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Valaida Snow Facts. 1. She Grew Up in a Musical Home. Valaida's childhood home was full of music. Her mother Etta taught the Snow kids to play all kinds of instruments and sing. Meanwhile, Snow's father, JV, put together a group of child performers called the Pickaninny Troubadours.
Valaida Snow. Self: Take It from Me. Valaida Snow was the product of a musical family; her mother, a music teacher, taught Valaida and her sisters to play a wide variety of instruments, among them cello, bass, mandolin, violin, clarinet, saxophone and accordion. The girls also sang and danced, but when Valaida turned professional at the age of 15, she began focusing on vocals and trumpet When ...
Valaida Snow. US trumpet player and jazz singer, composer and arranger. Her place and date of birth was deliberately blurred by her own statements during her show business career, but has been established (by Mark Miller per her birth records and April 1910 US census) as June 2, 1904, in Chattanooga, Tennessee.
Jazz musician Valaida Snow. In the 1930s, famous Tennessee jazz musician Valaida Snow was known as “Little Louis” because her talent with a trumpet rivaled the legendary Louis Armstrong. She performed around the world, but it was a tour of Europe that would haunt her for the rest of her life. While in German-occupied Denmark, Snow is said ...
Snow, Valaida (c. 1903–1956)African-American singer, dancer, and musician, best known of the early female jazz horn players and called the "Queen of the Trumpet," who entertained audiences in North America, Europe and Asia from the '20s to the '50s.
21. Mai 2023 · Valaida Snow war bereits in den 1920er Jahren ein Star, und doch ging sie vor dem Zweiten Weltkrieg in den USA nur ein einziges Mal ins Aufnahmestudio, nämlich 1933 als Sängerin mit Pianist und Bandleader Earl Hines. Ihre eigentliche Karriere spielte sich bereits ab 1926 vornehmlich in Europa und Asien ab, wo sie - oft auch im Rahmen von intensiv tourenden Shows wie "Blackbirds ...
2. März 2021 · Valaida Snow’s choice of instrumental focus was also a taboo one. At the time, it was socially unacceptable for women to play wind instruments. Instruments like the trombone, trumpet, coronet, and saxophone were considered especially masculine (Charles, 1995). Even into the 70s, the idea that jazz was a male domain prevailed, as one man was quoted: “jazz is a male language. It’s a matter ...
