Lunceford was born in Fulton, Mississippi. Little is known about his parents, though his father was a choirmaster in Warren, Ohio, before the family moved to Denver. Lunceford went to high school in Denver and studied music under Wilberforce J. Whiteman, father of Paul Whiteman, whose band was soon to acquire a national reputation. As a child in Denver, he learned several instruments. He played alto saxophone in the band led by the violinist George Morrison. After high school, Lunceford continued his studies at Fisk University. In 1922, he played alto saxophone in a local band led by George Morrison which included Andy Kirk, another musician destined for fame as a bandleader.
In 1927, while an athletic instructor at Manassas High School in Memphis, Tennessee, he organized a student band, the Chickasaw Syncopators, whose name was changed to the Jimmie Lunceford Orchestra. Under the new name, the band started its professional career in 1929, and made its first recordings in 1930. Lunceford was the first high school band director in Memphis. After a period of touring, the band accepted a booking at the Harlem nightclub The Cotton Club in 1934 for their revue 'Cotton Club Parade' starring Adelaide Hall. The Cotton Club had already featured Duke Ellington and Cab Calloway, who won their first widespread fame from their inventive shows for the Cotton Club's all-white patrons. Lunceford's orchestra, with their tight musicianship and the often outrageous humor in their music and lyrics, made an ideal band for the club, and Lunceford's reputation began to steadily grow. Jimmie Luncefords band differed from other great bands of the time because their work was better known for its ensemble than its solo work. Additionally, he was known for using a two-beat rhythm, called the Lunceford two-beat, as opposed to the standard four-beat rhythm. This distinctive "Lunceford style" was largely the result of the imaginative arrangements by trumpeter Sy Oliver, which set high standards for dance-band arrangers of the time.
Though not well known as a musician, Jimmie Lunceford was trained on several instruments and was even featured on flute in "Liza".
Comedy and vaudeville played a distinct part in Lunceford's presentation. Songs such as "Rhythm Is Our Business" (featured in a 1937 musical short with Myra Johnson (Taylor) on vocals), "I'm Nuts about Screwy Music", "I Want the Waiter (With the Water)", and "Four or Five Times" displayed a playful sense of swing, often through clever arrangements by trumpeter Sy Oliver and bizarre lyrics. Lunceford's stage shows often included costumes, skits, and obvious jabs at mainstream white bands, such as Paul Whiteman's and Guy Lombardo's.
Despite the band's comic veneer, Lunceford always maintained professionalism in the music befitting a former teacher; this professionalism paid off and during the apex of swing in the 1930s, the Orchestra was considered the equal of Duke Ellington's, Earl Hines' or Count Basie's. This precision can be heard in such pieces as "Wham (Re-Bop-Boom-Bam)", "Lunceford Special", "For Dancers Only", "Uptown Blues", and "Stratosphere". The band's noted saxophone section was led by alto sax player Willie Smith. Lunceford often used a conducting baton to lead his band.
The orchestra began recording for the Decca label and later signed with the Columbia subsidiary Vocalion in 1938. They toured Europe extensively in 1937, but had to cancel a second tour in 1939 because of the outbreak of World War II. Columbia dropped Lunceford in 1940 because of flagging sales. (Oliver departed the group before the scheduled European tour to take a position as an arranger for Tommy Dorsey). Lunceford returned to the Decca label. The orchestra appeared in the 1941 movie Blues in the Night.
Most of Lunceford's sidemen were underpaid and left for better paying bands, leading to the band's decline.
On July 12, 1947, while playing in Seaside, Oregon, Lunceford collapsed and died from cardiac arrest during an autograph session, aged 45. Allegations and rumors circulated that he had been poisoned by a fish-restaurant owner who was unhappy at having to serve a "Negro" in his establishment. This story is given credence by the fact other members of Lunceford's band who ate at this restaurant were sick within hours of the meal. He was buried at Elmwood Cemetery in Memphis.
Band members, notably Eddie Wilcox and Joe Thomas kept the band going for a time but finally had to break up the Jimmie Lunceford Orchestra in 1949.
In 1999, band-leader Robert Veen and a team of musicians set out to acquire permission to use the original band charts and arrangements of the Jimmie Lunceford canon. 'The Jimmie Lunceford Legacy Orchestra' officially debuted in July 2005 at the North Sea Jazz Festival in the Netherlands.
The Jimmie Lunceford Jamboree Festival was founded in 2007 by Ron Herd II a.k.a. R2C2H2 Tha Artivist and Artstorian, with the aim of increasing recognition of Lunceford's contribution to jazz, particularly in Memphis, Tennessee. The Jimmie Lunceford Legacy Awards was created by the Jimmie Lunceford Jamboree Festival to honor exceptional musicians with Memphis ties as well as those who have dedicated their careers to excellence in music and music education.
His music continues to have an impact. Most recently the tune "Rhythm is Our Business" was included as track on the compilation set Memphis Jazz Box in 2004 in honor of Lunceford's close ties to Memphis.
On July 19, 2009, a brass note was dedicated to Lunceford on Beale Street, Memphis, Tennessee.
Selected discography
Prior to Lunceford's success on Decca (beginning September 1934), he made the following recordings:
"In Dat Mornin'"/"Sweet Rhythm" (Victor V-38141)- recorded Memphis, June 6, 1930
"Flaming Reeds and Screaming Brass"/"While Love Lasts" (Columbia tests - not issued until the late 1960s on LP) - recorded New York, May 15, 1933
"Jazznocracy"/"Chillun, Get Up" (Victor 24522) - recorded New York, January 26, 1934
"White Heat"/"Leaving Me" (Victor 24586) - recorded New York, January 26, 1934
"Breakfast Ball"/"Here Goes" (Victor 24601) - recorded New York, March 20, 1934
"Swingin' Uptown"/"Remember When" (Victor 24669) - recorded New York, March 20, 1934
The Decca recordings
Stomp It Off (1934-1935 Decca recordings) (CD: GRP, 1992)
For Dancers Only (1935-1937 Decca recordings) (CD: GRP, 1994)
Swingsation (1935-1939 Decca recordings) (CD: GRP, 1998)
Like a Ship at Sea (1935-1939 Decca recordings)
Columbia recordings[edit]
Lunceford Special (1939 Columbia recordings) (LP: 1956, expanded issue late 1960s, CD: Columbia Legacy, 2001)
Modern CD compilations from different recording labels[edit]
Rhythm Is Our Business (1933–1940, both Decca and Columbia periods successively) (ASV, 1992)
Jukebox Hits: 1937-1947 (Acrobat, 2005)
Life Is Fine or Quadromania (Membran/Quadromania Jazz, 2006)
Trivia[edit]
The Chickasaw Syncopators made a single 78 record on December 13, 1927 in Memphis (but without Lunceford); it was issued on Columbia 14301-D.
Rhythm Is Our Business
Jimmie Lunceford Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Rhythm is our business, business sure is swell,
Now, if you blue, rhythm's what you need
If you got rhythm you're sure to succeed,
Rhythm is our business, business sure is swell.
He's the drummer man, in the band
Crosby's on the drums, in the band
The boys in the band all play hot licks
He plays saxophone in the band
Joe plays the saxophone in the band
Oh, when he goes up that scale
(One line of scat singing followed by saxophone break)
Mose plays on the bass in the band
Mose plays on that bass in the band
Now when he picks on those strings
Happiness to you he brings
(Short bass break)
He blows on the trumpet in the band
Steve blows on that trumpet in the band
Oh, he's the guy, hits 'em high
Makes you think he's in the sky
(Trumpet Break)
Oh rhythm is our business!
At its core, Jimmie Lunceford's song "Rhythm Is Our Business" is an upbeat tribute to the power and importance of rhythm in music. The lyrics emphasize the central role of rhythm in the band's success, declaring that "rhythm is what we sell" and that having rhythm is key to achieving success in life. The song introduces each member of the band through their instrument and their unique contributions, suggesting that each person is essential to creating the band's infectious sound. The song encourages listeners to embrace rhythm, both as a source of happiness and a means to achieving their goals.
Line by Line Meaning
Rhythm is our business, rhythm is what we sell,
We specialize in creating and providing music that has a strong, steady beat and groove. This is what our band is known for and what people come to us for.
Rhythm is our business, business sure is swell,
Our success and livelihood depend on our ability to produce and sell music with a great rhythm. It's a profitable and enjoyable business to be in.
Now, if you blue, rhythm's what you need
If you're feeling down or sad, listening to music with a strong, uplifting rhythm can help cheer you up and improve your mood.
If you got rhythm you're sure to succeed,
Having a strong sense of rhythm and timing is important not just in music, but in life in general. It can help you succeed and excel in whatever you choose to do.
He's the drummer man, in the band
The person playing the drums is a skilled musician and an essential member of the band.
Crosby's on the drums, in the band
The drummer's name is Crosby and he's an important part of the band's sound and vibe.
Oh, when he does tricks with the sticks
When the drummer does complicated or creative patterns with his drumsticks, it adds a lot of excitement and interest to the music.
The boys in the band all play hot licks
The other members of the band play impressive and exciting solos and riffs, showing off their individual musical talents.
He plays saxophone in the band
Another talented musician in the band is the one playing the saxophone.
Joe plays the saxophone in the band
The saxophonist's name is Joe and he's a crucial part of the band's sound and style.
Oh, when he goes up that scale
When Joe plays a complicated scale or series of notes, it's a thrilling and impressive part of the music.
(One line of scat singing followed by saxophone break)
The saxophonist and possibly some other members of the band improvise and create a spontaneous musical section, showing off their skills and musical communication.
Mose plays on the bass in the band
The band has a talented bass player named Mose, who is an important part of the rhythm section.
Mose plays on that bass in the band
The bassist, Mose, knows how to play his instrument expertly, creating a solid foundation for the music.
Now when he picks on those strings
When Mose plucks or strums the strings of his bass, it creates a deep and resonant sound that is key to the band's groove.
Happiness to you he brings
The bassist's playing style and the music overall can uplift and bring joy to listeners.
(Short bass break)
The bassist plays a brief solo section or musical interlude, showcasing his skill and adding interest to the music.
He blows on the trumpet in the band
There is a talented trumpet player in the band who contributes to the music's sound and melody.
Steve blows on that trumpet in the band
The trumpet player's name is Steve and he knows how to play his instrument with great skill and finesse.
Oh, he's the guy, hits 'em high
Steve can play high notes on the trumpet in a way that is impressive and exciting, adding energy to the music.
Makes you think he's in the sky
With his trumpet playing, Steve creates soaring, almost otherworldly sounds that add a sense of wonder and beauty to the music.
(Trumpet Break)
The trumpet player plays a solo section or musical interlude, showcasing his talent and skill on the instrument.
Oh rhythm is our business!
The band's focus on creating and providing music with a strong rhythm and groove is fundamental to their success and identity.
Contributed by Cole G. Suggest a correction in the comments below.
@TT-tu3wr
If I’m not mistaken that might be Jimmy Crawford on drums.
@OLD_SOUL1900
Rhythm is my business too!😉😁😚
@jeanpierrewebster5916
Trumpet player is Paul Webster, my first cousin. His mother is Bessie Webster, my father Belton Webster’s older sister.
@briang5744
What a superb musician - absolutely top quality.
@johnhewitt3330
Jimmy Crawford, I knew Max Roach and I asked him once who he liked to check out when he was young he said Jimmy Crawford. Billy Eckstine called his name too.
@paulabroussard1824
Anyone know the three sax players?
@Eifila
Apart from Willie Smith (as & voc), Joe Thomas ts, Earl Carruthers bars, Dan Grissom and LaForest Dent (on the second row, near Eddie Durham) as.
@silvermansupporter1773
does anyone know who the lead vocals is? that cat was fine & mellow…
@Eifila
https://www.tri-c.edu/jazzfest/history/legends/Willie%20Smith.html
@johnhrichak3451
Was that Cootie Williams on trumpet anyone?