[Dixielandjazz] Bio

[Don Ingle]

   Bio - Don Ingle
   Born Chicago, IL Feb.10, 1931
   Father "Red" Ingle was playing at the time with the Maury Sherman
Orchestra, and when it came time for my birth, Rosie McHargue subbed for him
so he could be at the hospital.
   Being raised around musicians all my life, it was natural for me to
become interested in music as a performer. Dad gave me an old Conn Metal
clarinet when I was 10. After a year or so of intense study and practice I
quickly became aware of an important fact - I had a massive lack of ability
on that instrument. About then dad made a major mistake and played the
Goldkette recording of Clementine. One listen to Bix's solo was like a jolt
of electricity. Forget the clarinet I told dad, I WANT A CORNET!!
   Dad prevailed on family friend Red Nichols to pick out a decent used
cornet, since the war was on and no new horns available - all new horns
reserved for military bands. So Red picked out a 1929 Conn Victor cornet,
which became my first horn, and is the model I currently play.
   Dad, in his cunning arm twisting manner, conned Red into then giving me
first lessons. I would ride my bike over to his house in nearby Toluca Lake,
and sit for his lessons in long tones and Schlossberg lip flexibility
exercises (all the time watched by Red's pair of old English bulldogs, who
snorted, farted,  slobbered, and grunted whenever I hit a clinker. Red
continued to mentor me for years after and was a second father in many
ways).
   When dad was with Spike Jones, I picked up pointers on arranging from Zep
Meissner. I also studied arranging with Matty Matlock, the most lovely,
kindly gentleman of all time.
   Dad insisted that if I was to take up music, I should learn a second
means of income, so somewhere along the way through college, first at
Colorado College than at Michigan State, I managed to get a good foundation
in English and have since split my working career between music and
journalism. (Boy talk about picking two occupations with ups and downs --
with downs clearly in the lead.)
   In music I worked with the following bands or players:
   High school jazz band with John Williams (yes, that John Williams), Perry
Botkin, Jr., Mel Pollan, John Bambridge, and Gene Estes.
   Played with the original Saint and Sinners in Columbus with Darnell
Howard, Jimmy Archey, and Barrett Deems, with Joe Sullivan playing
intermission piano.
  Worked with Ted Weems, Eddie Howard, Chuck Cabot, Rosie McHargue, Pete
Bielmann, Joe Marsala, Freddie Fisher, and Red Ingle. Was house trumpet man
at Chicago's Jazz Ltd. (1963-68) at times with Barrett Deems, Manny Sayles,
Jim Beebe, Freddie Kohlman, Quinn Wilson, and at times with Art Hodes, Dave
Remington, Dave Phelps, Roselle Claxton, or Earl Washington on piano. Subbed
with Lil Armstrong. Played valve trombone and 2nd cornet with Sons of Bix,
and subbed with Jim Dapogny, Gene Mayl, New Reformation Jazz Band, and
others in Midwest region.
   Currently editor of a forestry magazine (25 years), columnist for three
Michigan newspapers, write a magazine column, and freelance to many other
publications. (Still can't type worth s***!)
   Co-lead Michigan Nighthawks Jazz Band (which played Bix Fest twice, and
for jazz clubs in IL, OH, IN and MI and is about to celebrate two decades of
togetherness).
   That's more than you wanted to know about me, and more than I wanted to
type.
It brings to mind the old axiom - "Be careful what you ask for - you just
might get it!"