Wingy Manone (13 February 1900 – 9 July 1982) was an
American jazz trumpeter, composer, singer, and bandleader. His major recordings
included "Tar Paper Stomp", "Nickel in the Slot",
"Downright Disgusted Blues", "There'll Come a Time (Wait and
See)", and "Tailgate Ramble".
Manone was born Joseph Matthews Mannone in New Orleans,
Louisiana. He lost an arm in a streetcar accident, which resulted in his
nickname of "Wingy". He used prosthesis, handling it so naturally and
unnoticeably that his disability was not apparent to the public. Jazz violinist
Joe Venuti, who was a notorious practical joker and good friend of Manone, used
to send “Wingy” a single cufflink every year on his birthday.
He played trumpet in riverboats starting when he was 17,
was with the Crescent City Jazzers (which later became the Arcadian Serenaders)
in Alabama, and made his recording debut with the group in the mid-'20s. He
worked in many territory bands throughout the era before recording as a leader
in 1927 in New Orleans. By the following year, Manone was in Chicago and soon
relocated to New York, touring with theatre companies.
His hit records included "Tar Paper Stomp" (an
original riff composition of 1929 that was later used as the basis for Glenn
Miller's "In the Mood"), and a hot 1934 version of a sweet ballad of
the time "The Isle of Capri", which was said to have annoyed the
songwriters despite the royalties revenue it earned them.
Manone was an esteemed musician who was frequently
recruited for recording sessions. He plays on some early Benny Goodman records,
for example, and fronted various pickup groups under pseudonyms like "The
Cellar Boys." His style was similar to that of fellow New Orleans
trumpeter Louis Prima: hot jazz with trumpet leads, punctuated by good-natured
spoken patter in a pleasantly gravelly voice.
Manone's group, like other bands, often recorded
alternate versions of songs during the same sessions; Manone's vocals would be
used for the American, Canadian, and British releases, and strictly
instrumental versions would be intended for the international,
non-English-speaking markets. Thus there is more than one version of many Wingy
Manone hits. Among his sidemen on his 1935-1941 recordings were Matty Matlock,
Eddie Miller, Bud Freeman, Jack Teagarden, Joe Marsala, George Brunies, Brad
Gowans, and Chu Berry.
Among his better records are "San Antonio
Stomp" (1934), "Send Me" (1936), and the novelty hit "The
Broken Record" (1936). He and his band did regular recording and radio
work through the 1930s, and appeared with Bing Crosby in the movie Rhythm on
the River in 1940 and would later appear on many of Crosby's radio shows.
In 1943 he recorded several tunes as "Wingy Manone
and His Cats"; that same year he performed in Soundies movie musicals. One
of his Soundies reprised his recent hit "Rhythm on the River."
His autobiography, Trumpet on the Wing,
was published in 1948.
From the 1950s he was based mostly in California and Las
Vegas, Nevada, although he also toured through the United States, Canada, and
parts of Europe to appear at jazz festivals.
In 1957, he attempted to break the teenage rock &
roll market with his version of Party Doll, the Buddy Knox hit. His version on
Decca 30211 made #56 on Billboard's Pop chart and it received a UK release on
Brunswick 05655.
Wingy Manone's compositions include "Tar Paper
Stomp" (1930), "There'll Come a Time (Wait and See)" with Miff
Mole, "Tailgate Ramble" with Johnny Mercer, "Stop the War (The
Cats are Killin' Themselves)" (1941) on Bluebird, "Trying to Stop My
Crying", "Downright Disgusted Blues" with Bud Freeman,
"Swing Out" with Ben Pollack, "Send Me", "Nickel in
the Slot" with Irving Mills, "Jumpy Nerves", "Mannone
Blues", "Easy Like", "Strange Blues", "Swingin'
at the Hickory House", "No Calling Card", "Where's the
Waiter", "Walkin' the Streets (Till My Baby Comes Home)", and
"Fare Thee Well".
Wingy stayed active in music and continued to lead and tour with his bands for the rest of his life. He died on July 9, 1982 in Las Vegas, Nevada, USA. (Info edited from Wikipedia & AMG)
Probably in a recording studio in New York in 1964 we see a performance of Wingy Manone playing one of his favourite tunes "Tailgate Ramble".
For “Wingy Sings, Manone Plays - Isle Of Capri & Other Great Hits” go here:
ReplyDeletehttp://www.mediafire.com/file/24lczgwn8bowgob/Wingy%20Manone.rar
1. BREEZE (BLOW MY BABY BACK TO ME)
2. MARCH WINDS AND APRIL SHOWERS
3. LOVE IS JUST AROUND THE CORNER
4. THE ISLE OF CAPRI
5. I BELIEVE IN MIRACLES
6. ON THE GOOD SHIP LOLLIPOP
7. EVERY LITTLE MOMENT
8. LULU'S BACK IN TOWN
9. A SMILE WILL GO A LONG, LONG WAY
10. I'M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER
11. I'VE GOT A FEELIN' YOU'RE FOOLIN'
12. YOU ARE MY LUCKY STAR
13. I'M SHOOTING HIGH
14. THE MUSIC GOES 'ROUND AND AROUND
15. YOU LET ME DOWN
16. I'VE GOT MY FINGERS CROSSED
17. THE BROKEN RECORD
18. SHOE SHINE BOY
19. WEST WIND
20. IS IT TRUE WHAT THEY SAY ABOUT DIXIE?
21. GOODY-GOODY
22. EVERY ONCE IN A WHILE
23. NO REGRETS
24. YOU'RE NOT THE KIND
Physical disability is no bar to musicianship - indeed, in some instances such as the blind keyboard players George Shearing and Ray Charles, the enhanced hearing faculties have actually been an advantage. Losing limbs is more problematic, but not always insurmountable. Take losing an arm and playing trumpet: normally one arm gives support (and the hand can be used for muting effects, etc.), the other facilitates the hand which actually operates the valves. Playing with only one arm - inconvenient, but not impossible. Enter Joseph Manone.This compilation is of the ‘happy’ songs Wingy recorded at the height of his recording success with "Isle Of Capri". If not all the lyrics were actually happy in content, then Manone made sure that the overall effect was the desired one at the time of Depression - a lifting of spirits. Everything received the unique Manone treatment, even (unbelievably?) "On The Good Ship Lollipop", which owed nothing to that other lifter of spirits of the time, Miss Shirley Temple. There is little doubt that Louis Prima, also born in New Orleans but eleven years Wingy’s junior, took a lead from him, and although unlike Manone, Prima forsook Dixieland-style jazz early in his career, his vocal styling continued to recall that of the older man.
(Info from Jasmine Records )