 1903.
	www.collateralworks.com /vmp/miley0161.html (1490 words)

	San Francisco Feetwarmers - Jazz Legends
		Bubber Miley's hot trumpet was featured - growling and moaning - on the nightly broadcasts of Duke Ellington's Washingtonians from the Kentucky Club, New York in the twenties.
		Miley had a hand in each of these compositions and is prominently featured throughout - his growling muted tone is virtually a signature of the band at this time.
		Bubber had a profound influence on his successors and his style is emulated to this day.
	www.sffeetwarmers.com /Jazz%20Legends.htm (2037 words)

	Tricky Sam Nanton - Wikipedia, the free encyclopedia
		Nanton was born in New York City and began playing professionally with bands led by Cliff Jackson and Elmer Snowden.
		He was a pioneer in using the plunger mute with the trombone and, along with Bubber Miley, helped create the Wah-wah sound.
		He taught Cootie Williams, Miley's replacement, some of the growl and plunger techniques that Miley used.
	en.wikipedia.org /wiki/Tricky_Sam_Nanton (284 words)

	ALLEGRO MUSIC - Order Page
		A prolific composer who wrote dozens of standards and literally thousands of instrumental works, Duke Ellington also excelled as a stride pianist, an arranger and a bandleader; his big band was one of the top orchestras on the scene for an immense period of 50 years.
		Here are Duke's key recordings of the 1920s as he was rising to fame at the cotton Club and collaborating with the brilliant trumpeter Bubber Miley.
		"The Bubber Miley Era: 1924-1929 is a worthwhile sampler of classic early Duke Ellington, with the spotlight on James Wesley "Bubber" Miley (1903-1932), famous as a master of the muted growling trumpet.
	www.allegro-music.com /online_catalog.asp?sku_tag=JAZ31014 (244 words)

	NationMaster - Encyclopedia: Benny Carter
		When Carter was a youth, he lived in Harlem around the corner from Bubber Miley, Duke Ellington's star trumpeter.
		Carter was inspired by Miley and bought a trumpet.
		When he found he couldn't play like Miley, he traded the trumpet in for a saxophone.
	www.nationmaster.com /encyclopedia/Benny-Carter (676 words)

	The Duke Ellington Music Society
		I think however that his statement "without Bubber Miley's trumpet and the compositions he wrote, it is arguable whether the jazz world would have ever regarded Duke Ellington's name with any significance, at all" is a bit far-fetched.
		The Bubber Miley Discography was published in 12 consecutive editions of the Swedish Bulletin from Oct99 until Jun02.
		Bubber Miley had made a lot of recordings prior to this, the first one on the CD.
	www.depanorama.net /dems/061c.htm (3875 words)

	Jazz - Steed Excerpt
		Irvis hung around with two other players who were given to similar stylistic touches, trumpeter James "Bubber" Miley and fellow trombonist Joe Nanton.When Arthur Whetsol decided to return home, Miley was recruited to replace him.
		Then Bubber would take up his horn and translate these sounds into riffs that imitated the rise and fall and cadence of the human voice.
		Another technique was to take a melodic line from a hymn in church, turn it on its head, convert a major interval to minor, vary the rhythm.
	www.iptv.org /jazz/steed_excerpt.cfm (483 words)

	PBS - JAZZ A Film By Ken Burns: Selected Artist Biography - Sidney Bechet
		In 1923 the band had acquired the trumpeter Bubber Miley, a growl specialist under the influence of King Oliver.
		Miley had awakened Ellington's musicians to the new jazz music, but the band was in a transitional period, still playing much ordinary jazz-flavored popular music.
		Bechet had by this time acquired a capacity to swing that was matched only by that of Louis Armstrong, and his example led the band further towards jazz.
	www.pbs.org /jazz/biography/artist_id_bechet_sidney.htm (823 words)

	Joe "Tricky Sam" Nanton
		Tricky Sam and Bubber Miley were the first musicians to get wide recognition for their unique plunger sounds and style.
		Nanton and Miley developed the band's famous "jungle" effects through their use of the growl and plunger.
		Nanton and Miley gave the Ellington Orchestra the reputation of being one of the "dirtiest" jazz groups.
	www.music.ecu.edu /courses/nanton/nantonstyle.html (1400 words)

	Duke Ellington: A Celebration
		In 1923, he hired a musician named Bubber Miley--a master of trumpet mutes and unusual growling sounds.
		Miley's playing transformed the group from a polite society band to a bona fide jazz band.
		Each time Ellington added a member to his orchestra, it gave him more volume, variety, and colors with which to compose and arrange.
	www.dellington.org /scrapbk/scrap04.html (107 words)

	Jazz \| All About Jazz
		Future Ellington trumpeter Bubber Miley sees King Oliver's Creole Jazz Band at the Dreamland Cafe in Chicago and becomes interested in Jazz.
		Bubber will learn to play blue notes and growls in imitation of Oliver.
		These growls and slurs will later become a trademark of Ellington which are passed down to Cootie Williams and other future trumpeters.
	www.allaboutjazz.com /jazz1921.htm (273 words)

	Duke Ellington at the Cotton Club (1927-28: Harlem, Chicago and Kansas City) \| The Chronicle of Jazz \| Abbeville Press (Site not responding. Last check: 2007-10-01)
		Ellington's other notable sidemen in these early years were alto saxophonist Johnny Hodges (famous for his sensuous tone), baritone saxophonist Harry Carney (whose agility on his potentially ponderous instrument was phenomenal) and clarinetist Barney Bigard (who personified a direct link with old New Orleans).
		In 1929, the virtuoso Cootie Williams succeeded Miley as principal trumpet.
		A succession of popular radio broadcasts from the Cotton Club brought Ellington national fame, and his name became known around the globe after the successes of "Mood Indigo" (1930) and "It Don't Mean a Thing (If it Ain't Got that Swing)" (1932).
	www.abbeville.com /jazz/062.asp (427 words)

	Jazz \| All About Jazz
		The Ellington band is still not a Jazz band, but a commercial orchestra playing Pop tunes and dance numbers.
		However, the addition of New Orleans players Sidney Bechet on clarinet and Bubber Miley on trumpet begin to turn the band around.
		Miley's signature mutes and growls (borrowed from Oliver) become Ellington's signature passed on to a number of horn players in the band throughout the decades.
	www.allaboutjazz.com /jazz1925.htm (529 words)

	Cootie Williams - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links
		Cootie Williams, one of the finest trumpeters of the 1930s, expanded upon the role originally formed by Bubber Miley with Duke Ellington's Orchestra.
		He played for a short time with the orchestras of Chick Webb and Fletcher Henderson (recording with the latter), before joining Duke Ellington as Miley's replacement in February 1929.
		His decision to leave Ellington and join Goodman's orchestra in 1940 was considered a major event in the jazz world.
	artistdirect.com /music/artist/bio/0,,510077,00.html?artist=Cootie+... (444 words)

	San Francisco Feetwarmers - News
		at Fort Mason Center (Building C, Room C205), San Francisco, CA James Bubber Miley, born 1903, was the very talented African-American trumpet player whose hot horn sparked the early Ellington band and propelled it to nationsl prominence in the mid twenties.
		Bubber died a tragic death before his 30th birthday but left a legacy of compositions and of recordings that established him as King of the plunger mute.
		This warm, wonderful and challenging music was performed by the San Francisco Feetwarmers at the Sonoma Dixie Jazz Festival in Aug 1998 and is featured on their new CD.
	www.sffeetwarmers.com /News.htm (1082 words)

	Duke Ellington CDs
		During this time Sidney Bechet played briefly with the band (unfortunately he never recorded with them), but more significantly the trumpet player Bubber Miley joined the band, bringing with him his unique plunger mute style of playing.
		In 1929 Bubber Miley, was fired from the band because of his alcoholism and replaced with Cootie Williams.
		Duke Ellington: The Bubber Miley Era 1924 ~ 1929
	www.document-records.com /show_article.asp?articleID=246 (868 words)

	Bubber Miley - Rare Recordings (1924-1931) \| CJAD (Site not responding. Last check: 2007-10-01)
		Bubber Miley was one of the great trumpeters of the 1920s, a master of the plunger mute who largely developed the growling "jungle sound" that made Duke Ellington's early orchestra so distinctive.
		Miley, the predecessor of Cootie Williams with Ellington, is heard on a variety of intriguing and often-classic recordings on this CD, which covers the span of his relatively brief career.
		His pre-Ellington period is represented by recordings with The Texas Blue Destroyers (a duet with the spooky-sounding reed organ of Arthur Ray), The Kansas City Five, and Clarence Williams' Blue Five ("I've Found a New Baby").
	www.cjad.com /album/816314 (211 words)

	Jazz Concert at the University of Maine (Site not responding. Last check: 2007-10-01)
		ORONO – A tribute to the Duke Ellington Orchestra and legendary trumpeter “Bubber” Miley will be among the works performed by some of the finest young jazz soloists in the state when the Jazz Ensemble and Jazz Combo take the stage at the University of Maine Thursday, Nov. 9.
		The program of the 18-member Jazz Ensemble includes “Blues For Bubber,” a Kevin McElrath composition that is a tribute to the Duke Ellington Orchestra, particularly the 1928-1932 period, and to trumpeter “Bubber” Miley, who was fond of the plunger mute.
		Soloists include graduate student Chris Malm (in the role of Miley) on trumpet, Patrick Bolin on the baritone saxophone, Marc Heskett on alto saxophone, and Becky Borja on “stride” piano.
	www.umaine.edu /News/Archives/2000/Nov00/jazz.htm (424 words)

	[No title]
		His cousin Cuban Bennett, the legendary trumpet player, as well as the Ellington trumpeter, Bubber Miley, helped Cater become interested in the trupet.
		I thought I was going to be an instant Bubber Miley.
		I took the trumpet back, traded it for a saxophone because I had been told, erroneously of couse, that saxophone was easier to learn." A big influence of his sax playing was Frankie Trumbauer.
	www.duke.edu /~grh2/jazz.htm (1381 words)

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