Index: a b c d e f g h i j k l m n o p q r s t u v w x y z

Bill Matthews

(1899–1964)

Drummer and trombonist Bill Matthews toured with a vaudeville company, performed at Tom Turpin's Jazzland in St. Louis, and and eventually led bands at Preservation Hall in New Orleans. This image is from a publicity postcard. Learn more

Bill Matthews was a New Orleans traditional jazz and brass band trombone player. An original member of Papa Celestin’s Original Tuxedo Band in the 1920s, Matthews had gotten his start with the Excelsior Brass Band. During his long career, he went on to perform with everyone from Buddy Petit and John Robichaux to King Oliver and A. J. Piron. Matthews performed with Jelly Roll Morton in the 1920s and was a leading player at Preservation Hall upon its opening in 1961.

Matthews was born on May 9, 1899, into a musical family in the Algiers section of New Orleans. His brothers included Nathaniel “Bebe” Matthews and Ramos “Brown Happy” Matthews, both of whom later became notable jazz and brass band drummers. Bill also started on drums, and though he would switch to trombone in the 1920s, his early musicianship was largely focused on percussion. Matthews first began performing publicly—while still in his teens—with the Excelsior Brass Band. His first job as a snare drummer with the George McCullum band soon followed, and between 1915 and 1920 he would work with a host of New Orleans jazz greats, including Buddy Petit, Jack Carey, Kid Rena, Sam Morgan, and the Onward Brass Band (in which King Oliver was a member), among others.

In 1921 Matthews embarked on a vaudeville tour with Mack’s Merrymakers, followed by a stint playing with Charlie Creath in St. Louis, Missouri. The following year he took up the trombone, getting lessons from Vic Gaspard. As a trombonist, Matthews would soon play with Nat Towle’s Orchestra and Jelly Roll Morton in the mid-1920s. After returning to New Orleans, Matthews took a number of riverboat gigs; in 1927 he became a regular member of Papa Celestin’s band. This gig led to his first recording with Papa Celestin, which would be one of many recording sessions he had with the legendary musician throughout his life. When Celestin gave up his bandleader position, Matthews formed his own group and played as the band’s leader for the next decade. Often playing under the name Bill Matthews and the Sunday Sinners, the group usually included Albert Burbank (clarinet), Wallace Davenport (trumpet), George Williams (drums), Richard McLean (bass), Octave Crosby (piano), and Matthews himself on trombone.

During his lifetime, Matthews made recordings with Celestin, Alphone Picou, George Lewis, Alcide Pavageau, Lawrence Marrero, and others. But it is the recordings he made with Celestin that would prove to be his most classic work. Celestin’s Original Tuxedo Jazz Orchestra off the British VJM label includes recordings made from 1926 to 1928, featuring Matthews as a significant sideman. Celestin’s 1950s Radio Broadcasts album off Arhoolie Records includes radio broadcast performances recorded in 1950 and 1951, and showcases Matthews prominently on trombone. The band’s standout renditions of the standards “Eh, La Bas,” “Lil’ Liza Jane,” and “Dippermouth Blues” have become classics. Matthews was one of Preservation Hall’s early leading players upon its opening in 1961.

Matthews died on June 3, 1964.

Author: Holly Hobbs

Cite this entry

Chicago Manual of Style

Hobbs, Holly "Bill Matthews." In knowlouisiana.org Encyclopedia of Louisiana, edited by David Johnson. Louisiana Endowment for the Humanities, 2010–. Article published September 18, 2014. http://www.knowlouisiana.org/entry/bill-matthews.

MLA Style

Hobbs, Holly "Bill Matthews" knowlouisiana.org Encyclopedia of Louisiana. Ed. David Johnson. Louisiana Endowment for the Humanities, 18 Sep 2014. Web. 22 Oct 2017.

Suggested Reading

Borenstein, Larry, and Bill Russell. Preservation Hall Portraits. Baton Rouge: Louisiana State University Press, 1968.

Gushee, Lawrence. “The Nineteenth-Century Origins of Jazz.” Black Music Research Journal 14, 1 (1994): 1–24.

Karmer, Karl. “Jelly Roll in Chicago.” Second Line XI (1961).

 

External Links

Disclaimer » If you click on any of the links below, you will leave knowlouisiana.org. The Louisiana Endowment for the Humanities does not certify the accuracy of information, nor endorse points of view expressed on the site to which you are navigating, with the exception of other LEH sites.

Additional Data

Coverage 1899–1964
Category Music
Topics
Regions Greater New Orleans, Orleans
Time Periods Bourbon Era, Late-20th Century, Long Era
Index letter M

Pin It on Pinterest

Shares
Share This