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Julian Dash
Julian Dash
Julian Dash
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St. Julian Bennett Dash (April 9, 1916 – February 25, 1974)[1] was an American swing music jazz tenor saxophonist born in Charleston, South Carolina, United States,[1] probably better known for his work with Erskine Hawkins and Buck Clayton.[2]

Dash was a member of the Bama State Collegians, which later became the Erskine Hawkins Orchestra.[1] He is recognised, with Hawkins and fellow sax player Bill Johnson, in composing the swing tune "Tuxedo Junction",[1] which became an immense hit when recorded by other (mainly white) bands, notably that of Glenn Miller.

In the late 1940s and early 1950s, Dash recorded for the Sittin' in With label and later was on Vee-Jay Records with his sextets. His renditions of "Devil's Lament" and "Dance of the Mother Bird" on Sittin' In With and his "Zig Zag" on the Vee Jay label were hits in the black community.

Dash can be heard at his best in 1953 on two of the Buck Clayton Jam Sessions,[1] in which extended versions of songs ("The Huckle-Buck" to 63 choruses) were recorded by Vanguard to exploit the newly developed length of LP records. All of the six sessions were later released by Columbia as thematic album LPs and by Lone Hill as CDs, also in complete versions by Mosaic. On 6 March 1972, Dash recorded prominently with fellow tenor saxist Buddy Tate as one of Jay McShann's All-Stars on seven titles of Kansas City-styled tunes.

Discography

[edit]
  • Complete Recordings 1950–1953 (Blue Moon Records, 2004)
With Buck Clayton

References

[edit]
[edit]
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Julian Dash

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Julian Dash (April 8, 1916 – February 25, 1974) was an American jazz tenor saxophonist and composer known for his long tenure with the Erskine Hawkins Orchestra and for co-writing the swing era hit "Tuxedo Junction." Born St. Julian Bennett Dash in Charleston, South Carolina, he developed his skills in local dance bands and collegiate ensembles before establishing himself as a key figure in swing and rhythm and blues music. Dash began his professional career in the 1930s, playing with groups such as the Charleston Nighthawks and the Bama State Collegians while attending Alabama State Teachers College. He joined Erskine Hawkins' orchestra in 1938 as a replacement for Paul Bascomb and remained a central tenor saxophonist in the band—known for its residency at Harlem's Savoy Ballroom—until 1953, providing a smooth, reliable section sound and occasional solos that complemented the orchestra's style. In 1939, he co-composed "Tuxedo Junction" with Erskine Hawkins and William Johnson, a piece that became one of the most recognized swing instrumentals of the era. After leaving the Hawkins band, Dash recorded as a leader in the early 1950s, producing small-group instrumental sides for labels such as Sittin' In With, Mercury, and Vee-Jay that blended jazz with emerging rhythm and blues elements, including tracks like "Hot Rod," "Zig Zag," and "Creamin' Boogie." He also appeared as a sideman on recordings with artists including Buck Clayton, Jimmy Rushing, and Jay McShann. Later in his career, he performed with the Marlowe Morris Trio and led his own quintet into the early 1970s before retiring from active playing. Dash died in New York City on February 25, 1974.

Early life

Family and childhood

Julian Dash was born on April 9, 1916, in Charleston, South Carolina. He was the oldest of seven sons born to Ethel Capers and Charles St. Julian Dash, both of Charleston. Dash grew up in Charleston, in a family environment connected to the local community through their ownership of Dash Hall, a popular dance emporium located at 148 Smith Street.

Education and early musical training

Julian Dash graduated from the Avery Normal Institute in Charleston, South Carolina, in 1934. While attending Avery, he began his musical training by learning to play the saxophone, initially teaching himself through imitation of the jazz bands he heard performing at Dash Hall, the family-owned dance emporium at 148 Smith Street. He gained practical experience by performing in school-related ensembles, including the Night Hawk’s Orchestra, the Royal Crusaders, and the Carolina Cotton Pickers, a notable Charleston band associated with former Jenkins Orphanage Band musicians. Following his high school graduation, Dash attended Alabama State Teachers College (now Alabama State University) from 1934 to 1936. During this period, he continued developing his skills on the tenor saxophone as a member of the college bands The Revellers and The Alabama State Collegians.

Musical career

Early bands and influences

Julian Dash's early musical development was deeply rooted in the rich jazz tradition of Charleston, South Carolina, where he was born and raised. He learned to play the saxophone by imitating the sounds of jazz bands that performed at Dash Hall, the family-owned dance emporium at 148 Smith Street that served as a popular local venue. This hands-on exposure to live music in his youth immersed him in the city's vibrant jazz scene, which drew heavily from the legacy of the Jenkins Orphanage Band and its alumni. While attending Avery Institute, Dash began performing with several local Charleston groups, initially on alto saxophone with the Night Hawk’s Orchestra (also known as the Charleston Nighthawks), as well as the Royal Crusaders and the Carolina Cotton Pickers, a seminal band formed by former Jenkins Orphanage musicians. These early experiences connected him to Charleston's distinctive jazz heritage and provided his first opportunities to play in ensemble settings. After graduating from Avery Institute in 1934, Dash enrolled at Alabama State Teachers College (now Alabama State University), where he switched to tenor saxophone and played in The Revellers and the Bama State Collegians from 1934 to 1936. The Bama State Collegians stood out as one of the stronger college bands of the era and later transitioned into a professional outfit. In 1938, Dash moved on to join Erskine Hawkins's orchestra.

Tenure with Erskine Hawkins Orchestra

Julian Dash joined the Erskine Hawkins Orchestra in 1938 as a tenor saxophonist, replacing Paul Bascomb and becoming a core member of the band's saxophone section. He served as a consummate section player in this prominent swing ensemble during the big band era, contributing to its tight, disciplined sound that defined the orchestra's style. The Erskine Hawkins Orchestra functioned as the house band at Harlem's Savoy Ballroom, a key venue that helped establish its popularity and allowed Dash to participate in countless performances for enthusiastic audiences. Dash's tenure with the group lasted from 1938 until 1953, when the orchestra was reduced in size and eventually broke up, after which Dash transitioned to part-time work. During this time, Dash also contributed to the band's repertoire by co-composing the signature hit "Tuxedo Junction" in 1939 alongside Erskine Hawkins and William Johnson. He was featured prominently on numerous recordings with the orchestra, including tracks such as “No Soap,” “Dolomite,” and “Swinging on Lenox Avenue.”

Solo recordings and later career

After his long tenure with the Erskine Hawkins Orchestra, Julian Dash transitioned to recording as a leader in the early 1950s, shifting from his established role as a consummate section player to featured work on tenor saxophone. He led a series of sessions between 1950 and 1955, primarily in New York City and later in Chicago, for independent labels including Mello-Roll, Sittin' In With, Mercury, and Vee-Jay, often fronting sextets or small orchestras with supporting musicians such as Haywood Henry, Sonny Payne, and Lee Stanfield. These recordings, which included both issued singles and some unissued material, highlighted his skills as a bandleader and soloist during a period when big band opportunities were declining. In the mid-1950s, as the Erskine Hawkins Orchestra downsized, Dash's activity as a leader ceased after his 1955 Chicago session, and he became a part-time performer. During the 1960s, he worked with the Marlowe Morris Trio, continuing to play in smaller group settings. He later led his own quintet in 1970 and 1971. On March 6, 1972, he recorded prominently as a featured tenor saxophonist with Jay McShann's All-Stars alongside Buddy Tate, performing Kansas City-styled material. Following this session, he retired from performing and recording.

Notable compositions

"Tuxedo Junction"

"Tuxedo Junction" is a jazz instrumental co-written in 1939 by Julian Dash, Erskine Hawkins, and William Johnson while Dash served as tenor saxophonist in the Erskine Hawkins Orchestra. The piece originated as a head arrangement organized by William Johnson within the band's repertoire. According to Hawkins, the title referred to a Southern whistle-stop venue associated with "Race Music" performances, a detail he shared when lyricist Buddy Feyne inquired about the name. The Erskine Hawkins Orchestra recorded the instrumental version in 1939, releasing it on RCA's Bluebird label, where it achieved initial popularity as a big band hit. Julian Dash's contribution as co-composer and performer helped establish the work as the orchestra's signature number during this period. Lyrics were added later by Buddy Feyne. The composition's early success with the Hawkins Orchestra laid the foundation for its enduring recognition in jazz.

Other works and collaborations

Julian Dash composed several other works throughout his career, including co-written popular songs such as "Nobody Met the Train" and "House Party" as well as instrumentals "Double Shot", "Zig-Zag", "Goin' Along", and "So Let It Be". He recorded pieces like "Zig-Zag" and "So Let It Be" as a leader with his own ensembles, such as Julian Dash and His Orchestra. Notable among his releases as a leader is the 1954 single on Vee-Jay Records pairing "Zig-Zag" and "So Let It Be". In the 1960s, Dash worked with the Marlowe Morris Trio, and he later led his own quintet in 1970 and 1971.

Contributions to film and television

Use of compositions in soundtracks

Julian Dash's co-composition "Tuxedo Junction" has enjoyed widespread use in film and television soundtracks, reflecting the song's status as a big band staple. The song provided the title and was featured in the soundtrack of the 1941 Republic Pictures film Tuxedo Junction. It has since been licensed for numerous productions, including Rounders (1998), where it was performed by Gene Krupa, The Curse of the Jade Scorpion (2001), performed by Dick Hyman & The Rainbow Room All Stars, My Dog Skip (2000), Murder in the First (1995), The Irishman (2019), and A Royal Night Out (2015). The composition has also appeared in television, such as episodes of A Discovery of Witches and the mini-series The Plot Against America. Its repeated inclusion in period dramas, comedies, and biopics demonstrates the lasting appeal of "Tuxedo Junction" in evoking the 1930s and 1940s swing era.

Specific media appearances

Julian Dash's music, primarily his co-composition "Tuxedo Junction," has been licensed for use in numerous films and television productions across decades. The song appeared in the 1941 comedy film Tuxedo Junction, which drew its title directly from the instrumental and credits Dash alongside Erskine Hawkins and William Johnson as composer, with lyrics by Buddy Feyne. It was also featured in the 1954 biographical film The Glenn Miller Story, which recreates the famous Glenn Miller Orchestra arrangement that popularized the piece. In later decades, "Tuxedo Junction" continued to appear in major releases, including the 1995 drama Murder in the First, the 2000 family film My Dog Skip where it was performed by Gene Krupa and His Orchestra, the 2001 Woody Allen comedy The Curse of the Jade Scorpion, and Martin Scorsese's 2019 film The Irishman. On television, the song was used in the 2018 series A Discovery of Witches (two episodes) and the 2020 HBO miniseries The Plot Against America. Beyond "Tuxedo Junction," Dash's recording of the instrumental "Hot Rod" (performed by him) was used on the soundtrack for the 2009 film My One and Only and the 2008 film Australia.

Personal life

Family and personal interests

Julian Dash was the eldest of seven brothers born to Charles St. Julian Dash and Ethel LeLong Capers Dash in Charleston, South Carolina. His siblings included Charles Edward Dash, Herbert Wilmont Dash, Samuel Atkins Dash, Roger Evans Dash, Ernest Alonso Dash, and John Thompson Dash. He was the paternal uncle of filmmaker Julie Dash, whose father, Charles Edward Dash, was one of his brothers. The Dash brothers were all born and raised in Charleston before many moved North, and the family maintained strong ties to the city's Gullah-Geechee heritage. Little public information is available regarding Dash's own spouse, children, or non-musical personal interests.

Later years

In his later years, Julian Dash was based in New York City, where he continued his musical activities on a more limited basis following the peak of his big band tenure. After the Erskine Hawkins orchestra scaled back in the 1950s, Dash shifted to freelance opportunities, including recordings and performances with other jazz figures in the New York scene. In the 1960s, he joined the Marlowe Morris Trio as a sideman, contributing to their recordings for Columbia Records. He remained active into the early 1970s, leading his own quintet for performances in 1970 and 1971. His final documented recording took place on March 6, 1972, when he participated in Jay McShann's Going to Kansas City sessions at National Recording Studios in New York, performing Kansas City-styled tracks with the All-Stars alongside Buddy Tate, Gene Ramey, and others. Dash retired from performing after this period.

Death and legacy

Death

Julian Dash died on February 25, 1974, in New York City, New York, at the age of 57. Some sources indicate that he passed away at Columbia–Presbyterian Medical Center in New York City.

Influence and recognition

Julian Dash's most enduring influence on jazz stems from his co-authorship of "Tuxedo Junction," which he wrote with Erskine Hawkins and Bill Johnson while a member of the Erskine Hawkins Orchestra. The composition became a signature tune for the band in 1939 and achieved widespread popularity through Glenn Miller's subsequent hit recording, cementing its status as a swing era standard. As a tenor saxophonist known for his smooth, lyrical tone, Dash contributed significantly to the orchestra's distinctive sound during the height of the swing period, providing notable solos and section work. Despite the lasting success of "Tuxedo Junction" as a frequently performed and recorded classic in big band and jazz repertoires, Dash himself received relatively limited mainstream recognition compared to bandleaders and later interpreters of the tune. Posthumously, he has been honored through local preservation efforts, including documentation by the Charleston Jazz Initiative, which highlights his Charleston roots, education at Avery Institute, and role in South Carolina's jazz heritage. His inclusion in regional tributes underscores his contribution to the broader narrative of African American music in the Carolinas, even as national accolades remained scarce.

References

  1. http://www.charlestonjazz.net/dash-st-julian/
  2. https://syncopatedtimes.com/erskine-hawkins-profiles-in-jazz/
  3. https://www.allmusic.com/artist/julian-dash-mn0000839046
  4. https://charlestoncitypaper.com/2021/06/02/charleston-traces-its-jazz-roots-deep-into-lowcountry-history/
  5. https://www.jazzdisco.org/julian-dash/discography/
  6. https://fromthevaults-boppinbob.blogspot.com/2021/04/julian-dash-born-9-april-1916.html
  7. https://www.freshsoundrecords.com/10194-julian-dash-albums
  8. https://buddyfeyne.com/ftj.html
  9. https://www.discogs.com/artist/335466-Julian-Dash
  10. https://swingandbeyond.com/2017/11/22/tuxedo-junction-erskine-hawkins-1939-and-glenn-miller-1940/
  11. https://www.discogs.com/release/8988113-Erskine-Hawkins-And-His-Orchestra-The-Original-Tuxedo-Junction
  12. https://www.imdb.com/name/nm1244396/
  13. https://www.discogs.com/release/9814675-Jaye-P-Morgan-Baby-Dont-Do-It-Nobody-Met-The-Train
  14. https://www.discogs.com/master/view/888277
  15. https://www.45cat.com/78rpm/record/vj117
  16. https://www.imdb.com/title/tt0034319/soundtrack/
  17. https://www.imdb.com/title/tt0128442/soundtrack/
  18. https://www.imdb.com/title/tt0256524/soundtrack/
  19. https://www.imdb.com/title/tt0034319/
  20. https://www.imdb.com/title/tt0047030/
  21. https://obits.postandcourier.com/us/obituaries/charleston/name/john-dash-obituary?id=58475012
  22. https://charlestonmag.com/features/6_degrees_of_geechee
  23. https://www.imdb.com/name/nm0201969/bio/
  24. https://www.iajo.org/iajo04/usa/morris.htm
  25. https://open.spotify.com/artist/728VkczK6XhhfbYIiUxNxx
  26. https://www.discogs.com/release/9327764-Jay-McShann-Going-To-Kansas-City
  27. https://www.newworldrecords.org/products/jay-mcshann-going-to-kansas-city
  28. https://encyclopediaofalabama.org/article/erskine-hawkins/
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