Career
A jazz and popular singer, he starred as a singing cowboy in several all-black Western films, in which he sang his own western compositions. Jeffries obtained financing for the first black western film and hired Spencer Williams to appear with him. In addition to starring in the film, he sang and performed his own stunts as cowboy "Bob Blake". He began his career working with Erskine Tate and his Vendome Orchestra when he moved to Chicago from Detroit at the urging of Louis Armstrong. His break came during the 1933 Chicago World's Fair—Century of Progress Exposition singing with the Earl Hines Orchestra on Hines’ national broadcasts live from the Grand Terrace Cafe. His first recordings were with Hines in 1934, including "Just to be in Carolina". As of 2011, Jeffries is the sole surviving member of that Earl Hines orchestra. He then recorded extensively with Duke Ellington from 1940 to 1942. His most famous song, "Flamingo" (recorded in 1940 with Ellington), sold more than 50 million copies. He was replaced in the Ellington band by Al Hibbler in 1943.
Playing a singing cowboy in low-budget films, Jeffries became known as the "Bronze Buckaroo" by his fans. In a time of American racial segregation, such "race movies" played mostly in theaters catering to African American audiences. The films, available on video, include Harlem on the Prairie, The Bronze Buckaroo, Harlem Rides the Range and Two-Gun Man from Harlem. Jeffries went on to make other films, starring with Angie Dickinson in Calypso Joe (1957). He later directed and produced Mundo Depravados, a cult film starring his wife, Tempest Storm. In 1968, Jeffries appeared in the long-running western TV series The Virginian playing a gunslinger who intimidated the town. At age 81, he recorded a Nashville album of songs on the Warner Western label in 1995 entitled The Bronze Buckaroo (Rides Again).
Read more about this topic: Herb Jeffries
Famous quotes containing the word career:
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)
“The 19-year-old Diana ... decided to make her career that of wife. Today that can be a very, very iffy line of work.... And what sometimes happens to the women who pursue it is the best argument imaginable for teaching girls that they should always be able to take care of themselves.”
—Anna Quindlen (b. 1952)
“Clearly, society has a tremendous stake in insisting on a woman’s natural fitness for the career of mother: the alternatives are all too expensive.”
—Ann Oakley (b. 1944)