"Big" Tiny Little
"Big" Tiny Little
died: Carson City, Nevada (USA) March 3, 2010
"Big" Tiny Little was an American musician who appeared on The Lawrence Welk Show from 1955 to 1959. His primary instrument was the piano, becoming both a honky-tonk, ragtime pianist and playing other instruments such as the organ, bass horn and bass fiddle.
Son of the prominent musician and bandleader, Tiny Little Sr.
As per the description at ragpiano.com (http://www.perfessorbill.com/ragtime11a.shtml)...
Labels: Coral, Brunswick
Information: Originally known as Tiny Little, Jr., he started working in the 1945 playing country music with dance bands, but also taking time to both learn and perform other musical styles as well. Since his father was somewhat known as a dance band leader, Tiny had an edge with learning both the repertoire and the necessary protocols for performing in various venues. They led to both recording and fame in the mid-1950s, including a stint on the Lawrence Welk television show from 1956 to 1960. While Lou Busch, Johnny Maddox and others were performing ragtime on records and seeing great success, Little was the first to play it nearly weekly on the popular growing medium of television, important at a time when there was little competition from competing shows (two stations only in many markets) and no cable or satellite. He also acquired the "Big Tiny" nickname during that time, distinguishing him from his namesake father. During the 1960s, Tiny spent time on many popular variety TV shows, touring at the same time. By the end of the decade he settled into what became his most popular venue, other than the later Lawrence Welk revival shows. Slowly developing a finely-honed band, Tiny has been working in the casinos in Nevada to this day, alternating between Las Vegas, Carson City and Lake Tahoe. He continued to draw fans and make new ones into the 21st century. He is also one of the only artist who had the tenacity and talent to adapt Christmas songs into ragtime format for a recording. Tiny brought friendliness, fun and familiarity to ragtime. He is just as enthusiastic about the musicians he works with as he is for the music, and plays all manner of styles, adapting to what the audience wants to hear. His role in the 1950s was to bring this music to an audience that may have spent less time buying records or listening to radio, perhaps spurring the sales of other artists in addition to his own.