Fact-checked by Grok 2 weeks ago

Red Nichols

Ernest Loring "Red" Nichols (May 8, 1905 – June 28, 1965) was an American ist, bandleader, and composer, best known for leading the popular ensemble Red Nichols and His Five Pennies during the era in . Born in , to a musical family, Nichols began playing the at age five under his father's guidance as a college music instructor, and by his early teens, he was performing professionally in local bands before moving to in the early . Nichols quickly rose to prominence as one of the most recorded musicians of the decade, leading or participating in approximately 4,000 recording sessions under various band names such as , the Red Heads, and the , often collaborating with top talents including Miff Mole on , Jimmy on , on , on , and on . His groups produced numerous hits for labels like and , including innovative arrangements of standards like "Ida, Sweet as Apple Cider" (1927), "Washboard Blues" (1926), and "Crazy Rhythm" (1928), which showcased his bright, rhythmic style and helped expand 's harmonic and compositional boundaries during . After a period of relative obscurity in the 1930s due to changing musical tastes and the , Nichols revived his career in the with a new sextet in , serving as music director for Bob Hope's radio show and appearing in films, culminating in the 1959 biographical movie starring , which renewed interest in his legacy. Nichols died of a heart attack in at age 60, leaving behind a prolific that influenced subsequent generations of musicians and solidified his reputation as a pivotal figure in early hot and transitions.

Biography

Early life

Ernest Loring "Red" Nichols was born on May 8, 1905, in Ogden, , to Ernest Wright Nichols and Effie Adele Manning Nichols. His father was a prominent music educator and , serving as a professor at Weber Stake Academy (later Weber College) and conducting local brass bands, including the Academy Band and the Industrial School Band from 1905 to 1923. His father arrived in Ogden in October 1904 as a member of John Philip Sousa's touring band. The family relocated to Ogden in 1905, prompted by his mother's , which improved in the region's dry climate. Raised in a disciplined, music-saturated household in the conservative, Mormon-influenced community of Ogden, young Loring received rigorous classical training from his father starting at an early age. He began studying the cornet around age four or five, alongside violin and piano, and was soon performing in his father's ensembles. By age five, he appeared in public with the family band at local events, demonstrating precocious talent under his father's direct guidance. This formal education emphasized technical precision and ensemble playing, shaping his foundational skills in brass performance. Nichols' first significant public showcases came by age 12 in , when he was featured as a lead instrumentalist in his father's programs, tackling complex set pieces with notable proficiency. Despite the classical focus of his training, he began exploring self-taught elements of , drawn to emerging styles that contrasted sharply with Ogden's straitlaced cultural environment. This early blend of structured instruction and personal experimentation laid the groundwork for his later innovations, though his teenage years still centered on local performances within the family's musical circle.

Early career

At the age of 16 in 1921, Nichols left his home in , having already received rigorous training from his father, a college music professor, and began his professional career by joining traveling circuses and various bands across the Midwest and . These early engagements included waterfront bands and regional ensembles, providing him with practical experience in diverse musical settings before his recording debut. On November 22, 1922, at age 17, Nichols made his first recordings in , as a member of the Syncopating Five for , performing tunes such as "Lips" and "Maybe." He soon took leadership of the group, renaming it the Royal Palms Orchestra, and toured venues including hotels in and Atlantic City. By 1923, Nichols had expanded his work, recording with orchestras led by Howard Lanin on May 25 and beginning a longer association with Sam Lanin in December, while also playing with groups such as those of Ross Gorman. In 1925, Nichols arrived in , where his skills and technical proficiency on enabled rapid integration into the bustling studio scene; he contributed to over 50 recording sessions in 1926 alone as a . During this period, he formed initial small ensembles and collaborated with emerging talents, including on clarinet and on clarinet, in various hot and band dates that highlighted the evolving New York sound.

Brunswick era

In 1926, Red Nichols signed with and launched his signature group, Red Nichols and His , debuting with sessions on December 8 that year featuring tracks like "Washboard Blues" and "That's No Bargain." Over the next six years until 1932, the group recorded over 100 sides for the label, frequently employing ensembles larger than five musicians to capture a fuller sound, despite the band's nominal name evoking a smaller setup. This prolific output exemplified Nichols' role as a pioneering studio in , where he assembled pickup groups on an assembly-line basis for quick, high-volume sessions tailored to the commercial demands of the era. Nichols infused these recordings with hot jazz elements—energetic solos, syncopated rhythms, and improvisational flair—blending them into accessible pop-oriented arrangements that appealed to a broad audience during the late 1920s jazz boom. Key hits from this period included the upbeat instrumental "Ida! Sweet as Apple Cider" (1927), the lively "Hurricane" (1928), and the vocal-driven "That's My Weakness Now" (1928, recorded pseudonymously as the Wabash Dance Orchestra), which showcased his innovative fusion of jazz vitality with mainstream dance music. The ' lineup rotated frequently, drawing from New York's elite pool of freelancers and future stars such as trombonist , clarinetist , drummer , and the Dorsey brothers ( on and , on ), allowing Nichols to maintain a consistently high level of musicianship across sessions. This approach not only facilitated rapid production but also helped launch careers by providing early exposure to emerging talents in a competitive recording scene. Amid this recording surge, Nichols and his group achieved peak popularity through national tours and regular radio broadcasts, capitalizing on the era's growing appetite for live performances; some records, like "," reportedly sold over one million copies, underscoring their commercial impact.

Later career

The severely impacted the recording industry, leading to a sharp decline in sales and Nichols' reduced output after his prolific Brunswick period. By , he departed from , shifting to budget labels such as (an subsidiary) and Variety, where he made sporadic recordings with diminished commercial success. His sessions became less frequent, with no recordings at all in , reflecting the broader economic constraints on musicians during the era. In the 1930s, Nichols adapted to the rising popularity of by leading larger ensembles, including an 11-piece billed as "His World Famous Pennies" in 1934, though these efforts were often viewed as undistinguished compared to his earlier hot jazz work. He took on roles as an arranger and for prominent bandleaders, including a stint with Paul Whiteman's from 1938 to 1940, contributing his expertise to the group's polished sound. Additionally, Nichols engaged in brief studio work, providing session recordings and arrangements for radio and film orchestras, leveraging his reading skills and versatility amid the demand for reliable studio players. From 1941 to 1943, Nichols temporarily stepped away from music to care for his daughter , who had contracted , marking a personal interruption to his professional momentum. He returned in 1944 by joining the Orchestra before reforming a new sextet in , aligning with the emerging Dixieland revival. During , he contributed to wartime through band performances, though details of formal remain limited. Post-war, Nichols freelanced in clubs across and , building local popularity with his updated lineup, which featured musicians like bass saxophonist Joe Rushton and clarinetist King Jackson by 1949. These engagements included radio appearances on Bing Crosby's show and collaborations with vocalists such as , Julia Lee, Phil , and . By the 1950s, Nichols' career entered a of decline with fewer high-profile opportunities, though he maintained sporadic recording activity for labels like , , and , capturing his band's lively Dixieland interpretations. These efforts, combined with steady club work in and , signaled early momentum toward a broader amid growing interest in traditional , setting the stage for renewed recognition later in the decade.

Death

Nichols married dancer Willa Stutsman in the early , with whom he had one daughter, (born c. 1936). In 1942, Dorothy contracted , prompting Nichols to temporarily leave music to care for her. Throughout his adult life, Nichols struggled with . In his later years, Nichols performed regularly in Las Vegas clubs. On June 28, 1965, while staying in a Las Vegas hotel suite during an engagement, he suffered a fatal heart attack at the age of 60, awakening to severe chest pains and summoning help before succumbing. He was buried at Forest Lawn Memorial Park in , . His funeral was attended by fellow musicians, and his estate was modest, reflecting the financial fluctuations of his career.

Film career

Short films

Red Nichols appeared in several musical short films during the early sound era, primarily in the , where he showcased his playing and led his band in performances that helped bring to movie audiences through visual media. These 10- to 20-minute productions emphasized live-like band playback and on-screen instrumentation, often using lip-sync techniques to match pre-recorded tracks from his Brunswick sessions. His contributions in these played a key role in popularizing Dixieland and hot styles visually, bridging the gap between radio broadcasts and cinematic entertainment. One of the earliest examples was the 1929 Vitaphone short Red Nichols and His Five Pennies, directed by Murray Roth, in which Nichols and his ensemble performed Dixieland numbers including "China Boy," "Nobody's Sweetheart," "Ida (Sweet as Apple Cider)," and "Whispering." Clocking in at about nine minutes, the film captured the band's energetic interplay, with Nichols prominently featured on during trumpet trio segments and featuring a vocalist for added variety. This production exemplified the transition to synchronized sound, using 's disc-based system for audio that was synced to the film print. In 1935, Nichols starred in the short The Parade of the Maestros, a promotional showcase for conductors that highlighted diverse musical styles. Nichols performed "In the Middle of a " alongside composer , demonstrating his cornet's melodic phrasing in a more orchestral context compared to his usual small-group . This approximately 10-minute served as a variety reel, blending big band elements with novelty arrangements to appeal to theatergoers. That same year, Nichols appeared in another Paramount short, Million Dollar Notes, directed by Fred Waller. The film featured his band playing upbeat tunes like "Everybody Loves My Baby," with Nichols leading on in close-up shots that emphasized his technical prowess and improvisational flair. Photographed by William Steiner, this production relied on lip-sync to studio recordings, allowing for polished performances amid comedic or novelty framing typical of the era's musical shorts. Nichols' final notable short from the period was the 1936 Vitaphone release Red Nichols & His World Famous Pennies, directed by Joseph Henabery. Running about 11 minutes, it presented a medley of popular songs such as "Wail of the Winds" (Nichols' theme), "Get Happy," "When It's Sleepy Time Down South," "Troublesome Trumpet," "Cryin' for the Carolines," and "," with guest appearances by The Wallace Sisters and Bob Carter. The short highlighted Nichols' solos and the band's tight ensemble work, using synchronized playback to simulate a live stage show and furthering jazz's presence in early sound cinema.

Feature films

Red Nichols made few appearances in feature-length films, with his roles largely confined to non-speaking musical cameos reflective of his background. In 1950, his band provided uncredited musical accompaniment in the musical comedy Wabash Avenue, starring and . That same year, Nichols appeared as himself, performing with his , in the film noir Quicksand, directed by and starring . In 1951, he made a in the musical Disc Jockey, directed by Will Jason and featuring .)) His most significant cinematic involvement came with the 1959 biographical drama , directed by and starring in the lead role as Nichols himself. The film offers a dramatized account of Nichols' career, portraying his journey from a small-town player in 1920s to a successful bandleader in , where he forms with his wife Bobbie (played by ). The narrative incorporates a fictionalized centered on the diagnosis of their daughter , prompting Nichols to abandon music for years to care for her; he later resumes performing after her recovery, leading to a triumphant family reunion concert featuring as himself. Nichols contributed directly to the production as a musical advisor, dubbing the cornet and trumpet solos for Kaye's character, and appeared briefly in an uncredited role as a Clicquot Club Eskimo musician. The soundtrack, scored by Leith Stevens and drawing heavily on Nichols' original compositions such as "Ida, Sweet as Apple Cider," earned an Academy Award nomination for Best Music Scoring of a Musical Picture. Nichols also appeared in a supporting role in the 1959 biographical film The Gene Krupa Story, directed by Don Weis, which depicted the life of drummer Gene Krupa and included scenes with early jazz figures like Nichols. The film's success sparked a notable revival in Nichols' popularity, driving up sales of his back catalog recordings and facilitating a series of tours with reformed versions of the Five Pennies throughout the early 1960s, including engagements in Las Vegas where he performed until his death in 1965.

Musical style and legacy

Style and influences

Red Nichols was renowned for his playing, characterized by a bright, precise tone that blended classical precision with the improvisational flair of . His technique emphasized clean articulation and technical mastery, allowing him to navigate complex arrangements with ease while incorporating melodic lyricism. This style was heavily influenced by cornetists , whose cool, introspective approach shaped Nichols' reserved phrasing and tonal purity starting around 1925, and Joe "King" Oliver, whose recordings introduced him to the rhythmic drive of during his early exposure to Oliver's Chicago performances. As a leader, Nichols specialized in assembling "pick-up" bands—ad hoc ensembles of elite studio musicians—for recording sessions, drawing from talents like Miff Mole, , , and to create his signature groups, such as Red Nichols and His . He prioritized tight, pre-arranged structures over spontaneous , fostering a disciplined sound that balanced ensemble cohesion with opportunities for individual solos, which defined his prolific output of over 150 sides in the late . This approach reflected his background as a expert, enabling efficient, high-quality recordings that appealed to the commercial demands of the era. Nichols' style evolved from the hot jazz of the 1920s, rooted in Dixieland traditions, toward the swing era in the 1930s, where he adapted to larger big bands and more polished orchestrations. This shift was informed by New Orleans pioneers like Louis Armstrong, whose bold phrasing and emotional intensity influenced Nichols' own development of swinging, melodic lines that bridged improvisational freedom with rhythmic propulsion. By the 1940s and 1950s, he embraced the Dixieland revival, refining his earlier hot jazz roots into a versatile, audience-friendly swing that sustained his career through radio and club work. Critically, Nichols was lauded for his versatility and innovative contributions to the "New York style" of jazz, particularly in his 1926–1929 recordings with Mole, which showcased technical prowess and ensemble ingenuity. However, some contemporaries and later reviewers critiqued his emphasis on commercial polish and arranged precision as lacking the raw emotional depth found in Armstrong's or Beiderbecke's work, viewing his output as more suited to "businessman's bounce" than profound jazz expression. Despite this, his adaptability ensured enduring influence on studio jazz practices.

Awards and honors

Red Nichols received no major formal awards during his lifetime, as the jazz scene of the and offered few institutional honors for performers and bandleaders. The biographical film (1959), which depicted his life and career with in the lead role, earned a for Best Motion Picture – Musical at the 17th , underscoring Nichols's enduring appeal and contributions to . Following his death in 1965, Nichols's legacy gained greater recognition. In 1986, he was posthumously inducted into the Big Band and Jazz Hall of Fame, celebrated for his prolific output of over 100 recordings in the that advanced ensemble techniques and featured collaborations with top .

Compositions and recordings

Original compositions

Red Nichols contributed to as a , penning or co-writing several original tunes during his career, many of which were designed as vehicles for his cornet virtuosity and the ensemble sound of his bands. These works often featured lively rhythms and melodic lines that highlighted interplay, reflecting the hot and dance band aesthetics of the late and early 1930s. Among his key compositions were "Nervous Charlie Stomp," co-written with George Crozier, an energetic stomp recorded in 1926 that showcased rapid runs and rhythmic drive, and "Hurricane," co-written with Paul Mertz in 1927, known for its stormy, syncopated fox-trot structure inspired by the era's trends. In 1928, Nichols composed "Five Pennies," a jaunty piece that became synonymous with his signature group, the , emphasizing tight ensemble phrasing. Other notable works included "Sugar" (co-written with , , and Frank Crum) from the same year, a sweet-toned fox-trot with playful scat-like elements, and "Last Dollar" in 1931, for which Nichols provided both music and lyrics, blending bluesy introspection with upbeat . Nichols' compositional process was frequently collaborative, particularly with musicians like Mertz, who contributed arrangements and co-authorship to enhance the melodic flow for leads. His themes centered on upbeat fox-trots and emerging standards, often tailored for recording sessions with his rotating ensembles, such as the Five Pennies or Red Heads, to capture the exuberance of Prohibition-era nightlife. "The Parade of the Pennies," another original from the late (recorded 1939), served as a band signature tune, marching in lively parade style with call-and-response brass figures that became a staple in his live performances. Several of Nichols' compositions endured as jazz standards, influencing later artists through their accessible melodies and improvisational potential; for instance, "Hurricane" was revisited in various arrangements, while pieces like "Five Pennies" inspired tributes in the . Their legacy lies in bridging hot jazz with popular , providing blueprints for ensemble jazz that resonated beyond the studio scene.

Discography

Red Nichols recorded prolifically throughout his career, appearing on over 4,000 recordings as a leader or between the and , with a focus on hot , Dixieland, and styles. His output included extensive work under pseudonyms and with pickup groups featuring top talent, often under the banner of Red Nichols and His . From 1926 to 1932, Nichols cut over 100 sides for , establishing his signature sound through the "" series and various ensembles. Notable sessions included collaborations with trombonist Miff Mole on tracks like "Delirium" and "Davenport Blues" (recorded February 11, 1927, as Red and Miff’s Stompers), and violinist Joe Venuti on hot numbers such as "Washboard Blues" and "That's No Bargain" (December 8, 1926, with His ). Highlights from this era encompass "Bugle Call Rag," "Ida," and "Sugar Foot Stomp," often featuring personnel like on , Jimmy and on reeds and trombone, on trombone, on trombone, on , on guitar, Adrian Rollini on bass sax, and on drums, reflecting the era's all-star pickup bands. These recordings, captured in studios, captured the transition from New Orleans-style to more arranged hot . In the 1933 to 1940s period, Nichols shifted to labels like and , producing around 50 tracks with a swing-inflected Dixieland approach amid the era. Key releases for included "Melancholy Baby" and "Robins and Roses" ( B-10593, recorded 1939, released 1940), and swing-oriented sides from his ensembles. sessions in the late 1930s and early 1940s featured similar ensembles, incorporating singers like Banks (emulating Wee Bonnie Baker) by 1941, before Nichols sold his band to Anson Weeks in 1942. These recordings, often from and , blended his leads with larger horn sections for radio and dance band appeal. Post-war efforts in the saw Nichols return to smaller group settings, with new sessions for RCA Victor and reissues of earlier material, fueled by renewed interest. Albums like Jazz Time with Red Nichols ( H-215, released 1950, tracks from 1944–1949) and Hot Pennies (1956) highlighted Dixieland standards such as "," "Mood Indigo," and "," performed with reformed Five Pennies lineups. RCA Victor issued compilations drawing from his catalog, emphasizing his work on classics like "China Boy." The 1960s brought a career revival after the 1959 biopic , leading to live albums capturing Nichols in performance. Releases such as Red Nichols and the Five Pennies at Marineland (1961, featuring "," "," and "Fidgety Feet") and Dixieland Dinner Dance (1960) documented club and promotional gigs with enthusiastic audiences. Modern compilations have preserved Nichols' legacy through box sets, including The Red Nichols Collection 1926–32 (Acrobat, 4-CD set with 93 tracks from , 2021 reissue) and the Chronological Classics series (e.g., volumes covering 1929–1931), which highlight his original compositions alongside standards. Recent releases as of 2025 include Step into 1927 - Red Nichols Early (9 tracks, February 2025), offering remastered early works.

References

  1. [1]
    Profiles in Jazz: Red Nichols - The Syncopated Times
    Ernest Loring “Red” Nichols was born May 8, 1905 in Ogden, Utah. He began playing cornet when he was five, studying with his father who was a college music ...
  2. [2]
    Crazy Rhythm: Red Nichols and His Five Pennies - Riverwalk Jazz
    Red Nichols was the most recorded and successful musician-bandleader in New York in the 1920s. He led enormously popular bands featuring some of the most ...Missing: biography | Show results with:biography
  3. [3]
    Welcome · Red Nichols: Ogden's Jazz Great · WSU Digital Exhibits
    Nichols was featured in many music publications, wrote and produced music, was involved in over 4,000 recordings, and was featured in a movie about his life. ...Missing: biography | Show results with:biography
  4. [4]
    Loring “Red” Nichols (1905-1965) - Memorials - Find a Grave
    Family Members. Parents. Ernest Wright Nichols. 1869–1948 · Effie Adele Manning Nichols. 1876–1948. Spouse. Willa Inez Stutesman Nichols. 1902–1979 ( m. 1927).
  5. [5]
    [PDF] RED NICHOLS
    Red made his first recording with the. Syncopating Five, October 1922, in Rich- mond, Indiana, at the Starr Piano Co., for Gennett records--- the tunes were.
  6. [6]
    https://www.discogs.com/release/7673887-Red-Nichols-And-His-Five-Pennies-Rhythm-Of-The-Day
  7. [7]
    Red Nichols And His Five Pennies
    - **Releases for Brunswick Label (1926-1932):** Insufficient relevant content to count exact number of releases; Discogs page lacks a complete release list.
  8. [8]
    New York Sessions: The Evolution of Studio Bands - Riverwalk Jazz
    Red became a master at putting together New York recording sessions with high-powered jazzmen like Jack Teagarden, Benny Goodman, Gene Krupa and Joe Venuti.<|control11|><|separator|>
  9. [9]
    https://www.discogs.com/release/3294800-Red-Nichols-And-His-Five-Pennies-Ida-Sweet-As-Apple-Cider-Feelin-No-Pain
  10. [10]
    https://www.discogs.com/release/26927948-Red-Nichols-And-His-Five-Pennies-Alabama-Stomp-Hurricane
  11. [11]
    https://www.discogs.com/release/12825235-The-Wabash-Dance-Orchestra-The-Major-Club-Orchestra-Thats-My-Weakness-Now-Where-The-Shy-Little-Viole
  12. [12]
    Red Nichols and his Five Pennies - The Syncopated Times
    Red Nichols' Five Pennies Left to right: Red Nichols, Jimmy Dorsey ... Jimmy Dorsey, Clarinet, Alto Saxophone. John Egan, Trumpet. Tommy Felline, Banjo.
  13. [13]
    https://www.allaboutjazz.com/musicians/miff-mole/
  14. [14]
    RED NICHOLS & HIS FIVE PENNIES Radio Transcriptions 1929-30 ...
    In stock Rating 5.0 (1) Five of these "broadcasts" plus Nichols' ten appearances on the Heat program are included on this historically valuable CD from the collectors' label IAJRC.Missing: national tours late 1920s
  15. [15]
    Miff Mole Musician - All About Jazz
    Feb 21, 2020 · ... Red and Miff's Stompers, and especially Red Nichols and His Five Pennies. ... In 1938–40 he was a member of Paul Whiteman's orchestra, but his ...
  16. [16]
    Red Nichols: Ogden's Jazz Great · WSU Digital Exhibits
    Title: Red Nichols with Willa Stutsman Nichols (wife) and Dorothy Nichols Simpson (daughter) ; Medium: Photographs ; Source: MS158.
  17. [17]
    The Five Pennies: The Biography Of Jazz Band Leader Red Nichols
    The book also delves into Nichols' personal struggles, including his battles with alcoholism and the tragic loss of his daughter.Throughout the book ...
  18. [18]
    Red Nichols born 1908 - FROM THE VAULTS
    May 8, 2011 · Jazz Bandleader. Born in Ogden, Utah in 1905, at the age of four he was playing a cornet, but was also thoroughly schooled in violin and piano.
  19. [19]
    Red Nichols and His Five Pennies (Short 1929) - IMDb
    Rating 5.3/10 (27) Musical performance from the Roaring Twenties by this hot jazz combo, featuring Dixieland jazz, a singer and trumpet trio.Missing: 1930s | Show results with:1930s
  20. [20]
    Red Nichols & his Five Pennies: early short films - Songbook
    Red Nichols and His Five Pennies (1929) Million Dollar Notes (1935) Red Nichols & his World Famous Pennies (1936)
  21. [21]
    ‎Red Nichols and His Five Pennies (1929) directed by Murray Roth ...
    This Vitaphone short features Red Nichols and His Five Pennies performing songs, including China Boy, Nobody's Sweetheart, Ida Sweet as Apple Cider, ...
  22. [22]
    Red Nichols and His Five Pennies - Travalanche - WordPress.com
    May 8, 2023 · Nichols was the son of an Ogden, Utah college music professor. Obviously, musical instruction came at his father's knee. He began playing ...Missing: Mormon upbringing
  23. [23]
    Everybody Loves My Baby - Red Nichols (1935) - YouTube
    Jun 24, 2011 · ... short 'Million Dollar Notes'. Director: Fred Waller Photographer: William Steiner. ... Cinema Box•129K views · 7:44. Go to channel · Red Nichols ...
  24. [24]
    Red Nichols & His World Famous Pennies (Short 1936) - IMDb
    Rating 6.1/10 (39) "Red Nichols & His World Famous Pennies" aren't exactly a household name today, but they are featured in this obscure Vitaphone short.Missing: 1930s Paramount
  25. [25]
    Red Nichols & his World Famous Pennies (1936) - Songbook
    Red Nichols & his Five Pennies: early short films · Million Dollar Notes (1935) · Red Nichols & his World Famous Pennies (1936) · Red Nichols and His Five ...
  26. [26]
    The Five Pennies (1959) - Turner Classic Movies - TCM
    Loring "Red" Nichols is a cornet-playing country boy who goes to New York in the 1920s full of musical ambition and principles. He gets a job playing in Wil ...Missing: revival | Show results with:revival<|control11|><|separator|>
  27. [27]
    Jazz at 100 Hour 8: Bix and the Boys (1924 - 1928) - WTJU 91.1 FM
    Red Nichols and Miff Mole. Red Nichols, from Ogden, Utah, arrived in New ... Morton and Cook describe Nichols' horn work as precise and lightly dancing ...
  28. [28]
    Donald's Encyclopedia of Popular Music - NICHOLS, Red
    ... Red Nichols and his Five Pennies (usually 7--8 pieces), on Bluebird (Victor) ... influence on the Louis Armstrong/Earl Hines records of '28. Nichols's ...
  29. [29]
    Red nichols - Starr-Gennett Foundation
    Nichols appeared on literally thousands of recordings during 1924-32, and recorded for nearly every label during the 1920s. He was part of the jazzy dance group ...Missing: sales 100000
  30. [30]
    Red Nichols by Stephen Hester | the78rpmrecordspins
    Mar 8, 2013 · On November 22, 1922 Red Nichols recorded his first record in Richmond, Indiana with The Syncopating Five And Their Orchestra. This custom ...
  31. [31]
    https://davesmusicdatabase.blogspot.com/2013/01/big-band-and-jazz-hall-of-fame.html
  32. [32]
    Big Band and Jazz Hall of Fame - Dave's Music Database
    Dec 31, 2004 · Here's the full list of inductees and their years of induction. ... Red Nichols (1986); Ray Noble (1987); Jimmie Noone (1987); Red Norvo ...
  33. [33]
    Red Nichols - Discography of American Historical Recordings
    = Recordings are available for online listening. = Recordings were issued from this master. No recordings issued from other masters.
  34. [34]
    https://www.discogs.com/artist/3532216-Paul-Madeira-Mertz
  35. [35]
    https://adp.library.ucsb.edu/index.php/matrix/detail/800019873/BVE-45815
  36. [36]
    https://adp.library.ucsb.edu/index.php/matrix/detail/800014743/BVE-40512
  37. [37]
    https://adp.library.ucsb.edu/index.php/matrix/detail/800036241/BRC-69789
  38. [38]
    https://secondhandsongs.com/work/233631/all
  39. [39]
    Red Nichols & His Five Pennies | Download Music, Tour Dates ...
    Red Nichols is a name which ... Under that band name Nichols recorded over 100 sides for the Brunswick label. ... Compositions by Red Nichols: Red Nichols ...
  40. [40]
    Red Nichols
    ### Red Nichols Discography Summary
  41. [41]
    Red Nichols & His Five Pennies: The Red Nichols Collection 1926-32
    Acrobat's 93-track compilation of Nichols sides recorded for Brunswick as the Five Pennies and as the Charleston Chasers for Columbia is culled from an ...Missing: career 1921-1926 professional circuses bands arrival
  42. [42]
    https://www.discogs.com/release/9387223-Red-Nichols-The-Complete-Brunswick-Recordings-Of-Red-Nichols-Volumes-1-2-3
  43. [43]
    https://adp.library.ucsb.edu/index.php/objects/detail/59224/Bluebird_B-10593
  44. [44]
    Red Nichols And The Five Pennies At Marineland - Internet Archive
    May 30, 2022 · 1. Entry Of The Gladiator · 2. Singin' The Blues · 3. (Lonesome Lovesick) Got To Have My Daddy Blues · 4. St. Louis Blues · 5. Fidgety Feet · 6.
  45. [45]
    The Chronological Classics: Red Nichols 1929 - Jazz Music Archives
    The Chronological Classics: Red Nichols 1929 is a dixieland music boxset / compilation recording by RED NICHOLS released in 2004 on CD, LP/Vinyl and/or ...