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Ollie Potter (work) on performance career.

Career

Potter flourished regionally in Cleveland during the prohibition, on into the Great Depression, from the late 1920s, then relocated in Harlem, Manhattan, beginning around 1934, performing through the early 1950s with Art Tatum, Dickie Wells, Willie "the Lion" Smith, Ollie Shepard, and others. She made very few recordings — an extant four — but had been acclaimed by various musicologists and critics for one in particular — a 1941 amateur recording with Art Tatum and other singers at "Gee-Haw Stables,"^[a] in Harlem. That particular recording was not released until 1971. In 1934, Marcus Wright, columnist for the New York Age stated that she was one of Harlem's favorite entertainers.^{[NY Age 1]}

Potter had performed with Bob Hope

Death

Potter was admitted to the Sydenham Hospital in June 1953.^{[NY Age 2]} After a long illness, she died August 16, 1953, in Manhattan.^{[NY Age 3]}

Selected venues and collaborators

In August 1927, Potter performed at the Silver City Club, Anaconda, Montana, with Doris Hudson; they were billed as "Blue Singers and Dancers" from the Apex Club^[b] and Sunset Cabaret, both of Chicago
Rainbow Palm Gardens, 427 Indiana Ave, Indianapolis, 1928^[1]
In October 1932, Potter performed at the Plaza Club in Cleveland^[2]^[c]
In January 1933, Potter was performing at the Creole Kitchen (aka Creole Club) in Cleveland,^[3]^[d] acclaimed that year by the Pittsburgh Courier as one of the "Hottest Nite Spots In The Entire Country;"^[4] Mammy Louise Brooks (1882–1960)^[5] was the manager
In October 1933, Potter, billed as a torch singer, was performing at the Paramount Inn, in Harlem, owned by Joe Rubin. The club admitted whites only. The floor show included singers Jimmy Hays and Edith King; Johnny Perchey, snakehips dancer; and a female sextet chorus. All shows were produced by Billy Maxey, who also emseed the the show. Music was furnished by Sherdena Walker (1904–1982) and Her Orchestra.^[6]
Beginning January 27, 1934. for week at the Lafayette Theatre in Harlem, Potter was a featured stage celebrity in a new musical review staged by Addison Carey (1900–1952);^[e] other celebrities included Doris Rheubottom (born 1905) (vocalist), the Three Yorkers,^[f] Dewey Brown, George Wiltshire, and George Gee James.^{[NY Age 4]}
December 1934, Potter was singing at the Poospatuck Club^[g] in Sugar Hill, Harlem; a New York Age review lauded her rendition of "Love In Bloom"^{[NY Age 5]}
In December 1935, nationally syndicated columnist Allan W McMillan (1900–1991) wrote "Someone ought to give Ollie Potter (God's gift to the blues) an opportunity on Broadway."^[7]
On February 28, 1935, the second edition of the New Harlem Revels, directed by Rubberlegs Williams, debuted at Dickie Wells Harlem Supper Club. Potter was among the featured artists.^[8]
In June 1936, Potter resigned from Dickie Wells Hot Spot to perform at the Poospatuck Club^[g]^[9]
Potter debuted at the Elks Rendezvous in Harlem, 464 Lenox Avenue,^[h] in February 1939, in a musical review singing "That's Why I Am In Harlem Every Night," which was well received by the audience.^{[NY Age 6]}
Willie "The Lion" Smith, featuring Ollie Potter, Suburban Gardens, Washington, D.C. 1939^[10]
Apollo Bar (at 125th Street and 7th Avenue, steps from the Apollo Theater), Harlem, Sunday, May 14, 1950, with Laurel Watson (born around 1913)

Apex Club

The Apex Club, which ran from 1926 to 1930, was located in Chicago's South Side, at 330 East 35th Street, between Prairie and Calmut Avenues, 2nd floor. The club was raided by federal agents and closed for selling alcohol during Prohibition in 1930. Jimmie Noone the house band.^[11]

As was the case for all nightclubs and cabarets with exclusive membership requirements, the Apex Club did not need a license from the city, provided that no admission was charged, according to a ruling handed down July 16, 1927, by Assistant Corporation Council James W. Breen. The ruling was sought on behalf of several clubs by Alderman Louis B. Anderson (1870–1946).^[12]

Owners

Julian Black

Managers

Walter Burton, assistant manager, shot and killed July 16, 1928, reportedly by Walter Jay for refusing to admit Jay and his wife, Cleo, into the club.^[13]

Sunset Cabaret

The Sunset Cabaret (aka Sunset Cafe), which opened in 1921, was located in Chicago's South Side, at 315-317 East 35th Street at Calmut Avenue.^[11]

Notes and references

General references

Notes

^ Gee-Haw Stables, West 132nd Street between 7th & Lenox Avenue, c. 1940-45; an after-after-hours club
^ The Apex Club, which ran from about 1928 to 1930, was located at 2nd floor at 330 East 35th Street, South Side, Chicago. The club was raided by federal agents and closed for selling alcohol during Prohibition in 1930. Jimmie Noone the house band.
^ The Cleveland Plaza Club was located at 2515 East 61st Street; in 1931, Frank Burns was the manager; the address is the same as that of the Cleveland Home Brewing Company, Black Forest Beer
^ The Creole Kitchen (aka Creole Club), in Cleveland, was, in 1933, managed by Mammy Louise Brooks (née Louise Mae Brooks; 1884–1960); but in 1934, management was taken over by Elmer Waxman (1907–1973) in 1934
^ Addison Carey (likely a pseudonym; 1899–1952) was initially a dancer and bass singer; he became a prominent choreographer and producer of musical reviews, notably at the Harlem Opera House and the Lafayette Theatre in Harlem from the mid-1920s to the late 1940s; He often collaborated with Charles Davis, also a choreographer; the Lafayette, owned and operated by Frank Schiffman (1893–1974), was at the time Harlem's flagship vaudeville theatre
^ The Three Yorkers were composed of one female and two male singers who also danced
^ ^a ^b The Old Poospatuck Club, 773 St. Nicholas Avenue at 149th Street, Harlem, was the original name of St. Nick's Pub in the 1930s. In the 1940s, it was named the Sugar Hill Rendezvous by its new owner Charles Luckeyth Roberts or Luckey Roberts, the great stride pianist whose span on the keys was so wide and so quick, it's been said, because he had the skin between his fingers surgically cut. Later, in the 1950s, the club added opera to its repertoire; the new owners called it the Pink Angel, because, it's been said, it was a popular haunt for homosexual men. And lastly, since the 1960s, it has endured as St. Nick's Pub.
^ Elk's Rendezvous, 464 Lenox Avenue, c. 1930-45 - held social club dances

Inline citations

^ "Here And There With The Players," Indianapolis Recorder, February 25, 1928, pg. 3, col. 3
^ "Footlights And Bright Lights," Plain Dealer, October 17, 1932, pg. 15 (retrieved via genealogybank.com February 24, 2016)
^ "Footlights And Bright Lights," Plain Dealer, January 24, 1933, pg. 15 (retrieved via genealogybank.com February 24, 2016)
^ "Cleveland's Creole Kitchen And Furnace Club Two of the Hottest Nite Club Spots In The Entire Country," Pittsburgh Courier October 28, 1933, pg. 6
^ "'Brooksie' Dies," California Eagle, February 25, 1960, pps. 1 & 3
^ "Pitt Gardens After 'Different' Acts," Billboard, October 7, 1933, p. 11
^ "I Cover New York – From Broadway to Harlem," by Allan McMillan, Kansas Whip (newspaper, Topeka), December 12, 1935 (retrieved via genealogybank.com February 24, 2016)
^ "New 'Harlem Revels,'" New York Post, February 26, 1935
^ "Bits About 'Em," Washington Afro-American, June 6, 1936, pg. 11, col. 7
^ "Lion To Play At Suburban Gardens," Washington Afro-American, June 17, 1939; OCLC 16156417 (retrieved February 24, 2016 via thereisjazzbeforetrane.blogspot.com/search/label/Ollie%20Potter)
^ ^a ^b "Chicago's Jazz Age: Hotter Near the Lake" (cover story), by Howard Reich, Chicago Tribune Magazine, September 5, 1993, pps. 12–14, 16, 18, 24 (club map, "Mapping Out the Scene," is on p. 16; accessible via Newspapers.com at www.newspapers.com/image/418387324)
^ "Rules Private Clubs Don't Need City Licenses," Chicago Tribune, July 17, 1927, part 1, p. 5 (accessible via Newspapers.com at www.newspapers.com/image/354871473)
^ "Club Manager is Slain," Chicago Tribune, July 17, 1928, p. 8 (accessible via Newspapers.com at www.newspapers.com/image/354932223)

Cite error: A list-defined reference named "Variety 1931 Nov 3" is not used in the content (see the help page).

Inline citations from New York Age

^ "The Talk Of The Town, by Marcus Wright, New York Age, December 22, 1934, pg. 5
^ "Celeb Sick List," New York Age, June 13, 1953, pg. 6
^ "New York is My Beat" (re: "Ollie 'Dollar Bill' Potter"), Alan McMillan, New York Age, August 29, 1953, p. 7 (accessible via Newspapers.com at www.newspapers.com/image/40478092)
^ "Lafayette Theatre,", New York Age, January 27, 1934, pg. 6
^ "The Talk Of The Town", by Marcus Wright, New York Age, December 8, 1934, pg. 5
^ "New Reyue 'A Sender' At Elks Rendezvous," New York Age, February 18, 1939, pg. 7

[Gee-Haw-1] Gee-Haw Stables, West 132nd Street between 7th & Lenox Avenue, c. 1940-45; an after-after-hours club

[Apex-Club-Chicago-info-5] The Apex Club, which ran from about 1928 to 1930, was located at 2nd floor at 330 East 35th Street, South Side, Chicago. The club was raided by federal agents and closed for selling alcohol during Prohibition in 1930. Jimmie Noone the house band.

[Plaza_Club-8] The Cleveland Plaza Club was located at 2515 East 61st Street; in 1931, Frank Burns was the manager; the address is the same as that of the Cleveland Home Brewing Company, Black Forest Beer

[Creole_Club-10] The Creole Kitchen (aka Creole Club), in Cleveland, was, in 1933, managed by Mammy Louise Brooks (née Louise Mae Brooks; 1884–1960); but in 1934, management was taken over by Elmer Waxman (1907–1973) in 1934

[AddisonCarey-bio-14] Addison Carey (likely a pseudonym; 1899–1952) was initially a dancer and bass singer; he became a prominent choreographer and producer of musical reviews, notably at the Harlem Opera House and the Lafayette Theatre in Harlem from the mid-1920s to the late 1940s; He often collaborated with Charles Davis, also a choreographer; the Lafayette, owned and operated by Frank Schiffman (1893–1974), was at the time Harlem's flagship vaudeville theatre

[3Yorkers-bio-15] The Three Yorkers were composed of one female and two male singers who also danced

[PoospatuckClub-17] The Old Poospatuck Club, 773 St. Nicholas Avenue at 149th Street, Harlem, was the original name of St. Nick's Pub in the 1930s. In the 1940s, it was named the Sugar Hill Rendezvous by its new owner Charles Luckeyth Roberts or Luckey Roberts, the great stride pianist whose span on the keys was so wide and so quick, it's been said, because he had the skin between his fingers surgically cut. Later, in the 1950s, the club added opera to its repertoire; the new owners called it the Pink Angel, because, it's been said, it was a popular haunt for homosexual men. And lastly, since the 1960s, it has endured as St. Nick's Pub.

[ElksRendezvous-22] Elk's Rendezvous, 464 Lenox Avenue, c. 1930-45 - held social club dances

[IndianapolisRecorder_1928_Feb_25-6] "Here And There With The Players," Indianapolis Recorder, February 25, 1928, pg. 3, col. 3

[PlainDealer_1932_Oct_17-7] "Footlights And Bright Lights," Plain Dealer, October 17, 1932, pg. 15 (retrieved via genealogybank.com February 24, 2016)

[PlainDealer_1933_Jan_24-9] "Footlights And Bright Lights," Plain Dealer, January 24, 1933, pg. 15 (retrieved via genealogybank.com February 24, 2016)

[PittsburghCourier_1933_Oct_28-11] "Cleveland's Creole Kitchen And Furnace Club Two of the Hottest Nite Club Spots In The Entire Country," Pittsburgh Courier October 28, 1933, pg. 6

[Cal-Eagle_1960_Feb_25-12] "'Brooksie' Dies," California Eagle, February 25, 1960, pps. 1 & 3

[Billboard_1933_Oct_7-13] "Pitt Gardens After 'Different' Acts," Billboard, October 7, 1933, p. 11

[KansasWhip_1935_Dec_12-19] "I Cover New York – From Broadway to Harlem," by Allan McMillan, Kansas Whip (newspaper, Topeka), December 12, 1935 (retrieved via genealogybank.com February 24, 2016)

[NYPost_1935_Feb_26-20] "New 'Harlem Revels,'" New York Post, February 26, 1935

[WashingtonAfricanAm_1936_Jun_6-21] "Bits About 'Em," Washington Afro-American, June 6, 1936, pg. 11, col. 7

[WashingtonAfricanAm_1939_Jun_17-24] "Lion To Play At Suburban Gardens," Washington Afro-American, June 17, 1939; OCLC 16156417 (retrieved February 24, 2016 via thereisjazzbeforetrane.blogspot.com/search/label/Ollie%20Potter)

[ChicagoTribune_1993_Sep_5-25] "Chicago's Jazz Age: Hotter Near the Lake" (cover story), by Howard Reich, Chicago Tribune Magazine, September 5, 1993, pps. 12–14, 16, 18, 24 (club map, "Mapping Out the Scene," is on p. 16; accessible via Newspapers.com at www.newspapers.com/image/418387324)

[ChicagoTribune_1927_Jul_17-26] "Rules Private Clubs Don't Need City Licenses," Chicago Tribune, July 17, 1927, part 1, p. 5 (accessible via Newspapers.com at www.newspapers.com/image/354871473)

[ChicagoTribune_1928_Jul_17-27] "Club Manager is Slain," Chicago Tribune, July 17, 1928, p. 8 (accessible via Newspapers.com at www.newspapers.com/image/354932223)

[NYAge_1934_Dec_22-2] "The Talk Of The Town, by Marcus Wright, New York Age, December 22, 1934, pg. 5

[NYAge_1953_Jun_13-3] "Celeb Sick List," New York Age, June 13, 1953, pg. 6

[NYAge_1953_Aug_19-4] "New York is My Beat" (re: "Ollie 'Dollar Bill' Potter"), Alan McMillan, New York Age, August 29, 1953, p. 7 (accessible via Newspapers.com at www.newspapers.com/image/40478092)

[NYAge_1934_Jan_27-16] "Lafayette Theatre,", New York Age, January 27, 1934, pg. 6

[NYAge_1934_Dec_8-18] "The Talk Of The Town", by Marcus Wright, New York Age, December 8, 1934, pg. 5

[NYAge_1939_Feb_18-23] "New Reyue 'A Sender' At Elks Rendezvous," New York Age, February 18, 1939, pg. 7

[a]

[NY Age 1]

[NY Age 2]

[NY Age 3]

[b]

[1]

[2]

[c]

[3]

[d]

[4]

[5]

[6]

[e]

[f]

[NY Age 4]

[g]

[NY Age 5]

[7]

[8]

[9]

[h]

[NY Age 6]

[10]

[11]

[12]

[13]