On June 10, 1894, Punch and his twin sister Ernistine Judy were born in the sugar cane town of Raceland, Louisiana, a town of only a few thousand people which is situated approximately 32 miles south west of New Orleans. It was obvious that he and his twin sister would become known as Punch and Judy. His parents, Clarise and Silas Miller, were farm workers. Silas Miller died when the twins were very young. Clarise then married William Ivery. Ivery played in the Raceland Brass Band which was to open up the doors of music to a young Punch. He may have received some musical influence from his mother as she sang in the local Baptist Church, with Punch remembering such hymns being sung as Nearer My God to Thee, Oh How I Love Jesus, and I Know He's Watching Me.

Life during those times was extremely hard and Punch recalled, as a boy, ploughing on farms six days a week from early morning till dark for 80 cents a day during the sowing season. This was followed by the boredom of nothing to do for five months, with no regular income, while waiting for the cane harvest to commence. Music was one of the few alternatives that Punch and his people had for recreation. When Punch was about 10 years old, his step-father's Brass Band obtained some new instruments and the old ones were passed down to the children. Punch received a bass drum which enabled him to play in the local 'kids' band. Within the year, the enthusiastic Punch had graduated to a baritone horn for six months, followed by a spell on trombone, then trumpet.

Punch received much of his initial learning from Paul Rosier, who led his own brass band. He was also fortunate to take a number of lessons from Professor Jim Humphrey from New Orleans, whose habit and interests took him travelling once a week through the local plantations teaching the young children music. Punch took lessons at the Magnolia Plantation, along with the likes of Chris Kelly, the Morgan boys, Sonny Henry and Harrison Barnes who were all to become leading musicians in New Orleans.

There were four bands around Raceland that Punch remembered. Spencer 'Mike' Taylor led the Bowie Band (the men in this band were sawmill workers and only played on Sundays). Paul Rosier, who taught Punch, had the band in Bayou Des Allemands and a fellow named Tooker led the old men's band at Raceland, of which his step-father was a member.

Johnny Hill was in charge of the 'kids' brass band, which Punch eventually was to lead for a short while prior to joining the army. Some of the young musicians in this band were Johnny Hill, Esau Lewis, Punch, tpts; Holley Taylor, tpt, sd; Davey Lewis, bd, alto; Oscar Shields, tuba, bar; Joseph Pugh, Selvin Pugh, tbs; Joseph Phillips, tuba; Arthur Dukes, bar; Daniel Hadley, Kemp Hadley, clts; Oscar Iyo, alt. They also had an orchestra. Joseph Phillips who played tuba in the marching band played the guitar, bass, violin for dancing.

In the brass band they tried to make rows of three abreast for parades. He felt they played the same kind of marches as in New Orleans. They played hymns at funerals and, according to Punch, the big difference was they were marching on dusty roads instead of the pavements as in New Orleans. They would come back from the funerals playing Oh Didn't He Ramble just as they did in New Orleans.

The Bow and the Des Allemands Band used to play many concerts together; Punch preferred the Bowie Band. The older brother of David and Essau Lewis who played in the 'kids' band with Punch apparently travelled often to New Orleans to play with Buddy Bolden on tuba. Punch remembered his name only as 'BoBo' but when Punch moved to New Orleans to live, he could not find anyone who remembered this. Punch himself never heard Bolden play.

He did, however, have opportunities to hear some of the famous musicians of the day, when excursion trains from New Orleans came through Raceland on the way to Houma, a popular picnic spot. Every excursion had a band, one of the well-known New Orleans groups which played at each stop as an advertisement for the trip. It was at Raceland Station where Punch first heard Bunk Johnson, who was playing on the platform. Punch had no money for a ticket, but immediately began making plans for the next excursion and he showed up in front of the bandstand with his horn. Bunk saw him and asked if he knew how to play that thing. Receiving an affirmative answer, Bunk invited him to sit in, not an uncommon practice at that time.

The occasion must have been a very memorable one for Punch as, after 50 years, Punch could still accurately remember Bunk's playing of Alexander's Ragtime Band. An interesting sidelight to this experience was observed by Dick Allen in an interview with Punch on August 23, 1960. When demonstrating Bunk Johnson's style of playing Alexander's Ragtime Band to Dick Allen, he played part of When You and I Were Young Maggie in the middle of it. Dick Allen mentioned that was the manner in which Bunk played it when he recorded it (Decca 25132). Punch said that he had never heard the record; the reason that he played it that way was he heard Bunk playing it at Raceland. Bunk had played it many times for Punch that day, and it became fixed in Punch's memory.

As Punch became more proficient on trumpet, he played more frequently in public. He teamed up with a young Lonnie 'Rooster' Johnson who was to go on to considerable fame with his recorded efforts with the likes of Louis Armstrong, King Oliver and Eddie Lang. He and Punch played guitar and trumpet duets up and down Bayou Lafourche for several years. They were able to virtually support themselves playing for tips to the local farm hands, Saturdays at the local store all day and sometimes they would get jobs playing for the white folks on Sunday nights.

Punch's earliest recollection of New Orleans was helping with the delivery of sugar cane from Raceland to the grinding mills in New Orleans. He also bought new clothes on Rampart Street during these trips but he does not recall hearing any music.

However, it wasn't long before he was attracted to New Orleans to further his experiences with music. He met and played his first job there with Jack Carey, receiving $2. Jack Carey played trombone and led his own orchestra consisting of Pops Foster, bss; Tom Benton, gtr; Li'l Mack, dm; George Boyd, clt. Carey and his band were quite an influence on the musical directions of the city and Sam Charters, in his book Jazz New Orleans, mentions 'With his band Carey developed many of the standard tunes that were recorded by the white group, The Original Dixieland Jazz Band. One of them was Tiger Rag, usually known as Nigger #2 by the white musicians and as Jack Carey by the blacks. Jack's brother Mutt (trumpet player) had gotten the first strain out of a book of Quadrilles, the second and third strains were worked out by the Band to show off George Boyd, the fine clarinet player and the 'Tiger' section was worked out at a rehearsal one afternoon by Jack and Punch when Jack started making loud slides on the last chorus.' Punch's skill for fast fingering was beginning to emerge whilst with Carey.

Punch then returned to Raceland to lead the local brass band for a short while before joining the army in 1971. Whilst in the army, he was stationed at Camp Beauregard with the 419th labour battalion. Punch managed to join the army band which was under the leadership of Louis 'Chif' Matthews, a fine trumpeter and good jazzman in his own right, who instructed Punch and helped him with his technique. Punch became Post Bugler*, obtaining the rank of Corporal. He still couldn't read music and had to watch Matthew's fingering during the difficult numbers. (on trumpet*? Ed.) This undoubtedly contributed to Punch's fine ear. He practised two hours in the morning, two hours in the afternoon, playing both in the Brass Band and the Dance Orchestra. Punch taught the bugle to Oscar Shields, who had played in the same 'kids' band in Raceland, when he joined up. Chris Kelly, who also saw service in various military camps in Louisiana, worked as a bugler for a time with Punch. Other musicians from New Orleans that Punch remembered were Clarence Todd, pno, and Paul Ben, tbn.

In 1919 Punch was discharged from the army and he returned to New Orleans to pursue his career in jazz. During this era, the city was full of musicians playing jazz and the popular tunes of the day and jobs were plentiful. Punch recalled his first night when he came out of the army, when he was carried shoulder high into the Big 25, where Louis Armstrong was playing with Ory. Punch sat in, Over There being one of the tunes he played. Johnny Dodds, clt; Lorenzo Staultz, gtr; Bob Lyons, bs; and Baby Dodds completed the band. He managed to get a few jobs with Ory prior to Ory's departure from New Orleans, probably due to Armstrong being in demand everywhere.

His first regular work came through the offer to join Ernest 'Duck' Johnson, an early bass player. Punch described Johnson as being short, fat, with a waddle like a duck, hence the nickname. Punch actually came into the group as a replacement for Armstrong, an event that was to repeat itself several times during Punch's career. Johnson held down the job at the Co-operators Hall using as well as Punch, George Boyd or Phil Coycault, clt; Dave Bailey, dm; and whoever else was available.

Punch also got many spot jobs for himself during this period, often in accompaniment to piano players. He worked with Willie Smith at Toodlum's on Liberty and Gravier Street. Punch recalled that he carried 10 cent cans of beer to women in the daytime and played the blues at night. He mentions doing spot work with Steve Lewis at Trachinas on his nights off, along with gigs with Papa Celestin, playing at the Italian Hall on Esplande Avenue. He played second trumpet alongside Bebe Ridgley, tb; Sidney Carriere, clt; Camilla Todd, pno; Tom Benton, gtr; and Bill Matthews, dms. Punch continued for about a year with 'Duck' Johnson when Jack Carey talked Punch into rejoining him on a regular basis around 1920.

Punch, as mentioned earlier, was a member of Carey's band before the war. Jack Carey was a ragged trombone player but he was considered an imaginative and creative musician, and was well regarded. He led a 10 piece brass band as well as the 'sit-down' band that played for dances. Punch played in both bands, for funerals, weddings, dances and almost any other gathering at which music could be conveniently used. Punch was to stay with Carey for almost four years. Carey used George Boyd, clt; either Tom Benton or Walter Preston, bjo; Joe Gabriel, bs; Abbey Foster or Happy Goldston, dms. One of Carey's popular jobs was the dollar excursion to Lafayette. Another was at the National Park at Third and Willow where Carey used to run his own outdoor dance on Sunday afternoons. They also appeared frequently at the Economy, Co-operators, St Elizabeth Halls and the Million Willows Gardens.

During 1921 Punch took Armstrong's place, this time with the Fate Marable Band, on a boat trip to St Louis. In 1924 Punch organised his own group at the urging of several men in Carey's band. They wanted Punch to take over as his popularity with the audiences would ensure more work. The band consisted of George Boyd, clt; Walter Preston, bjo; Joe Gabriel, bs; and either the much admired Chinee Foster, Happy Goldston, Arnold DuPas or Paul Barbarin, dms; with Harrison Brazlee being used first on tbn; to be replaced by Eddie Morris.

Within a few months, Punch's outfit was one of the most popular in New Orleans. They toured quite a bit, going to Jackson, Biloxi, and Crystal Springs in Mississippi and Mobile in Alabama. Punch stayed busy most nights. A typical schedule would be Saturday night at the Astoria Roof Gardens, Sunday afternoon at a Millenburg picnic, or on a truck advertising a dance for Saturday night at the Co-operator's Hall, another dance at Economy Hall Monday night. The rest of the week would be occupied with the job at the Astoria and odd dates such as school dances at McDonough 35 on Rampart and Gerard Streets. Many jobs were also done at Miss Betsy Cole's lawn parties, at Josephine and Willow Streets.

In the book New Orleans Sketches by William Faulkner, Carvel Collins in the introduction gives a description of what could be Punch's band: 'One of our favourite spots was a Cabaret in Franklin Street just off Canal, where the playing of the talented Jazz clarinetist George 'Georgia Boy' Boyd especially delighted Faulkner.'

This was during 1924. Two photos of Punch exist from this period: one on the cover of Sam Charter's book Jazz New Orleans, was taken at Herman Park, 1923. It depicts George Boyd, Arnold DuPas, Eddie Morris, Walter Preston, Joe Gabriel plus Punch with a straw hat pushed back, cigar clamped in his mouth. The other, a year earlier, 1922, a more sedate photo of Punch and Eddie Morris, is to be found in the cover notes of Folkways FA2465. These are the earliest photos that I have been able to locate of Punch.

Punch was the first musician to play at the Astoria Café, which was to become very well known during the late '20s through the popularity of the Jones-Collins Hot 8. He describes the Astoria in an interview, April 4, 1960: 'He was up there when they didn't have nothing but two chairs and a little room on the second floor before they built the garden. They built that while he was there. When he first started, he had a Trio, consisting of Chinee Foster, dms; Sadie Sawyer, pno; and himself, tpt; but eventually he led his six piece band there from 1923-24.'

Punch was the only member of his band who actually relied on his band earnings to support himself. The others had day jobs, such as George Boyd who drove a truck. This enabled Punch to do work in other bands. He played second trumpet in Buddy Petit's band at the Royal Garden, right across from the Astoria, on his nights off. Then a stint with Chris Kelly at the Bull's Club on Tuesday nights. He also worked duets with Manuel Manetta at the Audubon Tea Rooms.

An interesting story that Punch relates about Manuel Manetta comes from this period. Punch had a job on Audubon Place off St Charles Avenue and he hired Manuel Manetta to play piano, thinking such an establishment would have one. But, alas, there was no piano. Manetta said he wouldn't go home, he would clap. He clapped every number. By the end of the evening his hands were bloody red and he got paid for it.

Punch was always one to enjoy travelling and the 'wunderlust' spirit was beginning to show. From the early '20s till he left in 1927, he went on many short tours. These tours were generally during the winter months, followed up by residencies in New Orleans during the spring and summer months.

In 1924 Punch went on a tour to Johnson Park, Chattanooga, Tennessee, with Charlie Love, cnt; and Adolph du Conge, pno. 1925 saw him on a tour to Alexandria and Houston, Texas, with Bunk Johnson in the Frank Davis Band. Frank Davis played drums. Punch recalled that Bunk had been hearing of Kid Punch, but didn't make the connection between him and the youngster from Raceland until he heard him play. Although playing with more polish now and with greater agility, he still possessed that same forceful drive that Bunk noticed in Raceland. Tours followed with Andrew Foster's band to Lafayette, Louisiana, where he did a couple of jobs with Evan Thomas, tpt. Celestin hired him to play second trumpet on several short tours to Gulfport, Mississippi and Bogalusa, Louisiana.

On January 22, 1925, Punch made his first record, as an accomplice to Billy and Mary Mack, a vaudeville team, with Edgar Brown on piano, when the Okeh portable unit made a visit to the Crescent City. Two sides were issued on Okeh 8195, Black But Sweet, Oh God and My Heart Breakin' Gal. Punch's cornet is evident on both sides, particularly the second number with a staccato style with lots of rippling runs, evidence to his reputation of a fast player. He claimed that his regular band also recorded with him behind Billy and Mary Mack but, as yet, no other leads have surfaced to substantiate this claim.

Each band in New Orleans had its own following and cutting contests or competitions were a popular event. This could be as informal as two bands meeting by accident on the street or in their advertising trucks, with the second line deciding, or it could be an organised event with judges and prizes. Usually when a band met a rival, it would play its best numbers until one group gave up, forcing it to leave. Punch recalls a number of these competitions, two with jazz greats Chris Kelly and Buddy Petit, which won him 'loving cups', and one with Celestin's Tuxedo that he lost. Charters, in his book, Jazz, New Orleans, mentions two more such events in 1923 against the Sam Morgan Band - the first at the Italian Hall, on Esplande for the Dante Lodge, which Punch lost, followed by the second a month later across the lake, that Punch won, receiving $25 and a silver cup. Amongst his fellow musicians Punch had a reputation of having the ability of carving his adversaries in their own style and tone, using his ideas, or, as oldtimers put it, 'there was still plenty of Kid Punch in it.'

On Folkways FA2465, Punch has been recorded playing in the styles of Buddy Petit and Chris Kelly which makes fascinating listening. Joe Howard showed Punch a whole lot of stuff on trumpet, including his best tune Satanic Blues, which Punch probably used in these cutting competitions as it became one of his feature pieces when executing his technique of fast fingering. Joe Howard was an oldtime trumpet player who helped Punch a lot, and who later became better known for his work on tuba with the Zenith Brass Band recordings for Circle on February 26, 1946. Punch, in turn, gave informal lessons to Lee Collins and Red Allen, plus a young white musician, Joe Gondolofo, who used to follow Punch everywhere, sitting in often at Italian Hall. Gondolofo's father had a market on Chippewa Street where Punch used to buy a lot of his food.

Sandwiched in between all this activity were the parades. Punch apparently was never a regular member of the more established, well known brass bands, preferring to lead his own 'jump up' band. These outfits were more casual in approach, gotten together as jobs arose. He seemed to be able to get three or four of these jobs a month. To his regular dance band he would add Jack Carey, Louis 'Kid Shots' Madison, tpt; Gus Metcalf, baritone, and Black Benny Williams, bd. Sometimes he also used Buddy Petit and Louis Armstrong.

Punch claimed that his brass band was one of the first to play the Blues on the street (circa 1919). During that period he had a trumpet section of himself, Louis Armstrong and Kid Rena (who was the first high note man on dirges that Punch remembered); Willie Cornish, Frankie Duson or Morris French, tbns; Gus Metcalf, bar; Shots Madison, alto horn (Shots hadn't started on trumpet); Zeb Lenior, Phil Coycault, clts; Eddie Jackson, tba; Henry Martin, sd; Black Benny Williams, bd. This happened during a funeral for the Zulu organisation when the two drummers, Martin and Black Benny, decided to play the Blues and in an 'up' tempo, where you could walk right along with it. One gets the impression from Punch that these two men were quite influential in brass band circles and that he considered this was one of his better outfits.

With his brass band, Punch played carnival day for the Jefferson City Buzzards (A white carnival organisation, ed.) for three or four years in a row, as well as St Joseph's night on which the 'Indians' parade. (Not Native American Indians, but rather various black parade organisations who dress in extremely colourfull & elaborate approximations of Native American ceremonial attire, inspired in part by the early 'Wild West 'shows that toured through New Orleans. Black people in their own right were forbidden to congregate and march by law and so dressed in costume to circumvent this restriction on their right of assembly. It is worthy of note that sometimes even today, one or another of these groups are prevented by police from marching due to an imagined or often very real threat of violence occuring. Such groups will usually march anyway, keeping the time & place secret until they are actually on the street & it is too late to stop them. This writer / B.W. has been suddenly swept up in the middle of such a 'spontaneous' event only to have to flee from an eruption of gunfire! It is worth listening to Ferd. Morton on this subject in his recordings made by Alan Lomax for the Library Of Congress in 1938. Ed.)

Punch also did work with the Silver Leaf Band with Louis Armstrong and Frankie Duson's Brass Band, just after he got out of the army. He worked in Buddy Petit's jump-up band during the mid '20s, and as a substitute in Papa Celestin's Tuxedo Brass Band. In Lee Collins' book, Oh Didn't He Ramble, he recalled where he worked in Buddy Petit's Band alongside the 'big guns' of Louis Armstrong, Punch Miller and Buddy Petit.

In 1927, Punch played a show with Mary Mack's Merrymakers, in the Iriquois Theatre on Rampart Street, near Gravier. Punch had previously done tours with this show in Texas during 1925 and 1926. This was to end his New Orleans days until he returned to live there again in 1956. He felt work was beginning to be hard to obtain, and his band members were seeking other employment, which hampered his obligations to some of his band dates. Besides, Punch enjoyed travelling. He tried to get the rest of his band to leave with him, particularly Eddie Morris, his close friend, but they were all too settled with their families. Soon after, he left for Dallas with the Merrymakers and within a few months he was in Chicago, which was to be his main base for many years.

Punch was somewhat of a sensation when he first arrived in Chicago; he was in demand, both on stage and in the recording studio. Initially he continued to play with the Merrymakers at the Monogram Theatre, followed by a season at the Grand Theatre. These shows finished at 11pm and Punch would then join Tiny Parham's Band, playing until the early hours of the morning. Punch was to do many recordings with Parham within 12 months. He then went back out on the 'road' with the Merrymakers, working with Ma Rainey on what was to be one of her last tours. Towards the end of 1927 they toured to Milwaukee, after which Punch returned to Chicago.

In Peter Clayton's BBC interview of Richard Spalding, who made the film on Punch's life, Till the Butcher Cut Him Down, he describes what he felt was possibly Punch's chance for real stardom, which he was to lose because of his strong desire to lead and enjoy his own life on his own terms. During the early months of 1928, Hayes Alvis, the drummer in Jelly Roll Morton's band, was sent (to Milwaukee?) to get Punch to join Morton, who relates in an interview which appeared in Jazz Journal: 'I had to keep Punch straight during the whole trip and that was not easy. Anyhow I got Punch safe and moderately sober to Chicago where he joined Morton.'

Punch did several short tours with Morton, becoming good friends with Ed Swayze, who also played trumpet in the band. The two always enjoyed a drink together and they devised a method of drinking which led to Punch leaving the band. Punch and Swayze rigged up a method of paper cups in the inside coat pocket and, with a system of straws, they could take a sip in between numbers. Morton did not take too kindly to any form of drinking and, when he discovered what was happening, Punch left. This denied him the opportunity of being part of the prestigious recordings that Morton was to lead over the next few months. Punch lost a golden opportunity.

However, Punch has always claimed that he did do some recording with Morton. In the June 1948 issue of Record Changer, there is an interview with Bill Grayer, who relates: 'Punch definitely states that he recorded quite a few sides with Jelly Roll in Chicago. He mentions Doctor Jazz and King Porter Stomp as two of them. Jelly didn't play on the records but directed the band, using another piano player, Charles Newman. Besides himself on trumpet, there was Ed Swayze, a one-armed boy from Omaha, two trombones, one named Taylor, a violinist and others. Punch sang on Doctor Jazz. The band was called Jelly Roll Morton's Stompers and the records were made on the Gold Coast in a studio on the 22nd floor of a Lake Drive office building.' In the book, Mr Jelly Lord, by Laurie Wright, it is suggested that this is in fact a broadcast, as Jelly preferred to play on all his recordings, although he did allow others to play on various live dates.

By this time, the play once only aluminium recording disc was in use, and this could be what Punch remembered, as no records of Morton fitting this claim of Punch's have been located. Morton's movements in music are quite well known. However, Punch could be on one issued session of Morton's. On January 21, 1928, a Morton group called The Levee Serenaders recorded for Vocalion with two titles being issued: Midnight Mama and Mr Jelly Lord. The group consisted of Louis Taylor, tb; Walter Thomas, clt; Morton, pno; Leslie Corley, bj; Hayes Alvis, bb; Wallace Bishop, dm; and Frances Hereford, voc; with opinion divided between whether it's Punch or Ed Swayze on cornet. The readers can judge for themselves by listening to the two mentioned tracks on Family STR DP 650. If in fact it is him, these would be Punch's first Chicago recordings.

Punch was to go and record quite a number of times from the middle of 1928 through to the end of 1930. He can be heard in such groups as Tiny Parham and His Musicians, Wynn's Creole Jazz Band, Jimmy Wade and his Dixielanders, King Mutt and his Tennessee Thumpers, King Oliver?, the Cotton Top Mountain Sanctified Singers, Jimmy Bertrand Washboard Wizards, Junie Cobb and his Grains of Corn, Frankie 'Half-pint' Jaxon, The Scrawcrow (sic) and, finally, Frankie Franko and his Louisianians.

We find that he seems to have developed a number of styles to suit the requirements of whoever he was playing with. He was an extremely good blues player and flashes of this ability can be heard on the slower Parhams and the Levee Serenaders, somewhat likened to Oliver only with extra flourish, and it seems likely that Punch was the cornet player in the Oliver Orchestra of February 1929.He could portray the brilliant, slightly tense, high note work which caused him to be classed as an Armstrong imitator, as shown on the sides with Al Wynn, Jimmy Wade and Frankie Franko. At other times he was more relaxed, rhythmical, with a blues feeling associated with the New Orleans style but being able to display amazing runs of fast fingering and high notes which seemed to be the advanced style in Chicago at that time as with the likes of Jabbo Smith. This can be heard on the Bertrand sides which showcase the complete dimension of Punch so well.

During these two years, he played with the likes of Luis Russell, Noble Sissle, Freddie Keppard at the Dreamland, Al Wynn and Tiny Parham, as mentioned previously, and for a time held down a regular Sunday night job with Dave Peyton's band at the Regal Theatre. In most of these bands, Punch played either second or third trumpet and was used, in musician terms, as 'the Getting-Off man', in other words, the featured soloist. Louis Armstrong had often helped Punch in the past and, when he left for New York, he recommended Punch for some of his jobs in Chicago. One such opportunity was with Erskine Tate who played Sunday nights at the Vendome. Punch often relates about this in his many interviews. On his first night they opened up with St Louis Blues. When the tune was halfway through, Punch stepped up to take his solo. A big spotlight shone on him and frightened the living daylights out of him. To avoid being blinded, Punch ducked and played, ducked and played; he brought the house down with laughter - they thought it was part of his routine, but he didn't know any better. It was his first time under a spotlight, and he didn't know it was to feature him. He also subbed in the Earl Hines band for one night around this time.

Punch's next job was with a small group led by Irene Wilson, piano, the wife of the well known piano player Teddy Wilson. This was at The Bookstore, a speakeasy near the Apex Club on 35th Street, Chicago, which opened at 12 o'clock at night to catch all the performers from the nearby nightclubs. It was here that Junior Cobb heard Punch, which in turn led to Punch joining the Hughie Swift Band which held forth at the Jeffery Tavern. Punch worked there for about six months, until the Federal Men closed the place down for illegal whisky and dope selling. On July 3, 5, 13, 1929 he was in a group led by Junie Cobb in a recording session for Vocalion but these, according to Rust, were rejected. In the interview of September 1, 1959, Punch states working with Hughie Swift off and on for four years, during occasional jobs with his big band with Swift, first tpt; Jimmy Cobb, second tpt; and Punch, third. One can gather that Punch moved freely between bands, picking up all sorts of work.

Towards the end of 1929, Punch began playing regularly in a band led by New Orleans drummer Francois Moseley, called Frankie Franko and his Louisianians. This association was to last off and on for about six years. On page 262 of The Family Album, Rose and Souchon, there is a photo of the band in rather exotic uniforms. Moseley and Punch, and the guitarist/banjoist Charles du Casting were the only ones from New Orleans. The other three members are unidentified when the band recorded for the Melotone Label on November 12, 1930: Ed Burke, tb; Fred Howard, cl., as; Ziny Cohn, pno; Bill Hilliard, bb, made up the group.

Punch had fond memories of this band. The band had two sides issued: Somebody Stole My Gal and Golden Lily Blues, which was named after one of the locations at which the band enjoyed a lengthy stay. Though slightly over-arranged in a big band setting, the two sides feature the hot cornet work of Punch. In fact, his pulsating improvised solo on Somebody Stole My Gal makes this version of this overworked tune one of the more exciting interpretations, which gives us a good indication of what Punch must have sounded like in his prime. The Golden Lily was a black and tan club on Chicago's Garfield Boulevard, opened by a Chinese who ran very popular breakfast dances from 2 to 6 in the morning. Such people as Harry James, Gene Krupa, Clyde McCoy, Muggsy Spanier, Louis Prima and Louie Panico used to come by and sit in. Frankie 'Half-pint' Jaxon sang often with the band. He recorded with Punch on December 6, 1929, with Punch calling his group The Delegates of Pleasure, a name he was to use again in the 1960s. Three tunes appeared on the Vocalion label which provide excellent glimpses of Punch's brilliance. Down Home in Kentuck, You Got to Wet It, give us a chance to hear Punch's imaginative backing with open horn as contrasted to his muted work on Take it Easy.

The Louisianians also did several tours, one of which Punch remembered because he made over $300, which was one of the largest amounts of money he ever made for a single job. This experience centered around a trip from Chicago to Memphis, playing in a baggage car for a continuous party and dancing.

Punch's presence in the Louisianians made it one of the greatest units of its period, playing first at the Pleasure Inn, then the Golden Lily near the corner on 55th Street, as well as many jobs nearby at Dave's Swingland where the band broadcasted regularly over WIND in 1933. He also increased his own personal activity by leading his own group called the Harlem Club Four at the Harlem Club and other various bars, usually with Robert Crowder on tenor sax. In late 1934 to early 1935, Punch played in New York with Leonard Reed's Orchestra at the Harlem Playhouse.

Leonard Reed, a show producer, organised a very successful floorshow in which the dancers in the chorusline were considered outstanding. The show started first in Chicago, then travelled to New York. Reed was actually using the Louisianians augmented to 12 pieces: Punch, Roy Hobson, unknown, tpts; Al Wynn, tb; Lawrence Brown, Robert Crowder, tnrs; Fred Howard, alt, cl; Clarence Brownlee, pno; Charles Du Casting, gtr; William Hillard, tbn; Francois Moseley, dms; the twelfth, unknown. The engagement broke up as the dancers were offered more money and left. Punch returned to Chicago and continued to play at the Golden Lily with the Louisianians until it burnt down in 1935. Punch talks of many jam sessions with the likes of Ed Swayze and Guy Kelly during the middle thirties.

In the interview of September 1, 1959 with Dick Allen, he talked about knowing Johnny Dodds in Chicago. He recalled rehearsing for a week to make records with him, but couldn't remember if they were ever issued. The rehearsal group consisted of the Dodds brothers, Johnny and Baby, plus Robert Crowder on tenor. They were working on old New Orleans tunes like That's a Plenty, Panama Rag, High Society, Maple Leaf, and Muskrat Ramble. It would be of great interest if such material was to turn up, but I have not been able to locate any leads on this session. I only assume it happened during this period because of the association with Robert Crowder, as Punch was working with him quite a lot during the mid thirties. Punch also mentions in the same interview, at what could be approximately the same period, of playing with Jimmie Noone at Tippers Inn on Indiana Avenue. Again, I haven't been able to gain any supportive evidence to this as regards when.

The Great Depression of the thirties was at its peak during the middle thirties, causing the entertainment industry to collapse, throwing hundreds out of work. Punch was no exception. He had to resort to scuffling in the WPA Band of Chicago led by Zilner Randolph. Punch's movements became quite obscure during this period. It has been suggested that he may be the trumpet player on recordings of Big Bill Broonzy, (e.g. on 'Got To Get Ready Tonight' Big Bill Broonzy Chi. April 5th.'38. ed.) Bumble Bee Slim, Lil Johnson and Curtis Jones that were done during June/July 1937 and again in March 1938 (refer Blues and Gospel Records, Godrich).

In 1937, Punch joined Walter Barnes and his Royal Creolians doing gigs in Baltimore, Pittsburg and apparently even to his home town of New Orleans. This was only seasonal work as Barnes only toured during the summer months, and on the ill-fated tour of 1940, Punch declined to go. This was a fortunate move for Punch as Barnes, eight of his sidemen, and vocalist Juanita Avery, lost their lives in a fire that engulfed the Rhythm Club in Natchez on April 23, 1940.

When Guy Kelly, During the early 1940s, Punch led his own small groups at various Chicago blues clubs, including the Hand T Tavern, The Dipsy Doodle and The Spot. It was at the H and T Tavern that Punch was to get his first opportunity to record as a leader. On January 28, 1941, John Steiner, Hugh Davis, Wesley Neff and George Hoefer made a trip in zero temperature weather to the H and T Tavern on Chicago's South State Street with a portable recording outfit. Punch, Snags Jones, Punch's favourite drummer who played with King Oliver, and Ace Harris recorded Panama, High Society, Bugle Call Rag, China Boy and two on-the-spot blues, one being called Harris Blues. Four of these can be heard on Paramount CTS 102 which includes High Society with Punch playing the traditional clarinet solo on trumpet, as if it were the expected norm - more evidence of that fast fingering at work. This set contains excellent examples of Punch playing, despite the difficulties that must have been apparent due to the very cold weather.

It is perhaps during this period that Bill Russell, noted historian of New Orleans jazz, first heard Punch. Russell had been trying to find the whereabouts of Punch for sometime when, on a visit to Baby Dodds in Chicago, he was amazed to find Punch playing a one-nighter with a pick-up band got together by Dodds for a dance in Indiana (Playback, January 1949). On March 6, 1942, Punch recorded with Big Bill Broonzy and his Chicago Five. This included Buster Bennet, alt; Memphis Slim, pno; Judge Rile, dm; also from New Orleans, with Punch, tpt. The tunes were I'm Gonna Move to the Outskirts of Town, Tell Me Baby, Hard Hearted Woman, I'm Woke Up Now, originally on the O.K. Label (Biograph BLP C15).

Punch disappeared again, possibly doing tent shows. In the January 1949 issue of Playback, an early jazz collector, Med Havens, describes seeing Punch whilst he was doing army training during the war. He happened to walk into a tent show near Spartanburg, S.C. and was surprised to hear Dippermouth Blues being played. Taking special note of the cornet player, he introduced himself to him after the show, only to be amazed that the cornet player was Kid Punch. Punch talked about all the old days and seemed really happy that someone knew of his records.

This could have been 1941 or even the 1944 recordings that Punch was referring to. The 1944 recordings were done on June 12, when Punch suddenly appeared in Chicago again, this time for Phil Featheringill of Session Records, who latched onto Punch the day after he returned and rushed him into a recording studio with Richard M Jones, pno; John Lindsay, bs; Artie Starks, clt; and his favourite drummer, Snag Jones. The titles were The Boy in a Boat, Muscle Shoals Blues, Sugar Foot Stomp and Westend Blues, which Punch renders in a style very similar to Armstrong. (Carousel CAR 19)

Punch then joined Sir Oliver Bibbs, a drummer, and worked more or less regularly with him through 1946 at the Club Silhouette, the Garrick Bar and in Springfield at the Club Rio and Martin's Corner. He believes a movie was made of him playing at the Silhouette Club, which would be of great interest to the students of New Orleans jazz. Whilst at the Garrick Bar, they played opposite the Henry 'Red' Allen Band, who Punch had given bandstand tuition to, years earlier in New Orleans. ('Punch' 'Red' 'Little Jazz' 'Dizzy' and to complete the circle, Nicholas Payton ? Ed.)

The Sir Oliver Bibbs Band, including Punch, toured frequently, appearing at Des Moines, Iowa. Punch had become more than a vague legend to the Chicago jazz scene. He became an attraction at jazz concerts - Wes Neff and George Hoefer found receptive audiences for him. He also did work with Jasper Taylor at the 900 Club during 1945.

Punch took to the road again, touring with the carnival show, the Bronze Manikans, (sic) during the latter part of 1946, ending up in New York, where the show closed for the season. Things moved rather quickly there for Punch as he was to appear on several of Rudi Blesh's famous radio programs, This is Jazz. One such broadcast from January 8, 1947, can be heard on Rarities #33, where Punch is in the company of Max Kaminsky, tpt; Albert Nicholas and Mezz Mezzrow, clts; George Brunies, tbn; Lucky Roberts, pno; Wellmand Braud, bs; Cyrus St Clair, tba; and Baby Dodds, dms. His trumpet is heard to advantage, plus the bonus of two vocals - Basin Street and Sister Kate. He teamed up with a young Ralph Sutton, playing all sorts of jobs including a stint in Hartford, Connecticut.

His best recordings from the '40s were done on December 16, 1947, in the company of Edmond Hall, clt; Jimmey Archey, tbn; Ralph Sutton, pno; Ernest Hill, bs; and Arthur Trappier, dms. These were followed by another session 14 days later with Archey omitted and Jimmy Crawford replacing Trappier on drums. These sessions were beautifully recorded and capture the attack and subtlety of his trumpet work and the warmth and intimate feeling that he gave his vocals. These were done by Sam Meltzer for his Century label and can be heard on Savoy MG 12038/12050. The album cover features an excellent photo from these sessions and another photo can be found in the June 1948 issue of the Record Changer.

During this period Punch renewed his friendship with Louis Armstrong, who gave him a trumpet which Punch was to use for several years. He participated in many of the jam sessions held at Jimmy Ryans on 52nd Street with the more traditional players. This was often followed by many hours of jam sessions with Dizzy Gillespie and Coleman Hawkins that foreshadowed the beginning of Bop. Punch apparently was one who always liked to experiment.

The familiar, romantic smell of the road called again and Punch was to continue on the road from the late '40s for about the next nine years, virtually lost to the jazz audiences. He rejoined the Bronze Manikans for about three years, then he joined the Cavalcade Show, followed by the Terry Jackson Show from Nashville, Tennessee, staying with that outfit for a couple of years. He then joined the Royal Americans, which was one of the biggest on the road, touring extensively throughout the US and Canada. Next it was Silas Green and finally he joined the Jimmy V. Straight Circus, playing in a Rock and Roll Revue. He left Straight's show in South Carolina and returned to live in New Orleans in December 1956. Ralston Crawford, a noted American artist and perhaps more well known to the New Orleans student for his photographs that adorn the New Orleans Living Legend series of record covers on Riverside, took photos of Punch when he was with Silas Green in Mississippi. One could only imagine these as being fantastic, so good is his work on the New Orleans theme.

Back in New Orleans, Punch never expected to play again. Apparently he was resigned to the fact that he had come home to die, such was the state of his attitude and health. Bill Russell tells us in the film, Till the Butcher Cut Him Down, that he needed some new clothes and a newspaper advertisement for a suit with two pair of trousers was shown to him, but Punch said, oh no, he wasn't going to live long enough to wear out two pair of pants.

Through an old friend, Beansie Fauria, he was introduced to Larry Bornstein, a French Quarter art dealer, who had begun holding sessions featuring New Orleans jazzmen at his art gallery, the Associated Artist Studio at 732 St Peter Street in the heart of the Vieux Carre. Initially Punch worked as a handyman for Bornstein, his first day job since he worked on the sugar plantations in his youth in Raceland. This was followed by joining in the informal sessions, playing for tips with his old friend Eddie Morris, tbn; Lewis James, bs; and three or four young white musicians. His playing was soon as strong as ever, and after a few weeks in the city, the rock and roll cliches disappeared and he began to play in a purer, lighter New Orleans style.

Tony Standish of Eureka Magazine and Jazz Journal fame was perhaps the first foreign jazz enthusiast to hear Punch on his return, being in New Orleans from Feb/March 1957. He heard Punch play many times at the Associated Artist Studio, which was the inspiration for the creation of Preservation Hall, next door to the old gallery, in which took place the revival of traditional jazz in the '60s. Standish gives a vivid description of what he first saw and heard: 'On entering, in the far corner, surrounded by gay watercolour scenes of the Vieux Carre, sat three musicians. The trumpet finished a chorus of Casey Jones on a soaring Armstrong-like note. It was Punch Miller, the legend. With him was Eddie Morris, tbn; and Simon Frazier, pno.' (Brother of Cie Frazier, well known drummer in the Preservation Hall Jazz Band?)

Kid Thomas and Punch were two of the original band leaders to play at these jam sessions and the following incident that Punch mentioned in an interview with Dick Allen (September 25, 1959) was very serious but was given a touch of the Punch irony and humour, so typical of the man. It centered around the difficulties of 'mixed playing' which was frowned upon by the law in the South up until the '60s. One night a policeman walked in while Punch was playing with a mixed group. The joint was jumping. The policeman told them to quit playing and he took the band outside and on to jail for the night. In court the next day, the judge gave the band a good talking to, lecturing Kid Thomas particularly that he should have known better to play in a mixed band. Punch, Eddie Morris, Kid Thomas, Charlie Devore, and the two 'white boys' from Wisconsin were told to act proper and to obey his law. Next night Punch sang new words to Mama Don't Allow - Judge Don't 'low No Mixed Playing Down Here. One can imagine the glint in Punch's eyes as he sang.

Punch's next recorded efforts can be heard on Rarities #62, A New Orleans Jazz Party. This was actually a film that he took part in during 1968. Art Ford, a New York film producer, who had his own TV show featuring varied sorts of jazz styles with an emphasis on the free-for-all jam sessions, came down to New Orleans on February 11, 1958, to do a feature on New Orleans jazz. This resulted in a 90 minute videotape which has become a living history of New Orleans jazz. The list of musicians who appeared read like a Who's Who of New Orleans jazz. Many generations were represented. The program opened with a band consisting of Punch, Charlie Love, tpts; Louis Nelson, tbn; George Lewis, clt; Peter Bocage, vln; Sweet Emma Barrett, pno; George Guesnon, bjo; Slow Drag Pavageau, bs; and Louis Barbarin, dms. They played The Saints, Buddy Bolden's Blues, Careless Love and Bucket's Got a Hole in It.

Punch played with a lot of power and drive and his singing style is well caught in the duet he does with George Gueson on Buddy Bolden's Blues, with Peter Bocage playing a violin obligato behind them. Others appearing in this film included Percy Humphrey, Sharkey Bonano, tpts; Jim Robinson, Clement Tervalon, tbns; Alphonese Picou, Harry Shields, clts; Armand Hug, pno; Eddie Miller, tnr; Paul Barbarin, dms. The final all-out jam session which Ford always featured is a medley of Just a Closer Walk/Saints, with Picou featured extensively and Sharkey interjecting a vocal and an amusing little 'Shag' dance. This is a fascinating film and can be seen at Tulane University.

Punch continued to do local gigs with his small band until he suffered a serious illness in 1959 that nearly saw the end of him. Fortunately he recovered and went on to make a series of records that has helped keep his name in front of the public. The first was on May 7, 1960 when he did his first album for Icon (LP-2) using his old friend Eddie Morris, tbn. Others in the band included John Handy, clt (better known for his great swinging alto work); Louis Gallaud, pno; George Guesnon, bjo; Sylvester Handy, bs; Alex Bigard, dms.

This was the first of s significant series of records to document the music of New Orleans since Bill Russell's legendary efforts on American Music. Tony Standish in the September/October 1960 issue of Eureka reviews Punch's playing on the record, after being familiar with his live playing: 'Still strong despite his lengthy illness. His intonation is not what it could be at times, but his playing is generally sure and full of exciting, swinging melodic licks. His best work is on the blues, Corrina, Buddy Petit's, Bucket, and Petit's Jump and during the last chorus of a frenetic Tiger Rag - evidence that he still had the spirit to always strive for the complex, even if he didn't always make it.'

During 1960 Punch took a band to Cleveland, Ohio, to play at the Tudor Arms for four months, consisting of Emmanuel Paul, tnr; Noon Johnson, bazooka; (a strange homemade hybrid instrument like a giant trombone, of Johnson's own making. Ed.) Emmanuel Sayles, bjo; and Andrew Jefferson, dms.

Preservation Hall as it is known today, opened its doors to the general public on June 10, 1961, with the musicians being paid union scale instead of having to rely on tips from the audience. Punch and Kid Thomas remained the principal leaders, to be joined by such forces as George Lewis, Jim Robinson, Peter Bocage, Percy Humphrey and Kid Sheik. By the time British jazz enthusiast James Ashman was in New Orleans, late 1961, no fewer than 75 old-time musicians had been brought back into the Revivalist limelight. Punch's main avenue of work centered around the Hall, and he was to be part of five commercial recording sessions in the next 12 months.

The first was a Kid Sheik/Steve Angrum led group, Punch's second outing on Icon. This was a pick-up recording band which displays remarkable vitality and drive. Punch is to the fore with some strong trumpet work and a number of vocals in his engaging, bluesy, scat style. Steve Angrum who played a warm, delightfully delicate style of clarinet, made this quite an important album as he died two months later - this being one of the few recorded examples of his playing.

On the second recording, Punch led his own band on Imperial LP 9160. This album featured four of Punch's original compositions - I've been mistreated, Back in the old days of New Orleans, Hongo Fongo and Punch Miller blues, where he vocalizes with his own bluesy brand of scat stylings, making this a very enjoyable session. This was followed by the interesting album on Southland SLP239 where we can hear Punch playing alongside Kid Howard. He also sings some typical lyrical vocals, one being an old 1921 hit, Tuck Me To Sleep.

The fourth, Atlantic 1410, Punch recorded with George Lewis and Louis Nelson. This album, along with the final one, Icon LP7, captures Punch virtually at his peak during this period. Icon LP7, which uses the same name, Delegates of Pleasure, as he often used in the late '20s for his group, has the sensitive clarinet work of Israel Gorman on the session. The band rocks along with a fine concerted beat with Punch excelling on trumpet; his tone is clean and flashes of his renowned fast fingering and imaginative approach are evident. His vocals on Long Distance Blues, Gates Blues and Sugar Blues have that intense 'bluesy' feel that gives off a warmth of time long ago. This is perhaps my favourite Punch record.

In 1963, Punch travelled overseas for the first time, going to Japan. He went as a member of the George Lewis All-Stars which consisted of Punch, George Lewis, Louis Nelson, Joe Robichaux, Emmanuel Sayles, Papa John Joseph and Joe Watkins. This tour went for four months, from August through to November. The band travelled all over Japan, with huge crowds in attendance in Tokyo, Osaka and Ashiya. Eight albums have been issued from this tour on GHB, DAN, Dixieland Academy, London (refer recommended listening). All these records capture the incredible audience response to the wonderful playing by all the members of the band. Unfortunately for Punch, he became quite ill on this trip and missed much of the festive occasions. An excellent photo of this touring band can be found in the Family Album/Rose and Souchon on page 177, and also included Punch's good friend, Kid Thomas, outside Preservation Hall.

With his health restored, Punch began playing regularly on Sunday nights back at Preservation Hall. This continued through to the end of his career, unbroken except by tours or lapses with his health.

New Orleans has long been a film maker's delight because of its intriguing history and architecture. When the MGM film Cincinnati Kid was made in 1965, Preservation Hall, which was really well known by then, was featured. For those who have followed Punch's career, more documented material on him is to be found with a short visual of him playing alongside Paul Crawford, tbn; George Lewis, Sweet Emma Barrett, Alan Jaffe, bbs; and Cie Frazier, dms. The band plays The River's in Mourning with Emma singing the vocal. Very gripping and atmospheric stuff.

Early in February 1969, Punch went on another tour, this time to Connecticut with Albert Burbank, clt; and Sammy Penn, dms. He was joined there by Jimmy Archey with whom he hadn't played for 20 years, last being in New York. One can hear the band from this tour on Jazz Crusade JC-2016, where Dick Griffith, bjo, and Dick McCarthy, bs, joined the group. During the summer of the same year, Punch was involved in another film called American Music from Folk and Jazz to Pop. In the New Orleans sequence, he plays an unaccompanied blues solo. From this period there are many privately taped interviews giving trumpet and vocal demonstrations of Punch's stylings (refer Stagg/Crump).

By 1969 George Lewis, the world renowned clarinet player who had been one of the main focal points in the international revival of New Orleans music, was nearing the end of his musical career due to his extreme ill health. Punch, who had played with George Lewis countless times since his return to New Orleans, played on George Lewis's last band date. This significant occasion was in November 1969, for a convention of historians at the Montelone Hotel. Jim Robinson, who was with George Lewis almost from the start of his influential career, played trombone with Cie Frazier on drums.

In the month of May 1970, Punch toured with Capt. John Handy's Louisiania Shakers to Newington, Connecticut, for the Connecticut Jazz Club for a series of concerts. Others in the band were Andrew Morgan, clt, tnr; Homer Eugene, tbn; Dick Wellstood, pno; Sylvester Handy, bs; Lester Alexis, dms. To my knowledge, Panama and The Saints are Punch's last recorded works. He shares the vocal on The Saints with Capt. John Handy, and is full of infectious fun, so typical of both these men. During all this activity, Punch had continued to play at Preservation Hall on Sunday nights. When I was fortunate to hear him in December 1969, he had with him Harry Shields, clt; Paul Crawford, tbn; Charlie Hamilton, pno; Emmanuel Sayles, bjo; Chester Zardis, bs; and Chester Jones, dms.

Early in 1970, film producer Phillip Spalding came to New Orleans to do a film sponsored by the Educational Network of America and the French Television Network on some aspects of New Orleans jazz. Punch Miller was to become the central theme in this film which was called Till the Butcher Cut Him Down. The film is very sympathetic, displaying enormous warmth and charm with the outstanding feature being Punch's appearance at the Jazzfest. He was very sick during the making of the film, and had to leave his hospital bed to play in the final concert, bringing the audience to its feet with his own personal interpretation of That's My Home. Punch's vitality on stage was amazing, but the scene afterwards where, along in the dressing room, he meticulously packed up his instrument before going back to the hospital, was particularly moving. The film caught Punch at rehearsal, at home, talking and playing with fellow musicians, walking around new Orleans and the Veterans Hospital. He was, by now, an extremely sick man, not considered to perform again. But he did so for the film and it remains a moving and fitting tribute to him.

After the film, Punch underwent surgery and never really fully recovered. When it became apparent that he could never play trumpet again, he asked for a pair of drumsticks and began practising during the summer, determined to continue his career at the age of 77 as a drummer. Such was the love for his music.

Punch died on December 2, 1971, at the Veterans Hospital after suffering from a stroke two weeks before. Bill Russell, who first searched for Punch's whereabouts during the early 1940s, gives an excellent description of Punch's funeral in the winter issue of The Second Line: 'On December 7, over a thousand people followed the horse-drawn antique hearse with the black cross on top, a vehicle unseen on the streets of New Orleans since the early days of this century. Also, for the first time within memory, and very appropriately, some old blues were mixed in between the funeral dirges and hymns. The cortege, in its hour long journey up Magnolia Street from Dominique's Funeral Chapel, was led by the Olympia Brass Band augmented to 20 pieces by some of Punch's longtime associates and friends from foreign lands.'

Christopher Hillman, in his excellent article on Punch in the April 1972 issue of Jazz Journal, captures the spirit of Punch and the relationship of him to the development of New Orleans jazz: 'Ernest 'Punch' Miller is a difficult musician to sum up. He was unquestionably of importance both in the music of New Orleans and in the wider aspects of his period, but he has never been properly appreciated and remained a shadowy figure until he returned to spend his final years in his native city and endeared himself to countless New Orleans enthusiasts by participating fully in its musical life, an act which in itself may have prevented his earlier playing being taken seriously in some quarters. He lived to become one of the oldest musicians playing anywhere, a veteran of the period of King Oliver and Jelly Roll Morton and a man of vast experience, but his playing still had the youthfullness and audacity which characterised his first recordings.i3