Atco Royale B30 Manual High School
School Nurse - Must possess New Jersey certification for School Nurse. Submit letter and resume to Dr. Parlapanides, Superintendent, CRSD, 509 Forest Hills Parkway.
Johnny Smith Johnny Smith was born on June 25th, 1922 in Birmingham, Alabama. His family made their way to the Portland, Maine during the Great Depression where he would take his first job, tuning guitars and teaching others guitar – while he was in his early teens! Also as a teen he joined up with an uncle playing in his uncle’s hillbilly group “Uncle Lem and the Mountain Boys”. He credits his nights at home listening to the sound of the big bands on the family radio as being his primary inspiration to go further with his music. While in the military service (Army Air Corp) he had set his sights on becoming a pilot, but eye problems directed him to join the marching band – playing the clarinet! From there it was onto the trumpet and then he finally focused on guitar. Smith would work his way through a rich array of jazz exposures from jazz nightclubs to orchestral concert halls with full-fledged symphonies.
He fronted a trio called “The Playboys” during the early 1950’s. He began recording extensively with Roost Records (or “Royal Roost) in 1953 and continued with the label into the 1960’s.
Walking – Not Running Smith composed the instrumental “Walk Don’t Run” in 1954 which was recorded then by Chet Atkins, well ahead of the 1960 pop hit version by The Ventures. The instrumental charted in 1960 reaching number 2 and then hit the charts a second time as “Walk Don’t Run ’64”, this time reaching number 8! Atkins included the tracks on his 1957 LP “Chet Atkins In Hi-Fi”. Smith was a technician as well as musician and in 1961 the Gibson Guitar company began offering it’s “Johnny Smith” model based on his many years of research and experimentation. Smith broke off with Gibson in the late 1980’s turning to Heritage which adhered to his original design expectations. Smith in His Music Store In the ‘Springs’, Smith continued with is musical career, providing lessons, running a music store and continuing to release new recordings for Royal Roost and Verve record companies. Smith cherished his music career but loved his daughter more, and he didn’t regret moving out of New York City.
Smith was prone to dismissing his talent on guitar and often was not pleased with his recording results, and even went so far as to deny his classification as a “jazz” guitarist. But his peers full hardheartedly disagreed placing him very high on the totem of great jazz players After his move to Colorado, his touring nearly ceased with a few rare exceptions, but he would often appear in local Colorado Springs nightclubs. Johnny Smith died in the Springs on June 11th of 2013 at the age 90, as a result of an accidental fall. Johnny Smith Selected Discography I have chosen – for the most part – recordings released after Smith’s move to Colorado – with a few exceptions such as his premier hit “Moonlight In Vermont” released in 1953 – recorded in 1952 with Stan Getz (sax), Sanford Gold (piano), Eddie Safranski (bass) and Don Lamond (drums). Paul Quinichette Jazz trumpet player extraordinaire, Paul Qunichette, was a native of Denver – born in the Mile High City in May of 1916. Over the course of his career Quinichette played with a literal ‘who’s who’ during the golden age of jazz. He started off playing the clarinet and then moving to alto saxophone before settling on tenor sax – developing a style which would draw comparisons to Lester Young – a comparison which some believe hindered his securing his own firm identity within the world of jazz.
As a teenager in Denver, he played with George Morrison’s band – as did Colorado musicians of note – Jimmie Lunceford and tubist Andy Kirk during the 1920’s and 1930’s. It is reported that his home was located in the 2800 block of Lafayette Street and most likely attended Manual High School. He fronted his own combo – appearing often in Denver – which included Count Basie on piano, Gus Johnson on drums, Freddie Green on guitar and Joe Neuman on trumpet.
Quinichette would record primarily on Mercury’s jazz subsidiary label EmArcy and also appeared on Decca, Bethlehem, Brunswick and more. He played with several jazz combos of note before being signed on with Count Basie replacing the famed Lester Young. The “Vice Prez” It was Paul Quinichette who reportedly fondly christened Billie Holiday “Lady Day”.
It was his custom to address female acquaintances with the prefix “Lady”. It is difficult to locate information relating to Paul’s time in Denver – and most likely he departed soon after his high school years to embark on his career. He was a member of so many groupings and bands including Nat Towles out of Chicago, trumpet player Shorty Sherock, piano player Ernie Fields and even a stint with Johnny Otis, Then moving more into mainstream jazz he was with Louis Jordan, Henry Allen, Lucky Millinder and “Hot Lips” Page before moving onto Count Basie’s band. Below, Quinichette is shown with a local Denver group called “The Swingin’ Swankies” (he sits in front row – second in from right – from Paul W. Stewart Collection).
Probably financially driven, Quinichette retired prematurely from music becoming an electrical engineer – coming back for a short time in the early 1970’s before hanging up his trumpet permanently due to health problems. There is a book out there titled “Jazz Anecdotes Second Time Around” by Bill Crow which apparently documents parts of Paul’s intriguing journey. Have to get a copy.
Paul Quinichette passed away on May 25th, 1983 at the age of 67 in New York City. Five Points – Early Days Today, we couldn’t imagine those “outlying” neighborhood being anything other than “inner city” but time marches onward. The Five Points neighborhood provided thousands of blacks with an opportunity to call a neighborhood their own primarily due to other parts of the Denver area being “off limits”. And so, going forward from 1910, a rich new culture would emerge within a tightly knit community – giving rise to people of many talents and skills, not the least of which was music! Following is a look at several musicians which I came across upon locating a book entitled “African Americans of Denver” by Ronald J.
Stephens, La Wanna M. Larson and The Black American West Museum”. The entire pictorial presentation is fascinating, introducing me to some whom I had prior knowledge but to so many who I was happy to finally meet – ranging from old west cowboys, pioneer women, miners, inventors, politicians, activists and the people who made the music in Colorado.
The setting in the book is often the Five Points neighborhood owing to the overwhelming majority of Denver’s black residents residing there. Morrison’s Singing Jazz Orchestra Morrison was a major musical figure in Denver going back into the 1920’s a prior. He formed his band and they entertained in various configurations and numbers. They journeyed to New York City in 1920 at the invitation of Columbia Records recording as “Morrison’s Singing Jazz Orchestra”. Morrison was a music instructor in Denver working with youth of his neighborhood – often for free when income presented a challenge for his student’s family. He played violin in Denver’s Shorter AME Church and was the founder of “The Black Musicians Local No.
623” in Denver. Morrison owned the Five Point night club “The Casino Caberet Ballroom” which he opened in 1948. Morrison holds the distinction of being Columbia Records’ first black musician signing. Hattie McDaniel – An East High Angel. Hattie McDaniel (standing) with Morrison’s Melody Hounds One young lady who would join his band in 1924 was East High graduate Hattie McDaniel, who would become his featured vocalist for a time, before moving on to a career in motion pictures which culminated in a starring role in 1939’s “Gone With the Wind”. Hattie McDaniel was born in 1985 in Wichita, Kansas.
Both parents were former slaves. Her family moved to the State of Colorado in 1900 first settling in Fort Collins and then moving to Denver. She started off her career working with her brother Otis in his traveling minstrel show. She would then join up with George Morrison in a group called “The Melody Hounds” who performed regularly on KOA radio making her the first black woman to perform on radio.
Hattie enjoyed a recording career up until the stock market crash and fell on hard times. Moving to Los Angeles in 1931 didn’t bring film roles that she sought but found the door to Hollywood initially closed. That changed in 1932 when she landed her first film role in “The Golden West” playing a maid.
More movie roles would follow and she stepped up the ladder several rungs when she appeared in a major movie “The Little Colonel” starring Shirley Temple, Lionel Barrymore and Bill Bojangles Robinson. Oscar Time More would follow and often she would perform musical numbers. Her acting career brought her close in friendship to many Hollywood stars including Clark Gable, Bette Davis, Henry Fonda and many more. Audition time came for “Gone with The Wind” and Hattie won the part hands down even though there was stiff competition. McDaniel would receive and win an Oscar for “Best Supporting Actress” in her role as “Mammy” in the film classic. Her Academy Award was the first ever garnered by a black actor. Her later years took her through more motion pictures, television, a radio show and so much more – not excluding becoming involved in activist causes.
At times Hattie received unjust criticism for depicting stereo types – coming from those who had not nearly walked a path in life in anything nearing a comparison to Hattie McDaniel’s shoes. Hattie received recognition via two stars on the Hollywood Walk of Fame – one for motion pictures and one for radio achievement. Her career in total surpasses so many others, and a read of a Hattie McDaniel biography would be time well spent! Hattie McDaniel died on October 26th, 1952 from breast cancer at age 57. McDaniel with Others – 1976 (her name misspelled here) Paul Quinichette Jazz trumpet player extraordinaire, Paul Qunichette, was a native of Denver – born in the Mile High City in May of 1916. Over the course of his career Quinichette played with a literal ‘who’s who’ during the golden age of jazz. He fronted his own combo – appearing often in Denver – which included Count Basie on piano, Gus Johnson on drums, Freddie Green on guitar and Joe Neuman on trumpet.
Quinichette would record primarily on Mercury’s jazz subsidiary label EmArcy and also appeared on Decca, Bethlehem, Brunswick and more. Below, Quinichette is shown with a local Denver group called “The Swingin’ Swankies” (he sits in front row – second in from right – from Paul W. Stewart Collection). Paul Quinichette passed away on May 25th, 1983 at the age of 67 in New York City. “African Americans of Denver” Is well worth the purchase and could well lead to further journeys into Denver’s musical past. There are museums and historical buildings throughout the Five Points neighborhood featuring photographs and historical documents more fully relating the importance of the early black musicians who graced the Mile High City. Here are a few more The Struttin’ Sam Minstrels The Queen City Jazz Band Predecessor to the latter day QCJB Mary Lou Williams (Denver pianist) Esther Mae Barnett She performed with Denver’s Harmony Singers The Holmes Blue Melody Orchestra I am almost certain that is the band fronted by George Holmes (Jr.) who was a member of one version of the Ink Spots who recorded one LP on the Band Box label in Denver.
George Holmes Jr. Was a close friend of fellow Denver Ink Spot Joel Cowan. The “Blue Melodies” The Leonard Chadwick Band Chadwick’s jazz band played often at Denver’s “Aeroplane Ballroom” Jimmie Lunceford Lunceford was another Denver resident (coming from Tennessee) who attended school here, studied music here and was yet another member of George Morrison’s orchestra appearing at Denver’s Empress Theater. He recorded very extensively in the 1930’s and 1940’s on many prominent national labels.
While in Denver, he studied under jazz band leader Paul Whiteman’s father, Wilburforce Whiteman. Shelley Rhym Shelley Rhym fronted his own band in the 1940’s performing at the Rossonian Lounge in Five Points (Rhym sitting in middle) The Sweethearts of Rhythm The Sweethearts of Rhythm performed at Denver’s Rainbow Ballroom and the Rossonian Lounge in the 1940’s and distinguished themselves by becoming the first all black female orchestra to tour the world. Categories:,.
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A typical cause for this is that the engine flywheel brake (the bar you hold down on the handle that stops the engine when released) is engaged. Be sure to bring the bar down all the way to the handle before pulling. This can also happen if your mower blade is dragging in grass or clogged with grass clippings. Move your mower off your lawn to a hard surface. With the mower turned off and the spark plug wire disengaged, clear the underside of the mower of excessive clippings, then resume a safe mowing position, and give it another yank. Believe it or not, many homeowners experience this frustration for one very obvious reason: the gas tank is empty.
So be sure you're filled up first. Old gas can also lead to problems starting. If you have last season's gas in your mower, drain your fuel tank and fill with fresh gas. Other possible causes include:.
Emmerich Manual High School
Loose, Dirty or Disconnected Spark Plug in Your Lawn Mower: Check it out, clean off debris, re-connect and tighten. Dirty Air Filter: Clean or replace. Fuel Not Reaching the Engine: Tap the side of the carburetor to help the flow of gas.
Dupont Manual High School
If this doesn't work, you might need a new fuel filter. This might look a little scary, but it's usually not serious. Your lawn mower's engine can smoke if your oil chamber is too full, or if oil leaked into the exhaust muffler when you tilted your mower to the side. It's simply burning off while the engine is hot. But if you're seeing lighter colored smoke, plus have trouble keeping your mower running, it's time for a serious look by a professional. Of course, there are those cases when special tools or skills are needed to make a fix, or DYI attempts aren't doing the trick. When it's time to call a pro to get the job done right, find a near you.