© Copyright ® Steven Cerra, copyright protected; all rights reserved.
As Jazz moves into its second century of recorded documentation, I wanted to continue with the “Early Jazz” theme by highlighting some of the nascent developments of the music in a big band format.
While the famous names associated with Jazz big band music in the 1920s - Ellington, Henderson and Redman - are recognized, Redman’s work in the context of McKinney’s Cotton Pickers is often overlooked.
McKinney's Cotton Pickers’ big band was formed in Springfield, Ohio, from the Synco Jazz Band, a group organized by William McKinney shortly after World War I. In 1923 McKinney decided to conduct the band himself, and consequently engaged Cuba Austin as the band's percussionist. At the behest of its agent, in 1926 the band became known as McKinney's Cotton Pickers. With their musical versatility and inspired showmanship the musicians blended comedy routines and light music with jazz numbers arranged by their trumpeter, John Nesbitt. From 1927, when DON REDMAN became music director and principal arranger, the band developed its own distinctive style, which highlighted the precision of the saxophones and brass and emphasized the buoyancy of the rhythm section.
The band's first recordings, in July 1928, helped establish the group nationally, and brought widespread praise for the brilliance of Redman's arrangements and the solo improvisations of Prince Robinson. The Cotton Pickers' golden era took place during the group's long residency at the Graystone Ballroom in Detroit (beginning in 1927 where it gained a reputation equal to that of the two other leading black bands of that era, those of Duke Ellington and Fletcher Henderson. Claude Jones, who at various times played in all three groups, later claimed that McKinney's Cotton Pickers was the best of the three. Bright-sounding ensembles, good intonation, and effective soloists were the band's principal strengths; these assets, combined with the appealing singing of Fathead Thomas, Dave Wilborn, and Redman, made the Cotton Pickers popular with dancers, listeners, and other musicians.
In 1931 the band suffered a serious setback when Redman left to form his own big band, taking some key sidemen with him. The Cotton Pickers re-formed, and even found superior replacements in the new members Joe Smith, Benny Carter, and Rex Stewart; but the group never regained its former popularity.
Internal dissension caused many personnel changes during the mid-1930s, and by 1936 almost all the original members had left. McKinney continued to lead the band until the early 1940s, engaging various musicians to direct while he concentrated on administration. Unfortunately the group made no recordings after September 1931.
The band had a happy, raucous sound which was very appropriate for its birth during The Jazz Age, also known as The Roaring Twenties. It’s big, bold sound and joyous approach to music was a perfect compliment to a time when fast dancing, flowing booze, and furious gambling in the stock market characterized an era trying to forget the carnage wrought by the First World War.,
Drawn from John Chilton, Barry Kernfeld, ed., The New Grove Dictionary of Jazz.
SELECTED RECORDINGS
Crying and Sighing (1928, Victor. 38000); Peggy (1929, Victor. 38133); I'll make fun for you (1930, Victor. 38142); If I could be with you one hour tonight (1930, Victor. 38118); Do you believe in love at sight? (1931, Victor. 22811)
BIBLIOGRAPHY
B. Howard: "Old Cotton Pickers Could Out Rock Modern Jazz Orchestras,"
Downbeat .ix/11 (1942),p. 8
T. Grove and M. Grove: "McKinney's Cotton Pickers," Record Changer (1951), Nov,3
