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Storyville 2000-2001 0125

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242
STORYVILLE
23 Oct 21 28 Oct 21
c.15 Dec 21 31 Jan 22
Mar 22 Mar 22
Dec 22
3 Jul 21 Last performance of Avec le Sourire.
8 Jul 21 Opening of Dans un Fauteuil at Casino de Paris. Mitchell's presence during this period is confimed by
Chicago Defender, 22 Oct 21 (see text).
Last performance of Dans un Fauteuil.
Opening of Paris en l'Air at Casino de Paris, revue in 2 acts and 52 tableaux by Georges Arnould.
Intermission: Mitchell's Jazz Kings.
First Mitchell's Jazz Kings recordings for Pathé (see Discography).
Théâtre des Champs’Elysées, Paris, Bal des petits lits blancs, at 2200, with the co-operation of Léon Volterra. Seven orchestras and jazz bands were announced including l'Orchestre Hawaïen, Le Jazz-Band du Perroquet. Mitchell’s group was very likely involved.
Recording session for Pathé (see Discography).
Opening of La Revue des Étoiles at Casino de Paris, revue in 2 acts and 52 tableaux by Messrs. Albert Willemetz and Jacques Charles. Intermission: Mitchell's Jazz Kings.
Announcements also confirm the continuing engagement of Mitchell's Jazz Kings at le Perroquet, early May 22 Recording session for Pathé (see Discography).
8 May 22 Casino de Paris destroyed by fire. It was rebuilt and re-opened in December 1922.
19 Jul 22 Recording session for Pathé (see Discography).
Aug 22 Recording session for Pathé (see Discography).
Summer 22 Mitchell's Jazz Kings reportedly played a summer season at Aix-en-Provence. This remains to be
investigated.
In the Chicago Defender of 30 Sep 22 (p.6\ William Burns “of Chicago" listed Lewis Mitchell, Dan Paris, Joe Myers, and Frank Whithers [all sic] amongst those he had met in Paris.
Re-opening of Casino de Paris with En Douce, revue in 2 acts and 42 tableaux by Messrs. Albert Willemetz, Jacques Charles, Saint-Granier, and Briquet. Intermission: Mitchell's Jazz Kings. 2nd Act: “Interior ofTagada Tsoin Tsoin" with Earl Leslie, Mistinguett, Mitchell’s Jazz Kings.
Announcements also confirm the engagement of Mitchell's Jazz Kings at le Perroquet.
J. A. Jackson of Billboard reported to the Chicago Defender of 9 Dec 22 [p.7] that Louie Mitchell, Dan Parrish, Walter Kildare, Frank Withers, “Cricket' Smith, Joe Myers, Crawford are at the Parouge, Paris, for the winter. [Presumably Parouge is a garbled rendering of ‘Perroquet’] The same issue [p.8] reports that “Mitchell’s Bano are still at Casino de Paris".
Recording session for Pathé (see Discography).
Playbill for En Douce at Casino de Paris reveals small variations including Miss Marion Forde (the most extraordinary acrobatic dancer in the world) accompanied by Mitchell’s Jazz Kings.
Recording session for Pathé (see Discography).
Recording session for Pathé (see Discography).
Recording session for Pathé (see Discography).
Recording session for Pathé (see Discography).
Opening of Mitchell’s, 52 rue Pigalle, Par[s. First-nighters recalled by Mitchell to Marvel Cooke [New York Amsterdam News, 16 Mar 40] included George Gould, the painter Van Dongen and his wife, actress Nita Naidi, Elisabeth Marbury, the Duchesses of Sutherland and Alba, the Marquis and Marquise de Polignac, the Marquess of Salamanca, and Grand Duchess Marie of Russia. [New York Amsterdam News, 16 Mar 40]. The pianist Alain Romans remembered the dub’s original name as Mitchell’s Pan Cake.
Mitchell’s renamed Le Grand Due.
Le Grand Due closed as a result of falling business [François Dodat, Langston Hughes, pp.23/4].
Le Grand Due reopened [François Dodat, Langston Hughes, pp.23/4].
Opened the Music Box at 41 rue Pigalle, Paris, jointly with Ada ‘Bricktop’ Smith [New York Amsterdam News, 16 Mar 40]. A report from the Morning Telegraph quoted by Mitchell records pianist Leslie Hutchinson and Bricktop herself amongst the featured entertainers.
[shortly after] Mitchell left Bricktop and opened a new Mitchell's at 61 rue Blanche, Paris [New York Amsterdam News, 16 Mar 40] (Chez Florence was reportedly at this address in 1927).
Opening of Mitchell's at 35 rue Pigalle, Paris. The entertainers were Florence Embry-Jones, Palmer Jones, her husband, Opal Cooper, Sammy Richardson and ‘Frisco’ Bingham. This establishment is noted in the annual Guide des Plaisirs à Paris (latest revised and updated edition dated 1931). It offered what would now be called soul food. [New York Amsterdam News, 16 Mar 40]
1929 Opened The Plantation at 58 rue Notre-Dame de Lorette, Paris. This was formerly the Capitol. Louis
invested $126,000 and employed 45 staff.
Apr 30 Took part in a concert at Théâtre des Champs-Élysées in aid of flood victims. He also acted as stage
manager at this event, of which Vance Lowry was the prindpal organiser, arranged at only eight days notice under the auspicies of the newspaper L'Intransigéant. Also among the two hundred American, Antillean and African performers who took part was Cricket Smith, who led an 'old-time minstrel band’ to accompany a comedy boxing act by the Boxing Babes (Gene Bullard and Jack Taylor) [‘Two Hundred Performers Thrill French With Music and Mimicry at Paris Benefit,” New York Amsterdam News, 23 Apr 30],
22 Sep 30 Discharged from bankruptcy [New York Amsterdam News, 23 Mar 40]
Jan 23 18 Jan 23
late Jan 23 Feb 23 12 May 23 14 May 23 22 Nov 23
Unk. date Jul 24 Sep 24 Nov 24
? Jan 25
early 1927
VISITING FIREMEN 18: LOUIS MITCHELL
243
An acquaintance from way back, mobster Legs Diamond, financed Mitchell’s return to New York City, where he planned to set him up with a night club. Diamond was shot on 12 October 193066, the very day that Louis reached New York City, so Mitchell recalled. He did manage night clubs in New York City in the thirties and also worked in the advertising departments of both the New York Age and the New York Amsterdam News. He died in Washington, D.C. on 12 September 1957, survived by his widow Antointette, his son, Louis, and his sister Mrs. Florence Hill of Asbury Park, NJ67.
Refer« ncas
1. André V. Gillet, Louis Mitchell—Bio-Disco-Bibliographie, Bruxelles, the author, 1965 (20 pages); DeLuxe Edition, id. + 11 pp ill. The same author also published The European Recordings By Louis A. Mitchell, 1957 (8 page folder, illustrated); 2nd ed., 1957 (10 pp folder, ill ). The second edition, published a few months later, adds a list of the recordings made in London by Ciro’s Club Coon Orchestra.
2. Gillet, op. cit., p.1.
3. Édouard Halouze (as E.H.), chapter ‘Blanc et Noirs’, pp 103 to 105 in Almanach du Masque d’Or, 2è année, 1922, Paris, Éditeur Devambiez (published 1 October 1921).
4. Belgian lawyer, poet, jazz critic, journalist, historian, b Ohain, 21 May 1898; d. Overijse, 27 June 1984. He wrote the first study of jazz, called Jazz-Band, in poetry form in 1920, published only on 30 November 1922. (Éditions des “Écrits du Nord", Université de Bruxelles, 106pp, ill. by Gaston De Beer; preface by Jules Romain). In the same year his article ‘Jazz-Band’ appeared in Le Disque Vert, no. 3 (July 1922). Both works are based on the impression made on the author by Mitchell’s Jazz Kings.
5. Robert Goffin, Aux Frontières du Jazz, préface de Pierre McOrlan, Paris, “Les Documentaires" Éditions du Sagittaire (Ancienne Éditions Kra) [Printed in Brussels, 25 May 1932] (260 pp, ill.). The six ‘editions’ are in fact simply reprints. Originally published by chapters in the Belgian periodical Music, no. 55 (Vol. VI, 7è année, January 1930) through No. 79 (Vol. VIII, 9è année, March 1932). Reissued as a facsimile, without illustrations, in the revised edition of Music from November 1986 to c. 1987. Some of the original chapters, or excerpts, also appeared around 1932 in periodicals such as Voix, Le Rouge et le Noir, possibly Diavolo, and the Swiss magazine Jazz.
6. Félix Robert Faecq, b. Bruxelles, 12 October 1901; d. Bruxelles, 23 February 1992. Music publisher and the first jazz promoter in Belgium, and founder of Music, the first periodical to devote the majority of its pages to jazz, as early as 1924; founder of the Jazz Club de Belgique, first association of its kind in the world. The real pioneer of jazz in Belgium.
7. Robert Goffin, Jazz From The Congo To The Metropolitan, Introduction by Arnold Gingrich. Translated by Walter Schaap and Leonard G. Feather. New York City, Doubleday & Doran, and Toronto, McClelland, 1944 (© 1943,1944) (xii + 254pp, illustrated dust wrapper); simultaneously released for the U.S. Army, New York City, Armed Services Edition #920 (384 pp, © 1943,1944 by Robert Goffin). The first French edition, being Goffin’s original manuscript, appeared one year later in Canada as Histoire du Jazz, Montréal, Lucien Pariseau
& Compagnie, 1945 (340 pp.), then reprints in the U.S.A. and Britain as Jazz From The Congo To The Metropolitan, New York City, Doubleday & Doran, 1946 (xii + 274 pp; dw), and as Jazz From Congo To Swing, Introduction by Ray Sonin, London, Musicians Press Ltd., 1946 (274 pp, 1 ill. record-listing, bib. dw). A slightly different and augmented version appeared four years after the original in Belgium and France as Nouvelle Histoire du Jazz Du Congo au Bebop, Introduction by Carlos de Radzitsky, Bruxelles, L’Écran du Monde, and Paris, Les Deux Sirènes, [February] 1948 (340 pp. ill. dw). The original edition was translated into Spanish as Historial del Jazz, Tradducciôn de Enrique Molina (H.), Buenos Aires, Editorial Argonauta, [30 September]
1948 (310 pp.), reissued ten years later, Buenos Aires, Edicciones Cenit [31 May] 1958 (204 pp.). In recent years a facsimile of the original has been marketed (New York City, DaCapo Press, 1975).
8. See Bibliography.
9. Albert Bettonville, b. Petit Rechain, 25 January 1916; d. Bruxelles, 26 February 2000. The most important Belgian jazz critic, with Carlos de Radzitzky, b. London, 7 June 1915; d. Bruxelles, 1985.
10. Irving Schwerké, Kings David And Jazz (Jazz et David, Rois), Preface by Léon Valias [from Chicago Tribune,
21 & 28 March 1926], Paris, privately printed for the author by Les Presses Modernes, 1927 (262 pp.). (Twenty-seven studies on music and modern musicians, of which the studies on jazz and American composers are in English and French, the others in English only).
Henry O. Osgood, So This Is Jazz, Boston, Little, Brown and Company, October 1926 (258 pp + ill.)
André Cœuroy et André Schaeffner, Le Jazz (La Musique Moderne II), Paris, Éditions Claude Aveline, [4 November] 1926 (152p); reprinted, as by André Schaeffner avec la collaboration de André Cœuroy, Preface by Frank Ténot (and with essays by Lucien Malson and Jacques B. Hess), Paris, Jean-Michel Plaoe, 1988. (Robert Goffin on page 13 of Aux Frontières du Jazz says that “Jazz starts when their book comes to an end. ) [Schaeffner's chapters nonetheless reveal a degree of understanding of African-American music which is altogether remarkable and undoubtedly influenced Hugues Panassié’s views. HR]
Paul Whiteman and Mary Margaret McBride, Jazz, New York City, J.H. Sears & Comany, Inc., 1926 (298 pp + ill.)