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Schomburg Center for Research in Black Culture > Video Oral History Gallery Video Gallery Cataloging Data: Doc CheathamLocation Schomburg-MIRS Call # Sc Visual VRA-183 Service copy. Sc Visual VRB-2016 Original of: Sc Visual VRA-183. Author Cheatham, Doc, interviewee. Title Oral history interview with Doc Cheatham, 1 April 1993 [videorecording] / interviewer, Jimmy Owens. Imprint 1993 Description 2 videocassettes (2 hrs., 36 min.) : sd., col. ; 1/2 in. 023600 Note Title supplied; duration: 2 hrs., 36 min. Credits Produced and directed by James Briggs Murray. Note Doc Cheatham performs excerpts, trumpet. Summary The oral history interview with Doc Cheatham documents his childhood in Nashville. Father was a barber who had white customers and friends; brother was a dentist. Cheatham began playing trumpet at 12; later cornet and soprano sax. There were no teachers, instructional tools or radio, so Doc learned by ear. Joined a local church band (Bright Future Stars Club) and played cornet; organizer contacted local circus band for instruction. Johnny Dunn released a hit album; influenced Cheatham greatly. Aunt was a vocalist at Tukegee; taught Doc breathing and throat techniques. Joined the pit band of Nashville's Bijou Theater. Did gigs at various universities: Vandebilt, Fisk, etc. Met Jerry Blake at the Bijou and, soon thereafter, Joe Smith; toured with Mary Lou Williams. First professional break came with the Sunshine Sammy revue, then John Williams (1924). Moved to Chicago; played cornet and sax, but still could not read music; worked as a dishwasher to support himself; felt he had no business among such talent. Gave away sax, sold cornet and returned to Nashville to study pharmacy. In Nashville, beagn playing trumet exclusively. Learned to read music and returned to Chicago. Played with Albert Wynn, led his own band (1926), and subbed for Louis Armstrong as soloist. Collaborations with Wilbur de Paris and Chick Webb followed (1927-1928). Joined Sam Wooding in NYC and spend 3 years in Europe as lead trumpet (1927-1930); talks about Tommy Ladnier, fellow trumpet in Wooding's band. Returned to the US and played with Marion Hardy's Alabamians (1930-1932). Met Benny Carter when McKinney's Cotton Pickers needed a trumpet player; followed Carter and stayed in Detroit with the Cotton Pickers for a year. Then, replacing Reuben Reeves, joined Cab Calloway's band in NYC as lead trumpet (1933-1939). Talks about other trumpet players in Cab's band: Lammar Wright and Irving Randolph; also Ed Swayzee trombone), Benny Payne (piano), Al Morgan (bass). Milt Hinton later succeeded Morgan; Cozy Cole became drummer. Cab's band went to Hollywood and appeared in films with Bing Crosby and Al Johnson. After Cab, joined Teddy Wilson's Big Band. Developed a spot on his lung; returned to Nashville for lengthy rest. Returned to play Sound of Jazz with Count Basie and Billie Holiday, later the International House. Joined Eddie Heywood and played Village clubs, including a number of solos (1943-1945). To overcome physical strain, began using diaphragm rather than chest; also began exercising and customizing the use of his lips. Performed with Perez Prado and other Latin-American musicians. Talks about his peers: Smith brothers, Rex Stuart, Nat Adderley, Arthur Briggs, Bill Coleman, Freddie Keppard, Armstrong, etc. Performed with Sammy Price and Herbie Mann; led own band (1960-1965) and with Benny Goodman (1966-1967). Cheatham and Owens discuss white trumpet players: the union had a law that white musicians could not go to Chicago's South Side; but they came anyway, especially to hear Jimmy Noone at the Apex Club. Discussion of Armstrong and trumpet history follow. Doc first heard Armstrong in King Oliver's band. There Armstrong did not play solo; rather, he performed under Oliver's tutelage. Armstrong is compared to Bix Beiderbecke and Earl Hines (creator of "trumpet style" for piano intended to accompany Armstrong). Doc shuns such comparisons: no one has yet upset Armstrong's trumpet tradition. Concludes by claiming a lack of definitive style in his own music and discussing contemporary jazz. Talks about the circular breathing technique (Wynton Marsalis). Plays at Sweet Basil on Sundays, lectures at various universities and is awaiting the publication of first book. Note Reproduction. Originally produced: New York, N.Y. : Schomburg Center for Research in Black Culture, The New York Public Library, 1993. 2 videocassettes (MII) ; 1/2 in. VHS. Use terms Permission required to cite, quote and reproduce; contact repository for information. Biography/History Doc Cheatham is a trumpet player, composer, lecturer and writer. Born Adolphus Anthony Cheatham on June 13, 1905 in Nashville, Tenn. His father gave him a cornet, prompting an early career in theater bands (vaudeville and burlesque). The move to Chicago and subsequent influence of Louis Armstrong and other trumpet greats prompted him to play the trumpet seriously and exclusively. Note Forms part of: Louis Armstrong Jazz Oral History Project. In Louis Armstrong Jazz Oral History Project. Subject Cheatham, Doc -- Interviews. Cheatham, Doc -- Childhood and youth. Williams, Mary Lou, 1910- Smith, Joe, 1902-1973. Dunn, Johnny, 1897-1937 -- Influence. Blake, Jerry, 1908-ca. 1961. Capone, Al, 1899-1947 -- Influence. Wynn, Albert, 1907- Armstrong, Louis, 1900-1971 -- Influence. De Paris, Wilbur. Webb, Chick. Wooding, Sam, 1895-1985. Ladnier, Tommy. Cheatham, Doc -- Performances -- Europe. Carter, Benny. Calloway, Cab, 1907- Wright, Lammar, 1907-1973. Randolph, Irving, 1909- Cheatham, Doc -- Health. Basie, Count, 1904- Holiday, Billie, 1915-1959. Prado, Perez. Noone, Jimmy, 1895-1944 -- Influence. Oliver, King, 1885-1938. Hines, Earl, 1903-1983. Beiderbecke, Bix, 1903-1931. Marsalis, Wynton, 1961- Bright Future Stars Club. Chick Webb Orchestra. Marion Hardy's Alabamians. McKinney's Cotton Pickers. Missourians. Cab Calloway Orchestra. Teddy Wilson Big Band. Jimmie Noone's Apex Club Orchestra. King Oliver's Creole Jazz Band. Jazz musicians -- United States. Trumpet players -- United States. Afro-American musicians. Afro-American composers. Nashville (Tenn.) -- Race relations. Cornet -- Methods -- Self-instruction. Cornet -- Studies and exercises (Jazz). Trumpet -- Methods (Jazz). Trumpet -- Methods -- Self-instruction. Trumpet -- Studies and exercises (Jazz). Saxophone -- Studies and exercises (Jazz). Mafia -- Illinois -- Chicago -- Influence. Chicago (Ill.) -- Race relations. Afro-American musicans -- Race relations. Jazz musicians -- Legal status, laws, etc. -- Illinois -- Chicago. Trumpet -- History -- 20th century. Trumpet and piano music -- History -- 20th century. Form/genre Interviews. Biographies.2mim Additional name Owens, Jimmy, interviewer. Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project. Schomburg Center for Research in Black Culture. Donor The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc. |