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THE ORIGINAL JAZZ & BLUES RECORD TRADING MAGAZINE, FOUNDED IN 1953
No: 183
SPRING 2019
In This Issue... The Original Memphis Five Part 3... Chris Ellis - An Appreciation... Reviews, Ramblings, and a Stupendous Selection of Jazz & Blues 78s!
r B l u es 7 a 8’ -W e s r
Photos of Blues Singers!
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$500 to $50,000! Blues records, especially the Paramount label. Paying $500 to $50,000 each, depending on record, condition and rarity.
Release Sheets!
$500 to $10,000! Photographs of Blues singers from the 1920’s to the 1950’s. Paying $500 to $10,000 each, depending on photograph, condition and rarity.
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Race Records sleeves: Paramount, Vocalion, Brunswick, Victor, Okeh, Gennett and Black Patti. Paying $50 to $500 each, depending on sleeve, condition and rarity.
To contact John Tefteller:
Original record company release sheets, advertising flyers and promotional catalogue featuring Blues singers and/or Blues cartoon art. Paying $50 to $10,000 each, depending on item, condition and rarity.
(800 ) 955–1326 (USA only) • (541) 476–1326 Cell Phone: (541) 659-7175
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VINTAGE JAZZ MART ISSUE No. 183 WINTER/SPRING 2019
Welcome a to a bumper, record, review and article-packed issue! There’s something for every taste, not least the final instalment of Ralph Wondraschek’s groundbreaking original source research into the story of the Original Memphis Five. American and Canadian readers will already know that the last issue of VJM was something of a disaster - at least for them. Thanks to the utter incompetence of TNT and FedEx, and their inability to communicate, either with themselves, the shipping agent, or Russ or myself, the entire shipment of copies of VJM, sent to Russ for onward posting into the US mail system, has been ‘lost’. Hours of phone calls and dozens of emails failed to elicit any information whatsoever as to their whereabouts, leaving Russ and myself in what at times seemed like a Kafkaesque version of reality. Needless to say, we have fired the shipping agent and will not be using either shipping company in future. The one small crumb of comfort was that we had already set up the complete digital version of VJM at https://issuu.com/home/ published/182_web and were able to email the vast majority of US/ Canadian readers with a free single-use voucher for them to download, or read online, the ‘lost’ issue. If you didn’t get an email about this, either it’s gone into your spam folder (do check) or we don’t have your current email, in which case email me at mark@vjm.biz with your current email address for our files. As a gesture to our American and Canadian readers Russ and I have decided to extend their subscriptions by one issue - so if your sub expired with issue 182 it will now expire with this issue. The demise of traditionally-printed specialist magazine continues apace - the grand old British stalwart Jazz Journal will henceforth only be available as an online edition and the sad news that the IAJRC Journal is ceasing publication came as no surprise to the Editor. That the IAJRC is suspending all activities pending an evaluation of their web-based way forward is indicative of the direction more and more specialist journals and magazines are
looking to. Most VJM readers who have expressed an opinion are keen to see a ‘hard copy’ magazine and we hope that will be the case for some time to come, but will those same readers be prepared to pay for the privilege, when diminishing print runs increase the unit price? That awaits to be seen. Meanwhile, the online version of VJM at https://issuu.com/vjm4 is steadily gathering readers and at just £5 per issue is considerably cheaper than the hard copy, especially if you’re a non-UK subscriber. The year has barely got started yet two well known personalities have left us - Chris Ellis, a towering figure in the British and European jazz music scene for more than sixty years died in January, and as we go to press the sad news reached us of the untimely death of Ron Hutchinson, the driving force behind The Vitaphone Project. Also, many readers will already know of the death last year of the well-known American collector Joel O’Sickey at just 67. Chris was a close friend of mine for over 45 years, when as a teenager I met him at a London record fair. That friendship continued over the years and, when he ‘retired’ to Amsterdam I was a regular visitor to his lovely 17th century canalside house. The ‘retirement’ was in name only - he, along with Anne de Jong, formed Challenge Records and the Retrieval reissue label, and I was fortunate to be involved in many of their releases. Recordings of contemporary artists such as Barbara Lea, along with programming and producing Retrieval releases kept Chris busy until days before his death - in fact he was working on a Johnny Mercer album when he died; this will be released in his memory shortly. I am happy that I took the opportunity to interview Chris three years ago; this can be found in VJM 173 and online at www,vjm.biz/173-ellis.pdf Nick Dellow and VJM charter subscriber Charlie Crump have kindly contributed his own tribute to Chris for this issue, and Randy Stehle has written his own reminiscences of Joel. Finally, due to holiday plans, the deadline for articles/adverts/ listings/reviews for the next issue is somewhat earlier than usual - it is non-negotiable, so if you want to ensure you’re in make a note in your diary now!
Cover: A rare and unlisted Original Memphis Five issue, courtesy of Ralph Wondraschek.
AUCTIONS END SUNDAY 24th MARCH 2019 COPY/ADVERT DEADLINE FOR THE NEXT ISSUE WILL POSITIVELY BE: 19th MAY 2019 (NOTE THIS IS EARLIER THAN USUAL!) WE CANNOT GUARANTEE PUBLICATION OF ANY ADVERTS RECEIVED AFTER THIS DATE! IN THIS ISSUE: Chris Ellis/Joel O’Sickey Tributes, 3; Original Memphis Five Part 3, 5; Ate’s Discographical Ramblings, 31; Reviews, 32, Auctions begin page 49, Wants Section page 67. INDEX OF ADVERTISERS R. Allingham 53 Beasley Books 23 G. Beaver 56 M. Berresford 48 Birmingham Record Fair 68 Blues & Rhythm Inside Back Cover The Blues Discography 46
Geo. H. Buck Jazz Foundation 38 W. Bor 55 J.M. Castro 47 CLPGS 68 Dr. Jazz Magazine 66 J. Helø 57 HQ Discs 35
Chris Hillman Books 39 Kempton Park Record Fair 44 Memory Lane Magazine 68 J. Prohaska 59 D. Reiss 65 Rivermont Records Back Cover J. Tefteller Inside Front Cover
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VINTAGE JAZZ MART
The World’s Oldest Jazz and Blues Magazine - Founded in 1953 by Trevor Benwell
www.vjm.biz ISSN 2516-807X
Published by Mark Berresford Rare Records Ltd
EDITOR
MARK BERRESFORD, The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. (Tel) 01773 550275 Email: mark@vjm.biz ASSOCIATE EDITOR
RUSS SHOR, PO Box 4181 Carlsbad CA, 92018-4181, USA; Phone /FAX 760-214-5465 Email: russellshor@cox.net
SUBSCRIPTION RATES UK... £22.50 for three issues. Europe... £30/ €40 for three issues. North America... $45 for three issues. Rest of World.....£33 for three issues. ONLINE EDITION ONLY is £5 per issue or £12 for 3 issues.
Subscription payments By Paypal are preferred via the VJM website www.vjm.biz/Subscribe.html UK, Europe and Australasian subscribers may remit in £ Sterling cheques payable to VJM or £ Sterling or Euros cash. European readers may also pay via Electronic Bank Transfer in £ Sterling funds only. Readers paying by Bank Electronic Transfer MUST ensure that commission fees are paid by the sender or payment may be returned at sender’s expense! USA, Canada and rest of world may remit in US$ to Russ Shor, cheques payable to Vintage Jazz Mart, thank you. ADVERTISING RATES: £50 or US $85 per A4 size page (297 x 210mm) for NEATLY TYPEWRITTEN LISTS which can be used 'as is'. Ads of less than one page are charged pro-rata. Please note we no longer offer a retyping service. Non-subscriber rates are double above. WEBSITE RATES are 50% of the above, providing the same ad appears in the magazine. Website only ads are charged at full magazine rate. IMPORTANT! We reserve the right to decline website advertisements that cannot be easily converted to HTML for uploading onto the website. Preferred choice is Microsoft Word as a basic document, with auto formatting/numbering etc. turned OFF (This is most Important!). TRADE ADVERTISING RATES: £100/$170 per A4 page for artwork supplied ads, pro rata for less than one page. PDF or Word document files preferred. Artwork can be produced from your rough copy at a 100% surcharge. TYPES OF ADVERTS: 'Offers Invited' - wherein the lots are for disposal to the highest bidder at closing date. 'Set Price' - wherein the lots are sold at the prices indicated on a 'first come first served' basis. This is an excellent and highly effective way of disposing of lower value or lesser condition items. ADVERTISERS PLEASE NOTE: state in your preamble such extras as postage, packing and other terms. Closing dates for auctions are set by the editor, usually 6 weeks from publication date.
VJM CONDITION CODES: 78 descriptions in plain type, LP's in bold italic. N (78) M (LP). As new and unplayed (there are virtually no 78's that can categorically be claimed to be unplayed). N-/M- (LP) Nearly same as N/M but played a few times. E+/VG+ (LP) plays like new with very, very few signs of handling, such as tiny scuffs from being slipped in and out of jackets, etc. E/VG (LP) Still very shiny, near new looking with no visible signs of wear but with a few inaudible scuffs and scratches. E-/VG- Still shiny but without the lustre of a new record (78). Very little wear, plays distortion-free. LP: Some wear, scratches and scuffs, but no skips or repeats. V+/G+ (LP) An 'average' looking 78 in which scuffs and general use has dulled finish somewhat. Wear is moderate but PLAYING IS GENERALLY FREE OF DISTORTION. Surface noise still not pronounced. LP: Below average with scuffs and scratches on fewer than half the tracks. No skips or repeat grooves. V/G (LP) Moderate, even wear throughout but STILL VERY PLAYABLE. Surface noise and scratches audible but not intrusive. V- Quite playable (78). Some distortion in louder passages but music remains loud in most places. Surface noise from wear and scratches well below music level. LP: Lowest grade. Audible scratches, etc. on more than half the tracks. Listening begins to get uncomfortable. G+ (78 only) Grey throughout but still serviceable. Music begins to sound muffled. G Quite worn/damaged, but surface noise still below music level. Listenable. G- Music muffled from wear but still exceeds surface noise. F+ Most of record remains audible over surface noise but listening uncomfortable. F Further deterioration but still generally audible. P Unplayable. Note: damage to labels and LP jackets should be noted as well. STANDARD ABBREVIATIONS: sfc = surface; lbl = label; nap = not affecting play; scr = scratch; lc = lamination crack; cr = crack; hc/hlc = hairline crack; wol = writing on label; sol = sticker on label; fade = faded label; g r= groove; eb = edge bite; ec = edge chip; ef = edge flake; dig=needle dig in surface followed by the number of grooves affected, e.g. dig 5gvs nap, cvr = cover; s = Stereo; rf = rough; aud/inaud = aubible/inaudible. IMPORTANT: PLEASE KEEP TO THE GRADING CODE. The collector who consistently overgrades his records get progressively worse results and increasingly frequent disputes and complaints which undermines the trust between us all. THE PUBLISHERS OF VJM'S JAZZ AND BLUES MART accept no responsibility for the veracity of advertisers and are not prepared to intercede in disputes. UNSUITABLE ADVERT MATERIAL: The Editor reserves the right to reject unsuitable material including classical music, rock, post-war pop, etc. VINTAGE JAZZ MART - Founded in 1953 by Trevor Benwell, and published by Mark Berresford on the basis of friendship and camaraderie and the love of music which knows no international boundaries.
2
Chris Ellis - an appreciation By Nick Dellow
detect the higher frequencies! Some of the mid-1960s Parlophone LPs that Chris did the transfer/restoration work on are of a very high standard with regard to sound quality, and they have withstood the test of time. In many instances, in fact, they can still be cited as examples of how to transfer and restore vintage recordings properly‌.and lovingly. I mentioned to Chris that I admired his work as a sound engineer and wished that he had continued in this sphere. As was always the way with Chris, his response was to downplay his skills, to the point of being self-deprecating. Chris was never one to sound his own trumpet. He was always more interested in other people. As a person, Chris was kind, honest, generous and totally unpretentious, with a delightful sense of humour. Though he was sweet natured, woe betide those who said anything against his friends. In defending them, he would stand up to anyone, reflecting the fact that he was a man of principles. Chris had faced adversity and prejudice in his life but in overcoming them he found an inner strength that served him well. He was determined not to let anything get him down and remained fiercely independent. He absolutely hated the notion of being a burden to anyone, even when late in life he really needed help because of infirmity. Luckily, he had the benefit of a close group of very kind and thoughtful friends who were there for him when help was needed. He battled illness in his last years with a dogged determination to carry on come what may. Indeed, he was producing CDs for his Retrieval label right up to near the end of his long and productive life.
It was through working with Chris on a number of Retrieval CDs that I really got to know him as a friend. Our late night phone calls weren't particularly regular, but the length of the calls made up for that. I don't think any of our conversations lasted less than three hours, during which time we would cover a wide range of subjects, both personal and nonpersonal. He had an excellent memory for detail because he was very much an observer of life, and would recall close encounters with various star names. During his time at EMI, Photo: Anne de Jong he met and worked with just about every artist and band that had a contract with the company, including The Beatles. He As a record producer at EMI, Chris did much to make sure didn't think much of John Lennon, because he had witnessed that not only classic jazz recordings were re-issued but also Lennon belittling a young typist (Chris always came to the the lesser known artists who might otherwise have been defence of people being bullied). ignored by a major company like EMI. In this respect one might suggest that he was simply reissuing recordings that Another story comes to mind, one that jazz lovers will reflected his own eclectic tastes. Maybe so, but Chris never appreciate. When Eva Taylor visited Europe in the late 1960s, applied a blunderbuss approach when reissuing vintage Chris arranged for her to play several gigs in the UK and material, and had a canny ear for what the public would like. Holland. He told me that she was very nervous on stage understandably so after a hiatus of many years - and so he sat EMI basically left Chris to his own devices, allowing him to in the front row acting as a prompt and to give her confidence run things his way, which suited his independent nature. a boost. She got through the set just fine most of the time, and Given carte blanche to decide what should be reissued, he her performances went down very well, but on one occasion became a key figure in kick-starting what became known, Chris remembered having to mouth the words of You Can't sometimes disparagingly, as the "nostalgia" market. The range Shush Katie because she'd forgotten the lyrics after such a of LPs that Chris produced while in charge of EMI's World long time. Records catalogue was huge, spanning Louis Armstrong to Maurice Winnick. He almost single-handedly revitalised the Chris was a noted singer in his own right, stretching all the "Golden Age Of British Dance Bands" through his World way back to his early days in local dance bands in his home Records releases. Most memorably, in 1979 he produced a town of Shrewsbury. By the late 1960s, he was a singing double LP that included dance band recordings used in regularly with the "Anglo-American Alliance", a band he had Dennis Potter's BBC TV play "Pennies From Heaven"; this put together to highlight the multi-instrumental talents of John sold 40,000 copies within the first month and went on to R.T. Davies and Bixian cornettist Richard Sudhalter, with eventually sell over 250,000 copies! Heady days! guest stars including Bill Rank and the aforementioned Eva Taylor (they renamed themselves her "Anglo-American In the early days, Chris was also a sound engineer at EMI, Boyfriends" for the occasion, which must have delighted transferring and restoring 78s to vinyl. Even after he hired her!). John Wadley to this position, Chris remained responsible for the overall sound - not out of choice but because he soon Richard Sudhalter and Chris remained close friends right up realised that John was already losing his hearing and couldn't until Richard's early death in 2008. In addition to working !3
together in The New Paul Whiteman Orchestra, which friendship was maintained and Chris’s passing, although Sudhalter led in the mid 1970s, they helped each other out in inevitable, can only be a matter of deep and sincere regret. many ways. For example, Chris told me that when Bix researcher Philip Evans submitted his draft biography on Beiderbecke to Storyville magazine and book publisher Laurie Wright, Laurie felt it unsuitable for publication; he was about to return it when Chris stepped in and suggested sending it instead to Sudhalter. Richard was a professional journalist in addition to being a noted researcher into the cornettist's short life, and he had also previously corresponded with Evans. He took Evans' manuscript in hand and worked on it until it was suitable for publication. Without Chris' intervention, it is unlikely that the original manuscript would have ever found its way onto our bookshelves. As is well known, Evans subsequently fell out with Sudhalter over whose name should have been placed first on the cover, but that's another story.
Remembering Joel O’Sickey by Randy Stehle
During our late night phone conversations, Chris regaled me with many other memories, which he enthusiastically and vividly brought to life. What linked all these recollections and in fact ran through every conversation was Chris' joie de vivre. He didn't know the meaning of the word bitterness, nor did he ever express regret. Chris loved life as much as he loved his friends, and we, in return, miss him very much.
My Friend Chris Ellis
Joel O’Sickey (at rear) with Dave Bock, Mike Walbridge and Jim Prohaska at an IAJRC meet.
by Charlie Crump I first met Chris Ellis in Dobell’s Record Shop some years ago when he was working for EMI and was trying to persuade Doug Dobell to stock up on the Parlophone jazz issues to prevent them from being deleted. At the time I was friendly with Ron Jewson who, through his part in Retrieval Records was associated with John R.T. Davies. Chris through his interest in the live side of the music was also an associate of John, so we tended to meet fairly regularly. Through his active interest in vocalising Chris, in addition to collecting records, sang with the Anglo-American Alliance and also with the New Paul Whiteman Orchestra, so his vocal efforts were frequently available on records. In conversation Chris told me that he often managed to see American singers appearing in English clubs, presumably through his connection with EMI, and was able to see and speak to them between performances. Sophie Tucker is one of the names that comes to mind. These encounters may well have influenced Chris in his singing as he tended to have a fairly light voice, probably centred around the early ‘thirties in style. When Norman Stevens decided to give up his interest in Retrieval I joined Ron and John in the company and remained up until the time that our Jabbo Smith LP’s were bootlegged on on CD, Ron Jewson died and John R. T. decided he was quite happy to simply continue making masters for other companies. At this point it was decided to fold Retrieval, which we duly did. In the meantime Chris had retired from EMI and moved to Amsterdam, where he soon emerged as the major influence on the Dutch Timeless jazz reissue programme. Some years after this I had a phone call from John R.T. to say that Chris was interested in reviving the Retrieval label and did I have any objections? My reply was that I would be delighted to see the label resuscitated and Chris would be very welcome to take it on. From then on, although we met fairly infrequently at record bazaars, our
I first encountered Joel at the annual January record collectors’ meet in Indianapolis. We clicked right away, both working in chemistry-related jobs, he in plastics and myself in pharmaceuticals. Despite his surname, Joel was not Irish; the name was rather adapted from a similarly-spelled Eastern European name without the apostrophe. One’s first impression was that his knowledge of vintage jazz was impressive, with an uncanny ability to identify bands and soloists in recordings, even if he was with odds with the usual choices. For example, he felt that the two sides by Jackson’s Southern Stompers on 7-inch Marathon was indeed Cliff Jackson rather than the usually accepted Charlie Johnson. This expertise was evident when Joel participated in Phil Pospychala’s various quizzes; he usually won (unless too many records were by what he called “chick singers”!). Our former Michigan 78 RPM spin group met at his Ohio home for many memorable sessions. His 78 collection was quite eclectic, but most impressive in the very earliest examples of recorded jazz, particularly by black organizations – some of these being incredibly rare. He asserted that he was able in his mind to fill in the missing frequencies in early acoustic recordings to better identify the band and soloist. He was also an expert in digital processing of early recordings and had a huge bank of sophisticated processing equipment, almost resembling a telephone exchange! We worked together to supply early acoustic Jelly Roll Morton band recordings from our collections, including a mint copy of OKeh 8105 - a release generally regarded as a defective pressing, as only a few plays on the old machines resulted in audible stripping. These transfers were ultimately released on the Jazz Oracle label. Watching him at work was a real experience. Joel apparently came from an artistic family; there were examples of his father’s art scattered about his home. He, previously to moving to Ohio, had played and recorded with a klezmer band. Joel was good friend and will be missed by all. !4
The Original Memphis Five
Part 4: February 1925 – 1929: On The Road, and Band Within The Band By Ralph Wondraschek After losing their contract with the Rosemont Ballroom, when the OM5 had aborted the WAHG broadcast on Febr.04, 1925, and with apparently no immediate prospect of a long-term ballroom job, the band now consulted their booking agent Bernie Foyer, 1674 Broadway, NYC (who had formerly been in charge of the band and orchestra department of Irving Berlin, Inc., and whom the band had made their agent since he had started his own orchestra booking business, a few weeks earlier, in late January 1526, 1626 to 1629 ). Foyer organized a string of (mostly) one-nighters for the OM5,1595 at various venues in Pennsylvania, Ohio, New York State, Massachusetts, and possibly other states. Starting March 02, 1925,557, 1630, 1632 and eventually lasting for 27 weeks, this dance tour would end in early September, 1925. During this time period, the band would do no recording sessions, being of course too far away from NYC (Napoleon is not on the 1925-04-19 Cotton Pickers session - the trumpeter is Roy Johnston).
The jazz band craze has developed in a new and profitable field in the last couple of months that is growing rapidly with the coming season, promising further extensions. This is the one-night stand dance hall proposition … In most instances the bands play on a percentage basis but the larger halls offer guarantees. …1738 At the present writing there are any number of “name” bands, some with recording reputations, which cannot locate in New York for the season, not because of lack of engagements, but because the financial end is meagre compared to out of town.1747
weather was too cold and windy and the roads too treacherous for safe travel. So they trusted the railroad. (New
York Morning Telegraph, March 04, 1925, p.08) On March 08, the band members travelled back to New York City: The Original Memphis Five will be an added attraction at the Cinderella Ballroom on Sunday night. [March 08, 1925] (New York Morning Telegraph, March 06, 1925, p.08) The resident band at the time at the Cinderella was Dave Harman’s Orchestra.1636 Then, on the following day [March 09, 1925], the first onenight stand of the OM5’s dance tour took place, in Reading, PA, 134 North Fifth St., at Bach’s Dance Academy.560, 561, 1100 to 1103 During the next six weeks, the OM5 would perform five more times at this venue: 1925-03-23,562, 1122 to 1124 1925-0330,562, 1152 1925-04-06,1160 to 1162 1925-04-11,1168 and 192504-20.563, 564, 1177 to 1179 Of the remainder of the band’s likely more than 150 different engagements during this six month tour, I was able to find documentation for some 80; the known itinerary can be found in the list of the OM5’s known playing engagements, at the end of this article. A more thorough search through small-town newspapers of Pennsylvania, Ohio, Indiana, Illinois, Wisconsin, New York State, New Jersey, Vermont, and Massachusetts, would most probably unearth some more of the dates and places of this dance tour.
However, before the OM5 went on the road, it played a two weeks engagement in what the paper just named “the Garden” (Febr.16-28).557 This most probably was Billy Gallagher’s “Broadway Garden”, 48th St. & 7th Ave. The OM5 also provided the music at a dance given by Young Israel of Jamaica on the evening of February 21, 1925, in Jamaica, Long Island, at the Colonial Arms.559 To start off their marathon dance tour, the OM5 came up with a special publicity stunt: New York Morning Telegraph, March 02, 1925, p.05
ORCHESTRA ON BICYCLES The Original Memphis Five, the only orchestra in the country which records for all phonograph companies, has arranged to start on bicycles from Fifty-second street and Broadway this morning at 10 o’clock, and pedal to Philadelphia, where they are booked to open tomorrow night at the Danceland Ballroom. Every member of the orchestra is a veteran pedal pusher, and none expects to suffer any ill effects from the long ride. Foyer and Jess handle the combination. Variety, March 04, 1925, p.41 90-MILE BICYCLE JUMP The Original Memphis Five pulled an unusual publicity stunt Monday afternoon [March 02] when they left New York to open the same evening in Philadelphia, making their journey on bicycles. Arrangements were made by Bernie Foyer, their manager, to have the newspapers in the cities en route receive the bicycling bandsmen. The jazzists featured their “one day bike race” as against the current six day grind at the Garden. Two automobiles owned by Frank Signorelli and Phil Napoleon of the band trailed in the rear with the instruments and also for emergency purposes. They opened at the Danceland, Philly, for a special week’s engagement. However, this 90-mile bicycle ride didn’t materialize:
Variety, March 18, 1925, p.45
Let’s hear some press notices & reviews:
MEMPHIS FIVE COMING Arthur Bach, of Bach’s Dance Studio, 134 North Fifth street, has booked the Original Memphis Five, now playing at the Rosemont Ball Room, New York, for a special engagement at his hall next Monday night [March 09, 1925]. These musicians are Victor record artists and are winning laurels at all appearances. This attraction promises to be a treat for the local dancers. It was necessary to book it on a Monday night, owing to New York engagements. (Reading PA Eagle, March 05, 1925, p.21) BACH ENGAGES VICTOR RECORD BAND The Original Memphis Five, Victor record artists, will "do their stuff" at Bach's on Monday night. Rated as one of the highest priced bands playing to the dance loving public, the Memphis Five have been in demand all over the country. Monday's dance will be a special one arranged by Mr. Bach mainly because open dates for this band are few. (Reading Times, March 07, 1925, p.08 )
… Monday morning [March 02] the boys were scheduled to BACH’S DANCE STUDIO One of the special dance depart on bicycles from Broadway for Philadelphia, where attractions of the season will be the appearance of the they open this week [March 03 – 07] at Danceland, but the Memphis Five at Bach’s Dance Studio, North Fifth street,
Shamokin, PA, Dispatch, March 25, 1925, p.06
Reading PA Eagle, March 05, 1925, p.21
Mount Vernon, NY, Daily Argus, March 27, 1925, p.17 New York Daily News, March 07, 1925, p.19
Harrisburg, PA, Evening News, March 10, 1925, p.16
Reading, PA, Times, March 30, 1925, p.05
Harrisburg, PA, Telegraph, April 02, 1925, p.14
Harrisburg, PA, Telegraph, March 10, 1925, p.16
Harrisburg, PA, Telegraph, April 04, 1925, p.12
Hanover, PA, Evening Sun, March 11, 1925, p.03
Reading, PA, Times, April 06, 1925, p.05
Allentown, PA, Morning Call, March 20, 1925, p.10 Reading, PA, Eagle, April 06, 1925, p.18
Altoona, PA, Tribune, April 08, 1925, p.11
Wilkes-Barre, PA, Record, March 11, 1925, p.02
Mount Carmel, PA, Daily News, March 12, 1925, p.03
Harrisburg, PA, Telegraph, March 25, 1925, p.12
Hanover, PA, Evening Sun, March 24, 1925, p.08
Reading, PA, Times, April 11, 1925, p.07
Altoona, PA, Mirror, April 14, 1925, p.20
Wilkes-Barre, PA, Record, April 16, 1925, p.02
Wilkes-Barre, PA, Times-Leader, April 17, 1925, p.02
Tyrone, PA, Daily Herald, April 21, 1925, p.05
New York Telegram, May 29, 1925, p.13 Reading, PA, Times, April 20, 1925, p.02
Harrisburg, PA, Telegraph, April 25, 1925, p.16
Lebanon, PA, Daily News, June 02, 1925, p.01 Lowell, MA, Sun, May 04, 1925, p.01
Altoona, PA, Tribune, June 09, 1925, p.16
Lowell, MA, Sun, May 04, 1925, p.16
Altoona, PA, Mirror, June 10, 1925, p.24
Oil City, PA, Derrick, June 17, 1925, p.05
Altoona, PA, Mirror, June 13, 1925, p.22
Uniontown, PA, Morning Herald, June 18, 1925, p.01
Fitchburg, MA, Sentinel, May 04, 1925, p.02 Huntingdon, PA, Daily News, June 19, 1925, p.04
Altoona, PA, Mirror, June 22, 1925, p.36 Fitchburg, MA, Sentinel, May 08, 1925, p.02
Uniontown, PA, Morning Herald, June 20, 1925, p.01
Tyrone, PA, Daily Herald, June 24, 1925, p.05
Fitchburg, MA, Sentinel, May 19, 1925, p.09
Shamokin, PA, Dispatch, Friday, May 29, 1925, p.08
Wilkes-Barre, PA, Times-Leader, July 03, 1925, p.02
Monday evening. This is considered one of the best musical organizations to be engaged by Mr. Bach. The orchestra comes direct to Reading from the Rosemont ballroom, New York, where it played an extended engagement. Critics speak highly of these musicians, who have made a number of records for the Victor people. They are considered one of the highest-priced orchestras on tour. Among the records made are “Meanest Blues”, “Snakes’ Hips”, “Tin Roof Blues” and “Who’s Sorry Now?”. * Many local professional musicians, who know of this famous orchestra, signify they will attend Monday night to get a line on their playing. (Reading PA
Eagle, March 08, 1925, p.25; *p.07)
The famous Memphis Five will give a … program of dazzling music … (Harrisburg, PA, Evening News, March 10, 1925, p.16)
The Season’s Biggest Dance “Star” Event (Wilkes-Barre, PA,
Times Leader, March 11, 1925, p.02)
The Original Memphis Five one of the country's best known dance organizations and one of the highest priced orchestras on tour… The Memphis organization has appeared in this city only once, when they scored a tremendous hit at Harvey's Lake last summer. (Wilkes-Barre, PA, Record, March 11, 1925, p.30)
THE MEMPHIS FIVE MUSIC MAKERS AT LEGION HALL CONSIDERED ONE OF THE BEST DANCE ORCHESRTAS IN THE UNITED STATES A musical program de luxe, being the best that has ever been heard in Shamokin in this or virtually any season, will be offered at the Legion on Friday, March 13, with the appearance of the original Memphis Five, who were booked after a year’s of effort and considerable expense on the part of the Legion dance committee. It is only necessary to hear their Victor records and attend this guaranteed dance to convince the most skeptical that five men can produce music par excellence. Owing to the high class entertainment offered the management has found it absolutely necessary to ask 75 c for ladies and $ 1.25 for gentlemen, which is in accordance with the usual custom for an extraordinary attraction. From the favorable comment expressed and the number of calls received at the Legion daily to verify the fact of the appearance of the original Memphis Five, it is expected a record crowd will be in attendance. (Mount Carmel, PA, Daily News, March 12, 1925, p.05)
CELEBRATED ORCHESTRA AT LEGION TONIGHT; ORIGINAL MEMPHIS FIVE WILL FURNISH MUSIC FOR WEEKLY DANCE The most celebrated orchestra that has ever entered this region will appear at the Legion this evening under the title of the Original Memphis Five – masters of dance music and bringing with them a reputation that has not been equaled by any other musical organization now or ever before. Playing at Wilkes-Barre last evening, they captivated the dancers in their rendition of the most difficult numbers and were applauded time after time, being forced to stop only when their physical strength would no longer endure the strain. Those who will have the pleasure of attending the dance this evening are guaranteed of an evening of real enjoyment, whether they dance or not. “Come early and stay late” is the slogan for tonight and expect the best musical treat that has ever entered the town. Dancing from 8:30 to 12:30. Ladies, 75 cents; gents, $1,25. (Shamokin, PA, NewsDispatch, March 13, 1925, p.03)
The original Memphis Five, who have the distinction of being the only dance orchestra that makes phonograph records for 28 disc companies, including Victor, Columbia, Pathe, etc., will be featured attraction at tonight's festivities at Bach's dancing Academy, 134 N. Fifth St.. This will be their second and their last appearance at Bach's before touring on their western trip, which will lead them far into California. This is one of the most popular organizations brought to this city by Mr. Bach. (Reading, PA, Times, March 23, 1925, p.05)
The Band Everybody Is Talking About (Harrisburg, PA,
Telegraph, March 23, 1925, p.18)
MEMPHIS FIVE IN A RETURN ENGAGEMENT – WILL FURNISH MUSIC FOR WEEKLY DANCE AT LEGION GYM THURSDAY EVENING The original Memphis Five, which upon the occasion of its previous visit to the Legion at Shamokin played to capacity audiences by reason of its superior musical ability, will return here for a final engagement on Thursday, March 26. This talented orchestra will present a repertoire of entirely new productions that promise to prove most delightful. New specialties and effects have been added, combining with other features that serve to provide meritorious entertainment by this great musical organization. In order to secure this engagement it was found necessary to conduct the weekly dance on Thursday, March 26, of the current week. As this will positively be the last appearance of these peerless musicians in this locality this season, the engagement here should prove a record-breaking one in the history of the Legion auditorium. The customary price of 75 cents for ladies and $1.25 for gentlemen will prevail. (Shamokin News-Dispatch, March 24, 1925, p.04) RETURN OF MEMPHIS FIVE IS PLEASING TO DANCERS – GREAT ENTHUSIASM IS AROUSED OVER THE ANNOUNCEMENT RETURN ENGAGEMENT OF NOTED MUSICAL ORGANIZATION Great enthusiasm has been aroused over the announcement of the return of the Memphis Five orchestra to the Legion gym on Thursday evening, March 26, this being their last appearance in this vicinity for some time to come, and no doubt the dancers will flock to attend this most unusual musical and dancing event. In order to secure this final engagement of the Memphis Five it was found necessary to conduct the dance for this week on Thursday evening instead of Friday. Dancers are asked to bear this in mind as this will positively be their last opportunity to hear this orchestra in this region. The Memphis Five enjoy the unusual reputation of being the only musical organization to produce records for thirteen distinct and different phonograph companies. Others have attempted this but have been forced to cancel one contract to secure another but realizing the popularity of this orchestra the record producers actually bid for the reproduction of their music. Phil Napoleon, the trumpet player-manager has assured those in charge that the band will be in better shape than ever on this occasion, so the dancers can look forward to a complete evening of pleasure, much as they have never before had. All are asked to remember the change to Thursday for this week. (Shamokin News-Dispatch, March 25, 1925, p.03)
The Record-Making, Record-Breaking Masters of Blue Syncopation. Harrisburg’s Select Will Dance Tonight.
(Harrisburg Evening News, March 25, 1925, p.18)
RUFFALO A. A. DANCE, MOUNT VERNON, AT THE ARMORY The Original Memphis Five will play. [March 28] Messrs. Napoleon, Signorelli, Lytell, Pannelly and Roth comprise the widely known jazz band. It’s America’s premier jazz band. (Daily Argus, Mount Vernon, N. Y., March 27, 1925, p.10)
1500 ATTENDED RUFFALO’S A. A.’S ANNUAL DANCE There was a large gathering at the Louis Ruffalo Athletic association’s first annual ball in the armory Saturday night [March 28]. When the revelers assembled for the grand march past the reviewing stand at 11:30 o’clock there were about 1,500 persons on the floor and in the balcony. When the midnight hour struck and the function ended, there was great reluctance in leaving. The crowd was early in arriving, realizing that because of next day being Sunday, they would have to make the best of their opportunities for merriment. The music furnished by the Original Memphis Five proved so infectious and rhythmic that there were few people “sitting out dances”. The dance floor was packed throughout the
evening and the pleas for encores were numerous. …When the call was sent out for the lineup for the grand march at 11:30 o’clock about 450 dancers in colorful, bizarre and freakish costumes responded. The Original Memphis Five, which supplied the music for the dancing and terpsichorean exhibitions, comprises Phil Napoleon, Frank Signorelli, Jim Lytel, Bob Pannelly and Jack Roth. The dance numbers which received the greatest number of requests for encores were the compositions of two of the members of the orchestra, Phil Napoleon and Frank Signorelli. (Daily Argus, Mount Vernon,
Dial Lodge: Markel’s; Elm Club: The Witch Dives’; Gateway: Meyer-Davis; Ivy Club: Naylor’s Seven Aces; Key and Seal Club: George Olsen’s; Quadrangle Club: Meyer-Davis; Terrace Club: Club Alabam Orchestra; Tiger Inn: Naylor’s Seven Aces; Tower Club: Meyer-Davis. (Daily Princetonian,
p.11)
(Fitchburg, MA, Sentinel, May 06, 1925, p.02)
(Pottsville, PA, Republican, April 27, 1925, p.01)
p.14)
Princeton, N.J., Friday, May 01, 1925, p.01)
MEMPHIS FIVE GOING STRONG New York, April 11 The tour of the Original Memphis Five, under the direction of Phil Napoleon and Frank Signorelli, is reported to be breaking records all along the line. The boys are playing thru N. Y., March 30, 1925, p.02) Pennsylvania prior to a four weeks’ engagement in Boston, "MEMPHIS FIVE" HERE TONIGHT The Original Memphis for which they are to receive one of the biggest salaries ever Five dance orchestra will play a return engagement at Bach's paid a combination in that territory. (Billboard, April 18, Dancing Academy, 134 N. 5th St. this evening [March 30]. 1925, p.20) This will be the third engagement within the past three weeks COMMODORE BALLROOM & ROSELAND PARK of these very popular peppy syncopators who have captured … Commodore ballroom … Tomorrow night [May 05] the Reading by storm. This orchestra, comprised of five experts original Memphis Five will make its first appearance at this who play only a trombone, trumpet, clarinet, piano and hall where they will be assisted by the Commodore orchestra drums, and they are so well-trained players that neither one in a program of latest dance music. Coming direct from New requires a sheet of music to play from. The talk of the town. York the team is now on its first tour after a run of 300 weeks They’re wonderful. If you’ve heard them you’ll want to hear in the “big town”. Not only playing some of the most popular them again. It’s a jitney orchestra with a Pierce arrow-speed, places in the metropolis they have also been engaged in and a sure cure for a wall-flower, and a Rolls-Royce making records for all the well known phonograph attraction at a flivver price. (Reading, PA, Times, March 30, companies and the records are in great demand, while radio 1925, p.05) fans are well acquainted with their numbers. During their stay MEMPHIS FIVE HERE Tonight at Bach’s Dance Studio, here they will be under the direction of Manager Francis J. the Memphis Five will play a return engagement. This is the Roane. Both Roseland and the Commodore ballroom will third engagement within the last three weeks of this popular feature the team for the current month. … On Wednesday orchestra, comprising five skilled musicians who play only a evening [May 06] the original Memphis Five … will play for trombone, trumpet, clarinet, piano and drums. Their music is dancing at the Roseland. … on Saturday night [May 09] the dance compelling, and many encores are given. (Reading PA Memphis Five will again be heard at the park. The admission Eagle, March 30, 1925, p.04) on all nights is 50 cents. (Lowell, MA, Sun, May 04, 1925, THE ORIGINAL MEMPHIS FIVE The World’s Record p.09) Makers for 28 disc companies. The highest paid Five in … the “Original Memphis Five”… are known as the U.S.A. Their fourth engagement at Bach’s in four weeks. greatest orchestra of their kind in the country … The leader of There’s a reason. It’s the most popular orchestra that ever the orchestra is Vincent [sic] Napoleon, the world’s greatest came to Reading. (Reading, PA, Times, April 06, 1925, p.05) jazz cornetist. The Memphis Five play for Victor and The Memphis Five from the Rosemont Ballroom New York, Columbia records and also other recording companies. With which attracted many dance lovers on their last three such an orchestra in charge, there is little doubt but that the engagements at Bach's Dancing Academy … These five evening will be a great success. (Lowell, MA, Sun, May 01, musicians are a sensation and their music is winning them 1925, p.19) many admirers on each visit. (Reading, PA, Times, April 06, The original Memphis Five … opened its engagement at the 1925, p.28) Roseland Park on Monday [May 04] and made a most World’s greatest five-piece combination. Broadway’s favorable impression. (Lowell, MA, Sun, May 06, 1925, p.07) sensational orchestra. (Altoona, PA, Tribune, April 08, 1925, Most wonderful orchestra of its kind in the United States. These peppy musicians who play without reading any notes … at the Commodore ballroom on Thorndike street … always attract many dancers. (Reading, PA, Times, April 20, Thursday night [May 14] looks like the big night of the week. 1925, p.02) The Original Memphis Five and the Commodore orchestra Positively the best five piece band in the world. Your will endeavor to please the fans with a program of lively money refunded if not satisfied (Huntingdon Daily News, dance music. If you haven’t heard the Memphis Five “do their Wednesday, April 22, 1925, p.02) stuff” just take a trip to the Commodore and listen in. The The season’s biggest dance craze. (Harrisburg, PA, team has been delighting large crowds both here and in Telegraph, April 24, p.16) Roseland [Park]. … (Lowell, MA, Sun, May 12, 1925, p.11) The record band and daddy of all jazz orchestras. The original Memphis Five orchestra will be on hand to (Pottsville, PA, Republican, April 25, 1925, p.01) furnish the music for dancing, and the team has all the latest Victor Record Artists and the best dance band in the world. and up-to-date musical hits. (Lowell, MA, Sun, May 14, 1925, FAMOUS JAZZ ORCHESTRAS TO PLAY AT DANCES ON PROSPECT STREET TONIGHT AND TOMORROW Prospect St., where several of the most famous orchestras of the country will supply music for the various dances. Over 750 guests are expected; while the list of the orchestras who have been engaged is as follows: Arbor Inn: Vincent Lopez’ Original Six; Campus Club: Paul Specht and his Georgians; Cannon Club: Carl Fenton’s Orchestra; Cap and Gown Club: Almeyer’s; Charter Club: Ben Bernie’s Orchestra; Cloister Inn: Howard Lanin’s; Cottage Club: The Memphis Five; Colonial Club: Naylor’s Seven Aces; Court Club: Burn’s Orchestra;
The Original Memphis Five … has been playing to large gatherings at several of the leading resorts in the vicinity of Lowell and there is always a time on the card when this troupe furnishes the music. (Lowell, MA, Sun, May 19, 1925, p.08)
ROSELAND PARK The original Memphis Five will bid farewell Saturday evening [May 30]. The team has pleased large gatherings both in Lowell and at this park and a large crowd will be on hand to hear the outfit in its final performance. (Lowell, MA, Sun, May 26, 1925, p.13)
Allentown, PA, Morning Call, July 15, 1925, p.13 Sayre, PA, Evening Times, June 25, 1925, p.08
Altoona, PA, Tribune, June 26, 1925, p.14
Lebanon, PA, Daily News, June 27, 1925, p.01
Danville, PA, Morning News, July 02, 1925, p.01
Reading, PA, Times, July 01, 1925, p.07
Utica, NY, Daily Press, July 03, 1925 Danville, PA, Morning News, July 15, 1925, p.03
Canandaigua, NY, Daily Messenger, July 20, 1925, p.03
Geneva, NY, Daily Times, July 21, 1925, p.07
Elmira, NY, Star Gazette, July 10, 1925, p.05
Uniontown, PA, Morning Herald, July 23, 1925, p.01
Reading, PA, Times, July 08, 1925, p.07
Reading, PA, Times, July 14, 1925, p.07
Shamokin, PA, News-Dispatch, July 13, 1925, p.01
Altoona, PA, Tribune, July 23, 1925, p.16
Albion, NY, Orleans Republican, August 12, 1925, p.04
… Everybody … can tell you this is the orchestra of five men that makes more music than twenty-five. The reason is that each one is an artist, handling from five to eight instruments at different times. It is a feature alone to see these men handle the different music makers. (Mount Carmel, PA,
dealers, the only band which has had this honor. As the management of the pavilion books only the best orchestras it is deserving of splendid patronage. (Franklin, PA, News-
Herald, June 17, 1925, p.12)
The Happiest Band on the Road (Titusville, PA, Herald,
Daily News, May 28, 1925, p.01)
June 17, 1925, p.06)
08, 1925, p.10)
p. 03)
LAKESIDE Nature’s Playground offers THE attraction of the MEMPHIS FIVE WILL APPEAR AT SHADY GROVE PARK year in the Original Memphis Five, recorders of Victor and THIS WEEKEND Bert Miller, owner and manager of Shady Brunswick records. This orchestra broke all records for Grove Park, is to be congratulated on his next attraction – the attendance at Reading, Pa. (Mount Carmel, PA, Daily News, Memphis Five, billed as the greatest five-piece band in the June 02, 1925, p.01) world. This band will play for the Friday night dance [June RARE MUSICAL TREAT AT FAIR GROUND DANCE GIVEN 19], 8:30 to 12:30, and the Sunday afternoon and evening BY THE NOTED MEMPHIS FIVE TO LARGE CROWD ON concert [June 21]. The Memphis Five has made records for Like they braved the virtually all the phonograph firms of the country and are said WEDNESDAY NIGHT [June 03] stormy weather last year to have Whitey Kaufman and his to be able to produce as much jazz as any other organization Victor record orchestra at the Fair Ground Pavilion, that’s twice the size. The Shady Grove swimming pool is daily how music lovers and dancers turned out on Wednesday increasing in popularity with many hundreds seeking relief evening to hear the Memphis Five Victor record Orchestra from the heat in it. The water is clear and pure and a and nationally known radio entertainers, which were booked wonderful place to swim. (Uniontown, PA, Morning Herald, by dance promoter Russell K. Miller. As promised by Mr. Thursday, June 18, p.16) Miller before the summer season opened, that he would Return by popular demand. Favorites wherever they go. secure some of the best orchestras for the local lovers of Hear the original of that favorite record. (Lebanon, PA, Daily music and dance, he has made good on several occasions, News, June 26, 1925, p.01) but last night’s entertainment proved to surpass everything This orchestra made a tremendous hit with the dancers thus far. The Memphis Five has been heard over the radio by several weeks ago and by popular request we again offer "The local citizens but last night they heard and saw these five Original Memphis Five" for your approval. (Mount Carmel, musicians in action. The musicians were there in person and PA, Daily News, July 07, 1925, p.01) furnished for the large crowd of dancers and overcrowded LAKESIDE TO HAVE BATTLE OF MUSIC The Original porch of spectators, a full line of all the latest numbers to Memphis Five orchestra, who have played for Victor, which a fair sexed crowd danced. However due to the Columbia, Okeh and Vocalion record makers and also intense heat, the dancers were not so crowded, during the delighted thousands with their radio broadcasting programs, first half hour or more, but gradually the floor filled up. have been secured by Manager Charles A. Parker of Lakeside Hundreds of lovers of music sat on the large porch where Pavilion to play there on the evening of Monday, July 20. On they enjoyed the concert in cool breezes which kept them the occasion the Original Memphis Five will engage in a until late at night. (Lebanon, PA, Daily News, June 04, 1925, “battle of music” with the pavilion orchestra, The Manhattan p.02) Serenaders. One of the finest programs of dance music of the MANILA GROVE - Monday, June 08. Memphis Five, season at the popular Finger Lakes resort is promised for that biggest little band in the world, having made more records for night. The visiting aggregation, although composed of only Victor than all other bands combined. Five men, with the five musicians, have attained a reputation for their excellent musical volume of 15. (Pottsville, PA, Republican, June 05, playing in all parts of the country. The Manhattan Ramblers, a 1925, p.01) ten piece band are also expected to show their wares in fine SENIOR ASSEMBLY HELD AT EDDYSIDE Collegiate style on that night and altogether one grand festival of music social activities for the year came to an end on Friday is anticipated for lovers of the terpsichorean art at the evening [June 05] when the Lafayette Seniors Assembly was pavilion ball. Among the dance numbers produced for record held at the Eddyside club. The club was remarkably cool and making concerns to be played by the Original Memphis Five the large numbers of dancers suffered very little discomfort on July 20 at the Pavilion will be: Meanest Kind of Blues, during the evening. The Original Memphis Five played for the How Come You Do Me Like You Do, Throw Down Blues, dancing, which lasted from 9:30 to 2 o’clock. Refreshments Sob Sister Sadie, Mobile Blues, Doo Wacka Doo and What A were served at midnight. (Allentown, PA, Morning Call, June Red Hot Mama Can Do. (Auburn, NY, Citizen, July 02, 1925, The Original Memphis Five are breaking all attendance ORIGINAL MEMPHIS FIVE TO BE AT CENTRAL PARK records at most of the ballrooms where they appear on their Local dance lovers are pleased to know that the original tour. The combination is managed by Bernie Foyer. (New Memphis Five, a splendid musical aggregation, will provide York Morning Telegraph, June 13, 1925, p.02) the dance program at Central Park dance pavilion on MEMPHIS FIVE - the best known recording orchestra on Thursday evening [July 16]. The orchestra is a popular Victor the road. (Franklin, PA, News-Herald, June 16, 1925, p.01) record organization, and those who like their records will Victor’s most famous recording band. (Oil City, PA, want to hear the musicians themselves. An evening of real Derrick, June 17, 1925, p.07) entertainment is promised those attending. (Allentown, PA, Renowned makers of phonograph records. (Uniontown, PA, Morning Call, July 15, 1925, p.06) Morning Herald, June 18, 1925, p.01) The Original Memphis Five, known from the Atlantic to the MEMPHIS FIVE COMING TO SUGARCREEK THURSDAY Pacific as one of the country’s premier dance music The Memphis Five of New York City, will be the attraction at furnishing combinations, will be at Lakeside Park Monday the Sugarcreek pavilion on Thursday evening. [June 18] evening to dispense its harmony for the benefit of Central Dancing will be from 9 to 1 o’clock and will be party plan. New York lovers of the dance. Led by Bernie Foyer, the This orchestra is Victor’s most famous one, recording more Memphis quintet has achieved all kinds of success in the than any other band nationally known, full of pep and one dance music world. The Memphis Five are said to be the only that plays dance music as no other band can play it. This orchestra in the country which plays for every make of orchestra played for two years in New York City to capacity victrola record on the market. They record for Victor, houses each night. This orchestra makes records for the Columbia, Vocalion, Gennett, Edison, Perfect, Cameo, Pathe, following: Victor, Okey [sic], Pathe, Columbia and Gennett Banner, Regal, Actuelle, Grey Gull, Triangle and Emerson.
Although the record makers will be at the park Monday evening, the regular Lakeside orchestra, the Manhattan Ramblers, will also officiate. The two bands will alternate, but such is not being advertized as any “battle of music”.
(Auburn, NY, Citizen, July 18, 1925)
MEMPHIS FIVE DRAW BIG CROWD Every holiday brings scores upon scores of people to Lakeside Park, one of the most popular and widely known rendezvous in this section of the state. But no holiday or picnic day so far this summer has brought more people there than last evening, when hordes of all parts from Central New York jammed the Pavillion to hear the Original Memphis Five put across its dance music wares in competition with the regular lake orchestra, the Manhattan Jamestown, NY, Evening Journal, August 14, 1925, p.15 Ramblers. The Memphis aggregation, known throughout the country as the only orchestra that plays for every make of victrola record in the United States, gave great satisfaction. The Southern aggregation of music makers would play six or seven numbers, and then the regular Lakeside band would mount the platform and render for a similar period. …
(Auburn, NY, Citizen, July 21, 1925, p.05)
The Original Memphis Five Victor recording orchestra, direct from Broadway's most sensational Ball Room, the only orchestra of its kind that records for the Victor, Columbia, Vocalion and all other phonograph makers in America, record makers and breakers. Hear them at your Victor dealers and meet them face to face at Roseland Ball Room, Tuesday, July 21. Dancing from 9 to 1. The treat of the season. Your only chance to hear them in this vicinity. Tell your friends and follow the crowds. (Canandaigua, NY, Daily Messenger,
July 20, 1925, p.03)
… the original Memphis Five, red-hot orchestra …
(Canandaigua, NY, Daily Messenger, July 21, 1925, p.04)
GOOD CROWD AT DANCE AT PARK A large crowd attended the dancing party staged by William Muar, proprietor of Lakeside Park, at Roseland pavilion last evening. Featuring the event was the special orchestra, the Memphis Five, said to be direct from Broadway, which furnished music from 9 to 1 o'clock. (Canandaigua, NY, Daily Messenger, July 22, 1925, p.03)
Get ready for the rush ! They’re back ! The Memphis Five, greatest Jazz Band in the world. Ask any of the 1000 dancers who heard them here several weeks ago. Don’t miss it. Only orchestra making records for all graphaphone companies. (Uniontown, PA, Morning Herald, Thursday, July 23, 1925, p.01)
GENEVA-ON-THE-LAKE, OH, AUG. 01 - GENEVA TOWNSHIP PARK AT THE LAKE … Sunday dancing is tabooed here, but this is replaced by delightful concerts at the dancing pavilions. The Memphis Five, Victor Recording orchestra, is appearing at Pergola Gardens. At the Casino, Dimmick’s Sunnybrook orchestra is entertaining. Many visitors are camping in tents at Chestnut Grove, the popular camping ground here. The tents are pitched along the bank of the lake behind the shelter of large willow trees. Large crowds gather here for picnics, especially on Sundays. Akron, OH, Beacon Journal, August 18, 1925, p.19 (Cleveland, OH, Plain Dealer, Sunday, August 02, 1925, America. ((Lockport, NY Woman’s Magazine Section, p.13) VICTOR RECORDING ORCHESTRA AT OLCOTT The 1925, p. 04)
Original Memphis Five, makers of Victor and Columbia records, which will play for the dancing at Olcott Beach Hotel, Monday evening, August 17th, have a wonderful reputation throughout the country as an organization which is never satisfied with anything but the finest artistic results, as judged by the hardest standards of dance music playing. Their recent releases on the Victor show them to be all they are supposed to be and Lockport people who attend this dance will be satisfied that they have danced to the best in
Union Sun Journal, August 10,
Better than any orchestra ever brought here. (Lockport, NY
Union Sun Journal, August 13, 1925, p.12)
… When Herb Wiedoeft says the Memphis Five is the greatest collection of musical stars in existence don’t you think they must be good ? … Memphis Five smashes attendance records every place they play. Why not be one of the hundreds who will dance… (Lockport, NY Union Sun
Journal, August 15, 1925, p.16)
ORIGINAL MEMPHIS FIVE ORCHESTRA AT OLCOTT BEACH … . Several Brunswick Recording Orchestras have appeared at the popular hotel dancing pavilion, but it remained for the Memphis five to be the first Victor
Recording Orchestra to play there. People who buy the Victor records are well acquainted with the Memphis Five. The recent records, “Sob Sister Sadie” and “Throw Down blues” are remarkable dance numbers. This famous orchestra has been touring America with notable success. They are writing a big name for themselves in fox trot music. (Albion, NY,
Lopez, Leo Reisman, Fletcher Henderson, Ben Bernie, Mal Hallett and many others. True, they cost more to book, as they must either be guaranteed a certain sum on a percentage basis or paid much more than the local orchestra receives, but their names draw patrons to the park who perhaps would not come ordinarily. … Music has gotten to be an integral Orleans Republican, August 12, 1925, p.01) part of the modern amusement park and as essential to its … This powerful dance band is expected to draw an success as the riding devices, the midway, the swimming immense crowd at Olcott the same as it has been doing pool or any of the other attractions within the gates. throughout the country. The Memphis Five have played two years at the Roseland Ballroom on Broadway, New York City, one year at the Rosemont Hall, Brooklyn, and smashed all previous records at Meyer's Lake, Canton, Ohio, Pergola Gardens at Geneva, Ohio, and at Waldameer Park, Erie, Pa. Reports from these cities state that the Memphis Five drew larger crowds than the famous Herb Wiedoeft Orchestra.. Each member of this famous Memphis Five orchestra is Variety, September 02, 1925, p.40 Variety, September 09, 1925, p.38 considered a star in musical lines. Phil Napoleon, trumpet, is rated by musicians as the outstanding trumpet player in the country. ... (Medina, NY, Daily Journal, August 14, 1925,
p.03)
Leading phonograph outfits … such as the Memphis Five, famous exponents of jazzy blues … (Billboard, September 19,
1925, p.21) This is a good spot to cite a contemporary report detailing the importance of music in amusement parks: Billboard, March 20, 1926, p.09 MUSIC IN AMUSEMENT New York Daily News, September 06, 1925, p.38
PARKS In these days of changing tastes and customs and of complete reversals of the accepted order of things park managers must keep abreast of the times if they would show a profit at the end of each season. In these days of bands, orchestras, phonographs, organs, self-playing musical instruments and radios one cannot ignore the demand for popular music. The country as a whole has been gradually educated to a new musical standard. … The music lover is no longer a rare species of homo sapiens, but is to be found even in the lowliest hamlet of this broad country. Today music is the language of the universe, a language everyone understands and loves. … But following directly on the heels of this love of the heavenly and beautiful in music has come another era – the jazz era (we object strenuously to the term jazz, for it is neither typical nor descriptive of music as we know it today. We prefer to call it modern dance music). Gone is the old ragtime of the days of “Alexander’s Ragtime Band”. In its place has come a much superior grade of music. The musical gymnastics, the banging together of cocoa shells, the rapping of tin pans, the tinkling of cow bells, the crashing of cymbals and the many other tricks – all reminiscent of the blacksmith shop and the boiler factory – have been abandoned in favor of music that is more truly music, more truly harmonics, more truly instrumental than that old form which depended on novel effects for its results. … With the more general appreciation of the great maestros has been combined a demand for a type of music that reflects the modern times, with the result that we have this new, popular form of music. … Music is an asset to the modern amusement park when the wants and likes of the patrons of the park are considered and catered to. Music can be used to excellent advantage in the dance hall, the dining room, the band stand, the swimming pool, in the picnic grove … But it must be the kind of music your patrons like to listen to. There is hardly an amusement park in the United States that doesn’t boast a dance hall. Most dance halls pay a very nice dividend on the investment involved, besides being a very popular spot in the park. … Parks have found that there was a demand … for socalled “name” bands, so they have sent to the booking offices on Broadway for bands with reputations for dance music of a high order, reputations for symphonic jazz that will tickle the toes of even the aged and infirm. Great has been the demand for such bands as those furnished by Paul Whiteman, Vincent
When the OM5 returned to NYC in late August 1925, they expected to begin their planned engagement for the fall season at the Rosemont Ballroom in Brooklyn, on Friday, August 28, 1925; apparently the row between the band and the Rosemont over the February 1925 radio broadcast had been laid aside. But things went not as planned for the OM5. Let’s hear Fess Williams, the colored reed- and show-man:
‘…at the Rosemont Ballroom in Brooklyn … this was the latter part of 1925 … we were only supposed to finish out the summer season until the Memphis Five came in to open the new season. We went over so well the Memphis Five had to find other work, because we stayed there until February 1926.796
Fess’ recollection is accurate: The Metronome issue of September 01, 1925, p.53 carries a review of the Williams band’s appearance at the Rosemont, and the Variety issue of February 03, 1926, p.44, announces February 06, 1926 as the OM5’s opening night at the Brooklyn Rosemont. The Billboard issue of March 27, 1926, p.23 reports: Fess
Williams and his Royal Flush Orchestra at the Savoy Ballroom … late of the Rosemont, Brooklyn …
So, in the meantime, the OM5 had to look out for other job opportunities. Apparently, this didn’t take them too long: Variety, September 02, 1925, p.41 N. Y.’S KIT-CAT CLUB
A new supper club, the Kit-Cat Club on West 54th street, opens Sept. 15. Nathan Horowitz, formerly interested in the Silver Slipper, is the sponsor of the new cafe. … The Original Memphis Five, headed by Frank Signorelli and Phil Napoleon, will be the band attraction.
In order to bridge the two weeks or so until the Kit-Cat job would start, the OM5 secured two engagements: New York Morning Telegraph, September 10, 1925, p.02
The Original Memphis Five are a featured attraction this week at the Colony Theatre. [a movie picture house] Variety, Wednesday, September 09, 1925, p.37 MEMPHIS 5 TRIPLING The Original Memphis Five will be “tripling” on Broadway next week. They opened Sunday of this week for a fortnight [Sept.06-20] at the Colony, also slated to open the new Kit-Cat Club on 54th street Sept. 15 and in addition every Tuesday they are at the Cinderella ballroom. (similar report in Billboard, Sept. 19, 1925, p.21)
New York Daily News, September 08, 1925, p.26
New York Daily News, October 10, 1925, p.19
Gettysburg, PA, Times, October 20, 1925, p.05
New Oxford, PA, Item, October 15, 1925, p.08
Altoona, PA, Tribune, October 29, 1925, p.12
Variety, September 09, 1925, p.65
Huntingdon, PA, Daily News, September 22, 1925, p.05
Variety, September 09, 1925, p.65
Reading, PA, Eagle, October 10, 1925, p.29 Reading, PA, Eagle, October 09, 1925, p.29
Variety, September 02, 1925, p.41
N. Y. BALLROOMS OPEN The Cinderella, and the Rosemont, Brooklyn, N. Y., opened formally for the new season last week. The Cinderella opened Saturday with Al Lynn’s orchestra and the Indiana Five (Tom Morton) as the permanent attractions plus the Original Memphis Five as special guest stars on Tuesday nights only. … The Rosemont had Trumpet Buzzi’s band [Henry Busse] and another combination [Fess Williams’ Orchestra] opening Friday.
bicycle rider. He was a catcher for the Newark team of the International League. As a bicycle rider, he pedaled to victory on many of the country’s tracks. It was against the wishes of his family that he finally decided to exploit his musical ability. (Baltimore Evening Sun, October 30, 1930, p.32)
Just into their stay at the Kit-Cat Club, on September 17, the group played a session at Victor, and for the first time the band was recorded by the new electrical process. Variety, Variety, September 09, 1925, p.32 carried a review of the November 18, 1925, p.46 reviewed the disc: OM5’s performance at the Colony movie house: DISK REVIEWS by ABEL [Green]
REVIEW: ORIGINAL MEMPHIS FIVE JAZZ BAND 10 Mins.: ONE (SPECIAL) COLONY, NEW YORK These boys use piano, clarinet, cornet, trombone and traps, with the cornetist doubling into a bass horn for one selection. Their entire routine consists of red hot numbers, all well handled and they grew in favor with the audience as their turn progressed. Without ostentation, they begin their work and keep seated throughout, sticking to their chores and leaving the bunk flashy stuff to those who need it for a success. Their playing in this case was sufficient to send them away solid. For a setting, Jere De Rosa had a silk house drape brilliantly lighted with purple predominating. As a picture house proposition the size of their organization and the little space that they require fits them for almost any theatre. - Sisk The B. S. Moss’ Colony Theatre, a supreme achievement in playhouse construction 1605, had been opened back on December 25, 1924 1606 and was devoted exclusively to super-films at popular prices.1605 Meanwhile, Phil Napoleon had some trouble to bother with: NAPOLEON MUST EXPLAIN ALIMONY ARREARAGE
Philip Napoleon, cornetist of “The Memphis Five”, was cited to appear in Supreme Court on Oct. 5 by Justice Isidor Wasservogel today to explain his arrearage of $ 1,340 alimony due his wife, Chrissie, under a separation decree which she obtained July 6, 1923, awarding her $ 35 a week permanent alimony. Mrs. Napoleon lives at 28 Harman St., Brooklyn. (Brooklyn Daily Eagle, September 27, 1925, p. A
20) Variety, November 16, 1927, p.55
NAPOLEON’S WIFE SAYS PHIL’S LONG WAY BACK Phil Napoleon (The Great), band leader, is trying to adjust his alimony arrears with his wife, Chrissie Napoleon, who claims $ 1,340 due her at the rate of $ 35 a month. A motion to punish the bandman for contempt of court was adjourned for a month pending a settlement between attorneys Kendler & Goldstein acting for Napoleon. The wife sets forth Napoleon receives $ 150 a week straight salary as leader of the Rosemont Ballroom, Brooklyn, N. Y. dance orchestra and also has $ 500 monthly income from phonograph recordings. Napoleon was co-founder of the original Memphis Five and still uses that record name on the disks. He [Phil Napoleon] left home … and, at age 15 ½ was married to a woman 28. It broke his mother’s heart. In time, the marriage was annulled.660 While still a teenager, Phil had married a women named Chrissie. The marriage was a short-lived one, a divorce being granted on July 28, 1921. Phil was ordered to pay $25 a week alimony, a sum he steadfastly refused to pay through several years of court hearings. Because he had not yet attained his majority (then 21), and perhaps because his Catholic family refused to participate in the divorce proceedings, in one of the court papers the defendant is listed as ‘Philip Napoleon, an infant over 14 years of age, by Milfred Mole, his Guardian ad Litem.741 Miff was 3 years
MILITARY MIKE / BASS ALE BLUES ORIGINAL MEMPHIS FIVE VICTOR No. 19805 An indigo couplet of extraordinary technique. When it comes to “blues” syncopation, the Original Memphis Five are in a class by themselves. “Military Mike” with its martial introduction is a fast Charleston fox trot and beaucoup “hot”. The “Bass Ale Blues” (Napoleon-Signorelli-Jackson) is a classic. Its switching tempos from accelerated to retarded meters make for interesting nuance throughout the rendition. The number is a Memphis Five standard, the composers being Phil Napoleon and Frank Signorelli, the heads of the jazz quintet. Clarion-Ledger, Jackson, Miss., November 27, 1925, p.07
Again, with fond memories of “Margie”, “Palesteena”, etc., in our ears, we welcome the return of the Original Memphis Five to the Victor fold. “Military Mike” and “Bass Ale Blues” are two fox trots in a style to please the most seasoned.
Apparently the new Kit-Cat Club was a short-lived venture, as it already closed after just three weeks. With no immediate prospect of a ballroom job in NYC, the band started, on October 08, 1925,617, 866 on a second tour of one-nighters, which ended sometime in mid-November, and included the following engagements: Oct. 09, 1925, Robesonia, PA, Pioneer Auditorium;865, 1333, 1332 Oct. 10, Reading, PA, Carsonia Park, Crystal Ballroom;865 Oct. 21, McSherrystown, PA, Colonnade Hall.1334 10 1340 Here are some impressions of the tour:
The famous Victor Recording Memphis Five, direct from New York City. There is no better orchestra. (Gettysburg, PA, Times, October 20, 1925, p.05)
The Memphis Five orchestra at the New Colonnade hall tomorrow evening will doubtless attract a large crowd of dance lovers as this orchestra has a reputation for furnishing music of the best caliber. *A real treat for the dancing public and music lovers. (Hanover, PA, Evening Sun, October 20, 1925, p.02 & p.03*)
NEW COLONNADE HALL, McSHERRYSTOWN, LAST EVENING … the Memphis Five cancelled their engagement for the night at 2 p. m. yesterday afternoon because of the illness of three of their men … The Memphis Five, which also cancelled an engagement at State College for the latter part of this week, will be engaged for a dance as soon as the orchestra is again available. … (Hanover, PA, Evening Sun,
October 22, 1925, p.04) Nevertheless, the OM5 did manage to hold a recording session in NYC for Victor, right on the next day (Oct. 22), but the results were rejected. However, four days later, they recorded again for Columbia, and this time, the resulting five sides were issued, on Columbia and Harmony (“ ‘Taint Cold ” was one of the titles). Then, the New York Morning Telegraph, November 14, 1925, p.03 reported:
MEMPHIS FIVE BACK Phil Napoleon and his Memphis Five have returned to New York after a long tour of one-night stands. They will remain in town long enough to make older than Phil. several recordings and then hit the road again, opening Phil Napoleon, director of the Memphis Five Orchestra, November 21 at the Branford Theatre, Newark, N. J. [100 chose a career for himself back in 1917, when three Branford Place]. vocations forked ahead of him. At that time, besides being a musician, Phil was also a professional baseball player and
The Original Memphis Five, late 1925 – early 1926. L-R: Jimmy Lytell, cl / Frank Signorelli, p / Phil Napoleon, t / Vincent Grande, tb / Jack Roth, d.
After the end of the Newark engagement on December 12, the band again took to the road:
New York Daily News, October 31, 1925, p.23
The Original Memphis Five are on a 22 weeks’ dance tour of one-nighters through New England, Pennsylvania and Newark, NJ, Jewish Chronicle, Ohio. (Variety, December 16, 1925, p.45)
November 20, 1925, p.14
To start off this road tour, their third in 1925, the band played a week’s engagement at the Avalon Ballroom in The Original Memphis Five Boston (Dec.13-18, 1925): The Memphis Five is here for a
MEMPHIS FIVE ON RADIO have been added to the Cinderella Ballroom as an extra attraction for Sundays. During the week they will spend their time making phonograph records [probably referring to Victor matrix 33894 and Pathe matrices 106436/106437/106438]. A direct wire has been installed in the Cinderella and they will broadcast on Tuesdays from 6.30 to 7 o’clock, Thursdays, 8.30 to 9, and Saturdays, 9.30 to 10. The weekly features at the Cinderella are James D. Dimmick’s Sunnybrook Orchestra and the Original Indiana Five. (New York Morning
week at the Avalon ballroom and rates as a real drawing card in Boston. They asked $ 250 per night at their last appearance here, but it’s not known if they’re receiving as much on this solid weeks’ booking. It’s a very high figure for Boston. (Variety, December 16, 1925, p.46) Reports like the following make it clear that competition among touring bands was fierce:
The flood of itinerant jazz aggregations has created a sad cut-price standard in formerly verdant territory like Telegraph, Tuesday, November 17, 1925, p.03) Pennsylvania, which now offers “Ash-Wednesday prices for NAPOLEON TO DOUBLE Phil Napoleon and his New Year’s eve engagements”, to quote one bandman. Memphis Five opened at the Branford Theatre [November 21] (Variety, December 02, 1925, p.46) in Newark. They will double on Sunday evenings, when they The planned length of 22 weeks of this third substantial will be featured at the Cinderella ballroom, on Forty-eighth OM5 road tour shows that the band didn’t expect to return to street and Broadway. This band is also a recording the Brooklyn Rosemont before early May, 1926. The only two combination. (New York Morning Telegraph, November 23, jobs of the tour I could trace was a one-night stand on 1925, p.02)
January 19, 1926, in Mansfield, OH:1359 to 1361
1925, p.07) Whether the absence of a steady long-time engagement for the OM5 played a role in his decision or not is unclear, but, after having been a continuous member of the band for three and a half years, trombonist Charlie Panely left the OM5 in early October 1925, and joined the Maesto brothers’ Original St. Louis Rhythm Kings. He played with this group on several jobs in October and November 1925,1342 to 1351, 1705 being featured as “the famous trombone player of the Memphis Five”. But already by December, he had formed his own 11piece “De-Luxe” orchestra to accompany exhibition dancers Sascha Piatov and Lois Natalie on a nationwide ballroom tour.1352 to 1356 It was Vincent Grande (Nov. 13, 1902 – Nov. 1970) who replaced Panely as the new OM5’s trombonist; Grande is pictured in the two photographs of the OM5 shown below – clearly the same person as the one pictured in the 1927 Holton Instruments advertisement.
The other stops of the tour and their dates are not known to me at present, but on January 21 & 23, 1926, Frank Signorelli recorded for Brunswick-Vocalion in NYC: Variety, April 07, 1926, p.44 DISK REVIEWS by ABEL [Green] Chinese Blues / ‘Tain’t
BRANFORD THEATRE … A delightful Thanksgiving Attention, red-hot pace-makers … (Mansfield, OH, News, program [Thursday, Nov. 26] of stage presentations includes Sunday, January 17, 1926, p.23), the Original Memphis Five, introducing Mr. Jazz himself … and another one at Coney Island: (Newark, NJ, Jewish Chronicle, November 20, 1925, p.15) DIXIE PLEASURE CLUB ANNOUNCES WINTER DANCE The OM5’s stay at the Branford Theatre in Newark lasted for The eighth annual winter dance of the Dixie Pleasure Club approximately three weeks, until about Saturday, December will take place January 13, at the Hotel Shelburne, Brighton 12, 1925: Art Landry and his band will be held over for a Beach, when two noted dance orchestras will be heard. The second week [December 21 – 26] at the Branford Theatre, Sunnybrook Society orchestra and the Original Memphis Five Newark. (New York Morning Telegraph, December 20, have been engaged for this popular event.911
Cold Original Memphis Five Brunswick No. 3039 The Original Memphis Five “ain’t cold” like one of their song titles in producing sizzling indigo dance music. They are dance favorites, their popularity at the Rosemont ball room, Brooklyn, N. Y., being ample proof. Across the bridge the dealers devote window displays to the bands’ new releases, their sales being large. Another record review (Victor 20039, recorded April 16, 1926) appeared in Variety, June 23, 1926, p.45:
DISK REVIEWS by ABEL “Static Strut” and “Tampeekoe” are the Original Memphis Five’s contributions. The couplet is exceedingly “hot” and “low down” and in keeping with the quintet’s style of frank jazz. Despite the minimum
The Original Memphis Five, late 1925 – early 1926. L-R: Frank Signorelli, p / Phil Napoleon, t / Jack Roth, d / Vincent Grande, tb / Jimmy Lytell, cl
The following review, done two weeks before the OM5 would start their engagement there, affords us an intimate glimpse how dance ballrooms were operated during those times: Variety, January 27, 1926, p.46
1927 Holton Instruments Catalog, p.17
Variety, December 16, 1925, p.48
instrumentation, their volume is sufficient, as is their dance delivery. As already mentioned, Variety February 03, 1926, p.44 reported the OM5’s opening night at the Brooklyn Rosemont as Saturday, February 06, 1926. The following report from the February 05, 1926 issue of the New York Morning Telegraph (p.05) confirms the date:
MEMPHIS FIVE AT BROOKLYN The Original Memphis Five will begin a return engagement Saturday [February 06] at the Rosemont ballroom, Brooklyn. These syncopators have been big favorites at the Rosemont at their previous engagement, and the return date was given them by popular demand. The combination had been touring the larger picture houses and ballrooms with a marked degree of success.
BALLROOM REVIEWS - ROSEMONT, B’KLYN New York, Jan. 23 This ballroom, with a capacity of 1,800, located in the theatre district of the downtown section of Brooklyn, figures as the class dance place of the borough. Its location atop the Woolworth stores at Fulton and Nevins streets makes it ideally accessible to all sections of the borough, either by trolley, elevated or subway. Many nearby theatres provide additional drawing power. The ballroom is located one flight up. It has its own entrance and lobby. Its space is 140 by 110, with 90 by 110 devoted to dancing space and the remainder for aisle space and lounging purposes. It has a soft drink bar and usual checking concessions with a flat charge of 10 cents for the latter. It is operated by Nathan Faggen and Sons. John J. Faggen and Joseph Rickman are managers. The entrance is attractive and the ballroom more so with futuristic decorations prevailing, also the subdued lighting effects with the brighter lighting spotted on the dance floor proper. Two bands alternate for dance music. Those in at present are The Mountaineers, a symphonic combination of 10 which features waltzes and slow numbers, contrasted by Fess Williams’ seven-piece jazz outfit, the torrid combination. The latter contributes for foxtrots and one-steps. Each plays three numbers and alternate. The dances last about four minutes. According to Mr. Rickman, this ballroom has a majority of waltz fans which has prompted the holding of waltz contests at the Sunday matinee sessions, when cups are awarded to the winning couples. 10c FOR HOSTESS’ DANCE The ballroom operates with a straight 65-cent gate on Monday nights and at Sunday matinees. From Tuesday to Friday a 65-cent admission entitles bearer to three dances with additional
instead of Bernie Foyer, with whom the OM5 had dealt for the past 13 months, their new agent was now the Alf T. Wilton, Inc.
Called “Wilton the Wiz” for his exceptional booking ability, … today Alf T. Wilton ranks among the first two agents on the big time in numbers of acts handled, if not actually being the first. Some competing agents say he is. (Variety, December 31, 1924, p.07 & p.136)
New York Daily News, February 03, 1926, p.34
Alf T. Wilton has walked out on the Keith-Albee office! It’s the sensation of a decade in vaudeville booking circles. Of all the agents ever connected with the Keith-Albee Booking Exchange within the past 30 years, Alf T. Wilton is the only one with nerve, enterprise or temerity sufficient to deliberately walk out, to open up his own independent agency, booking anything anywhere. … In his many years of agenting Wilton has gained the confidence, friendship and respect of actors and managers. … Wilton never cheated, either with K-A, its managers or his acts, and leaves the KeithAlbee office with the cleanest record for straightforward business dealings and loyality to that office of any agent ever or at present connected with it. … That Wilton selected an opportune moment for his change of base is not denied by other agents. They confess that Wilton pioneering himself into the open amusement mart at just this time is a smart maneuver, for the publicity he will gain from it. … (Variety, February 17, 1926, p.05 & p.06)
New York Daily News, February 06, 1926, p.21
New York Daily News, February 12, 1926, p.41
Variety, April 21, 1926, p.44
New York Daily News, February 19, 1926, p.41
Pittston, PA, Gazette, May 10, 1926, p.01
New York Daily News, February 21, 1926, p.32
tickets purchasable at 5 cents each. Twelve hostesses dance with the unaccompanied males, when regular dance tickets are supplemented with hostess tickets, which costs 10 cents each additional. The hostess receives $2 nightly salary and also 50 per cent of her ticket money. The girls are in charge of a supervising hostess, a matronly woman who introduces them to prospective partners. This is much in contrast to policies obtaining elsewhere when competition among the girls direct becomes an annoyance. On Saturdays, Sundays and holiday nights, the scale is tilted up to 85 cents. A dozen or more paneled pillars are throughout the foyer. The ballroom proper and lounge have an abundance of varicolored hand-painted silk shades with the decorative scheme running mostly to silhouettes. The bands are both ideal dance combinations and both exceptionally popular with this clientele. The symphonic combination plays regularly in subdued tempo while the jazz outfit cuts loose at all times with hot and noisesome jazz. Rosemont is now in its fifth season. Like any new enterprise, its first two years were tough, but it has been later put over and is now considered the best appointed ballroom in Kings County. - Ebda
The OM5’s stay at the Rosemont lasted for a maximum of 10 weeks, into mid-April at latest, as the advertisement reproduced below proves (Variety April 21, 1926). It also shows that the band had changed their booking agent: Albany, NY, Times Union, May 14, 1926
Engagements of this mid-late April road tour have eluded me, but in early May, 1926, the band was back at the Cinderella Ballroom in NYC, if the information of the 192605-14 advertisement reproduced below is not false; the same ad places the OM5 in Albany, NY, on May 15. As the band had played another one-night-stand in Pittston, PA, two days earlier (May 13),1363 the week of May 03-08 is the most likely time period for the group’s stay at the Cinderella, Broadway & 48th Street. But already two days after the Albany gig, the band performed again for a week in NYC, at the Brooklyn Rosemont (May 17-23).623 Speaking about the Cinderella Ballroom, it is interesting to investigate the evolution of this Broadway & 48th Street Night Life spot: New York Morning Telegraph, November 04, 1927, p.02: CLUB NEW YORKER [which had closed October 15, 1927]
… There is something pathetic about the vicissitudes this place has suffered. We remember when this particular spot at Broadway and Forty-eighth street was ruled by the Folies Bergeres, then it became Rector’s and the Cafe de Paris, then the Boardwalk, afterwards the Cinderella ballroom, still later Paul Whiteman’s [Club] and lastly the New Yorker. (By the way, it was the New Yorker where the Adrian Rollini groups’ ill fated three-week engagement took place in Sept./Oct. 1927, with Bix Beiderbecke as a member.)
Since that fateful evening on Febr. 04, 1925, when the OM5 had aborted the WAHG broadcast from the Rosemont, the band hadn’t had any steady, long-lasting engagement, and it looked more and more like they would lose their foothold in NYC’s hippest ballrooms. Dixieland jazz music came of age at almost the same time that Paul Whiteman, Vincent Lopez and Paul Specht were ‘educating’ the American public to big orchestras. The big groups won. It was J. J. Faggen himself who spearheaded the rapidlyevolving movement towards large, versatile ‘symphonic’ dance orchestras. The Original Georgia Five, Inc., a fivepiece band founded in 1919 808, filed its dissolution papers on August 02, 1926.805 Still another factor contributing to the difficult job situation for the OM5 in NYC is outlined in the following reports:
BAD COMPETITION This competition is of the cut-throat variety, and it is just now making itself very apparent in the orchestra field. Especially is it evident in New York. … New York is a big city and it needs many orchestras to take care of the needs of a music-loving and dance-seeking people. But there are limitations even in a great city like New York. And when outside orchestras, whose leaders see a prospect of vast fortunes to be gained in the big city, seek bookings here, and cut their prices below the level which has been considered a living price for orchestras in New York, merely for the purpose of getting a foothold, it is going too far for the good of the business. … (Orchestra World, June 1925, p.01) BAND SITUATION AGAIN REACHING CRITICAL POINT RECURRENCE OF “SURVIVAL OF FITTEST” PERIOD EXPECTED WHEN OUTFITS RETURN FROM FLORIDA Right now those engaged in the orchestra booking business in New York expect a renewal of the “survival of the fittest” situation before the coming months exits, as the saying goes, “like a lamb”. It is estimated that there are no fewer than 150 New York bands at present playing in Florida, Havana and other winter resorts. At the moment there is a considerably greater number of bands idle in New York than there has been for some time past, so it is expected that out-of-town engagements will be the only salvation of the white-flanneled musicians when they turn their sunburnt faces northward.
FOLLOWED BY CONTINUED DROP - NO FAVORABLE SIGNS FOR IMMEDIATE FUTURE With the Lenten season over, business in the night clubs failed to make the predicted jump and in many quarters the slump threatens to continue indefinitely. Even those most optimistic during the holy week period have practically conceded that the coming of mild weather has put an unexpected dent in returns and if the feeling continues, it is believed a number of the better-known places will shortly hand up the “To-Let” sign. … (New York Morning Telegraph, April 11, 1926, section 03, p.08) At Coney Island, which for many years had been NYC’s amusement center during the summer season, a big change had occurred during the winter of 1923-1924 when Surf Avenue and the Bowery were widened for better fire fighting access. The loss of 25 feet of property on each side of Surf Avenue and a similar amount on the Bowery necessitated the tear down of 175 businesses. The narrow walks leading to the beach near the Bowery were widened and thus chopped the Bowery into four short segments. Much of the old Coney Island vanished that winter as venerable old institutions, many operating year round, such as Stubenbord's Restaurant, Stauch's, Henderson's Music Hall, Child's Restaurant and even Nathan's were closed for the first time in memory. Stauch's and Nathan's rebuilt on the same site, while others like Child's Restaurant relocated. Eventually, the music scene at Coney also changed profoundly, bringing along the loss of popularity of five-piece groups being in charge of the music in the Island’s dance ballrooms. After the OM5 performed their last night at the Brooklyn Rosemont (May 23, 1926), the summer season was therefore spent, not in NYC or Coney Island, but again on tour (this being their third extensive road tour), again organized by agent Alf T. Wilton. Billboard, April 03, 1926, p.17 ALF. WILTON FORMS
BALLROOM CIRCUIT New York, March 27 - Alf T. Wilton Office is to book bands and orchestras for a 15 weeks’ tour beginning about May 15 as a result of a ballroom circuit that has been lined up by Jack Horn, who is in charge of this end of the Wilton Agency. The tour will stretch from New York to the West Coast and back again, according to announcement, and include a number of one-night stands. No bands larger than 11 pieces will be handled. In addition to these ballroom engagements Horn is lining up summer dates at parks and beaches. He has already several bands booked. Alas, the above report doesn’t provide specific band names, but the following report makes it clear that the OM5 was one of these groups who made this tour: New York, May 17 -
Summer booking activities of the Wilton office are beginning to increase. The Original Memphis Five, famous orchestral quintet, was booked for Dreamland Park, near Newark, for a two weeks’ engagement, opening today [May 17 – 30]. (Billboard, May 22, 1926, p.06)
The Memphis Five opened a two weeks’ engagement at
(Billboard, March 06, 1926, p.22)
CLUB OWNWERS WORRIED OVER CURRENT SLUMP IN BUSINESS - MANY STANDS MAY BE FORCED TO SUSPEND OPERATIONS LENTEN SEASON LOSS Variety, May 26, 1926, p.34
Huntingdon, MA, Daily News, June 07, 1926, p.03
Dreamland Park, Newark, this week. The Five will tour through the parks of Pennsylvania and Ohio following. 624, 625
The third report I found about this two-week engagement at Dreamland Park, which appeared in the May 23, 1926 issue of the New York Morning Telegraph (section 03, p.12), does provide us with the names of at least some of the bands playing at this venue during the following months:
BANDS AT NEWARK PARK The Memphis Five opened this week [May 17] a two-week run at Dreamland Park, Newark; other bands booked there on the two-week schedule include Oliver Naylor Victor Recording Orchestra, Harvey Marburger Columbia Recording Orchestra, Dan Gregory’s Victor Recording Orchestra, Fred Damon, and many other organizations; these bookings have been done by Jack Horn of the Alf T. Wilton office.
The OM5 took the opportunity to broadcast over radio Dayton, OH, Daily News, June 27, 1926, Society News section, p.08 station WNJ, Newark, NJ (252 meters) on May 28, 1926, 9:30 P.M.,811 and on June 01, 1926, 9:30 – 10:30 P.M.627, 628 On page 122 of its May 15, 1926 issue, the Exhibitors Herald (a weekly trade paper) reported:
MEMPHIS FIVE ON TOUR New York, May 11 – Jack Horn of the Alf T. Wilton office has arranged a tour for the Original Memphis Five to run through the month of June. Alas, I managed to find documentation for just a few of the one-night stands of this tour:
FOREST GABLES OPENS MONDAY - BEAUTIFUL Dayton, OH, Daily News, June 27, 1926, Society News section, p.08 DANCE PAVILION WILL ATTRACT LARGE ATTENDANCE The opening of Forest Gables which has aroused so much interest among dance lovers of this city and vicinity will be held Monday evening, June 28, at 8:30. This beautiful dance hall is situated on Covington Pike, occupying the ground formerly known as Forest Park. The park has been done away with and the dance pavilion is therefore surrounded by 12 acres of beautiful landscape. There is an outdoor and indoor dance floor, both having a distinct orchestra. The music will be furnished by famous orchestras, the two chosen for the opening being Dick Fidler’s orchestra and the original Memphis five. Dancing will be enjoyed under the most favorable conditions, only couples will be admitted and seating capacity has been arranged to accommodate 1600 people. This will do away with the disagreeable custom of standing around the dance floor. There will be dancing every night except Sunday from 8:30 to 11:30. (Dayton, OH, Daily
News, June 24, 1926, p.03)
OPEN AIR FLOOR BENEATH STARS … The dancers will have the pleasure of dancing beneath the stars in the open air floor or in the enclosed ballroom. The famous Dick Fidler’s orchestra and the original Memphis Five will furnish the music for the opening night … all those who have records made by the Memphis Five are anxious for the opportunity of hearing them in person. … (Dayton, OH, Daily News, June
25, 1926, p.19)
FOREST GABLES AND PALE MOON MAKE FAIRYLAND With a pale gold moon courteously lending its presence to the occasion, fairyland threw open its doors to one and all Monday evening. Entrancing melodies and hottest jazz by Dayton, OH, Daily News, June 27, 1926, Society News section, p.08 two of the best known orchestras in this part of the nation provided inspiration for dance lovers who worshipped Terpsichore “beneath the stars” at the grand opening of Forest Gables, new and beautiful indoor and open air dancing pavilion. Perfect dancing floors, colorful lighting arrangements, the best of music, jolly crowds and a wonderful night made the occasion a truly “grand” opening. The famous Memphis Five, Victor recording orchestra of New York, whose reputation has been firmly established by eight years of catering to the dancing public, were there. … the Memphis Five have been engaged for one week … (Dayton, OH, Herald, June 29, 1926, p.11)
MANY ATTEND DANCE AT PARK The Covington Pike was crowded to capacity Monday evening as a steady stream Albany, NY, Times Union, July 08, 1926
of automobiles wended their way to the formal opening of Forest Gables. Approximately 2200 couples danced to the music of Dick Fidler’s orchestra and the Memphis Five, and hundreds stood in the roadways alongside enjoying the picture made by the dancers gliding over the floor of this dance pavilion. The dance halls were finished in detail and beautifully decorated, and judging from the comments made, the Dayton public is more than pleased with this unique dancing pavilion. Many floral tributes from business firms and friends expressing wishes for success graced the hall and roses were presented to all women upon entering. (Dayton, OH, Daily News, June 29, 1926, p.11)
BABY CAMP BENEFIT TO BE STAGED AT DALE The Columbus Baby Camp will benefit from the dance at Valley Dale [Ballroom, Columbus, OH], on Tuesday, July 06. Two orchestras are already booked for the affair, besides several talented entertainers who are prominently known. The famous Memphis Five orchestra has been engaged for that week [July 05 – 10]. This orchestra is one of the very few that have the privilege of making records for more than two companies, including Victor and Brunswick. Charlie Mobley and his orchestra will be used in addition to the Five, making dancing continuous on the two floors. (Columbus, OH,
Dispatch, June 20, 1926, p.89)
Next come the Memphis Five to Valley Dale, opening Monday [July 05]. It is a highly-reputed organization of five musicians, said to be the “hottest little band” in the country. They make records for a number of companies, including Victor. … (Columbus, OH, Dispatch, June 30, 1926, p.48) HINTS TO STEPPERS The Memphis Five, who are to open an engagement at Valley Dale, Monday night [July 05], “produce music like a ten-piece orchestra”, is the report. …
(Columbus, OH, Dispatch, June 30, 1926, p.46)
Valley Dale patrons will hear the greatest novelty orchestra the Dale has ever offered tomorrow night with the original Memphis Five, famous Victor recording outfit from New York. … (Columbus, OH, Dispatch, July 03, 1926, p.18) The Memphis Five will open its engagement at Valley Dale Sunday, July 04, instead of Monday, as previously announced. “Static Blues” is one of the late numbers recently released on the Victor records which was played by the Memphis Five. … (Columbus, OH, Dispatch, July 02, 1926,
Sometime in mid-July, the OM5 again performed for one night at the Albany NY Yacht Club.629 Another engagement that was planned for the week of July 26-31, 1926 constituted of performing daily at the Fourth Annual Greater Carthage Expositin, Carthage, NY.630, 631 Apparently, negotiations between the exposition’s Entertainment Committee and the OM5 fell through, and Glenn Adney’s Orchestra, under the direction of violinist Norman Fleury, got the job.809 However, agent Alf T. Wilton managed to line up another job for the OM5, to accompany a fast-rising dancing star, at that time widely known as “Queen of the Charleston”: Billboard, August 07, 1926, p.08
MILDRED MELROSE SIGNED FOR LONDON New York, Aug. 02 - Mildred Melrose, premiere dancer who has been touring the country for the last two years playing the better class motion picture and vaudeville houses and who gained the sobriquet of “Miss Personality”, has been engaged for the Kit-Kat Club and Piccadilly Hotel, London, for an eight weeks’ stay, opening September 14. She is sailing August 21 on the Berengaria, accompanied by her mother, and has offers for additional engagements in leading European capitals, including Paris and Berlin. Before sailing Miss Melrose is appearing in vaudeville with the Memphis Five, well-known orchestra. She opened with this organization today [August 02, 1926]. Miss Melrose arrived in the East recently and has taken the center of spirited bidding for her services by leading motion picture and vaudeville operators. She gained fame in the West as the outstanding dance sensation in Fanchon and Marco presentations and thru the new box-office records hung up at theaters in various cities where she appeared. Her London engagement was negotiated thru the Alf T. Wilton office here.
p.46)
THE FAMOUS MEMPHIS FIVE, Victor recording orchestra from New York, start a week’s engagement at Valley Dale tonight. The management claims this attraction to be of the highest caliber, which seems hardly reasonable to many followers of good music when after hearing such bands as Don Bestor’s, Lopez and the Orioles, which carry from nine to 15 musicians. However, the Memphis Five, small as it is, ranks among the best in popularity throughout the country, and are as much in demand. They make records for 28 companies, including the senior corporations. “Static Street” [sic], late number on Victor records and released only a week ago, is their latest record. The Five are, of course, more of the very jazzy type, which has gained for them the title of being the “hottest band in America”. … (Columbus, OH, Dispatch,
July 04, 1926, p.58)
THE MEMPHIS FIVE - While we are designating some “populars” for the dancing public we must say a good word for the Memphis Five and their July record for Victor, “Tampeekoe” and “Static Strut”. It seems inconceivable that five men command so much tone and their accent is most contagious. … (Columbus, OH, Dispatch, July 04, 1926, p.59)
CALLED A “HOT BAND” Dancers who are fond of “hot music” should not miss the opportunity of hearing the Memphis five playing at Valley Dale this week. They are amply living up to their description as “the hottest band in Standard Casting Directory, July 1925, p.123 America”. … (Columbus, OH, Dispatch, July 07, 1926, p.38)
Alas, despite my best efforts, I was not able to find further documentation as to the specific location(s) & number of days of this vaudeville engagement of the OM5 with Charleston dancer Mildred Melrose. However, I was able to detect numerous reports on Mildred Melrose in the contemporary press. Due to space constraints, these cannot be presented here in the hardcopy version of VJM; however, the reader will find a detailed account on her career in Appendix 3 of the internet version of this article. After finishing their vaudeville job with Melrose, the band resumed touring:
FAMOUS ORCHESTRA AT BIRCH GROVE PAVILION Many dance orchestras have been heard here, in fact some of the greatest in the country, but there is one orchestra that stands alone in its class. That one is the Original Memphis Five. These boys hold the record of being the only orchestra that plays for twenty-eight phonograph recording companies, including the celebrated Victor Records. It has remained for Manager Colivas of Birch Grove Pavilion at Lake Sunapee Station to secure this renowned dance team for a limited engagement here. They will be heard on Monday, Aug. 16. No doubt many of our local dance fans have heard them in other cities or have danced at home to the records. (Newport, NH, Argus Champion, August 13, 1926, p.05)
Springfield, MA, Republican, August 18, 1926, p.02
(By the way, the Original Indiana Five was another fivepiece Dixieland Jazz group that undertook a road tour that summer season of 1926, playing at various amusement parks and ballrooms in the New England States & upper New York State.1939) Variety, August 04, 1926, p.39 …Signorelli heads one of
Pittsfield, MA, Berkshire Evening Eagle, August 17, 1926, p.04
The OM5 played another one-night stand on August 18, at Pittsfield, MA, Pontoosuc Lake, Boat Club Auditorium:
MEMPHIS FIVE Sensational booking, lake auditorium. Best known recording team in America at 50c. Wednesday Aug. 18. Don’t miss them. (Pittsfield, MA; Berkshire Evening
Eagle, August 16, 1926, p.09)
the best-known recording bands which has a rep for “canning” for every phonograph company. The Memphis Five are the sole survivors of the original “hot” combinations and popular dance purveyors, commanding fancy figures for their dance engagements. Variety, June 02, 1926, p.43 The Original Memphis Five, one of the best-known recording dance bands, may be elaborated into 11-men with the orchestra’s identity kept intact. Billboard, June 19, 1926, p.36 The Original Memphis Five, now on a tour of ballrooms, is planning to increase its personnel to 11 men in the fall … The band is booked until September, principally in ballrooms.
50c TONIGHT will admit you to lake auditorium, with dance by Memphis Five, a $1 attraction. Will enable you to enjoy band concert and see fireworks from piazza or from Pressure of the times requesting larger and larger dance roofless space near tea garden. Original Memphis Five record bands was mounting during the mid-twenties. The saxophone for 28 concerns. Sensational price, 50c. On first visit to trio was a commonplace in stock commercial arrangements Pittsfield. Come. (Pittsfield, MA, Berkshire County Eagle, of the time, which were increasingly often written for two August 18, 1926, p.11) The last engagement by the band of this summer 1926 road tour which I managed to trace took place from August 19 to 21, at Cook’s Crystal Ballroom, Riverside Park, Springfield, MA:
RIVERSIDE PARK PROGRAM Fireworks displays tomorrow night [Aug. 19] and Saturday night [Aug. 21], a special feature engagement of the Original Memphis Five, for three days, beginning tomorrow at Cook’s Crystal Ballroom where they will alternate for dancing with McEnnelly’s orchestra, … are only a few of the features that will be crowded into the Riverside Park program for three days beginning tomorrow. The appearance of the Memphis Five in the Riverside Park ballroom brings to this city another dance organization well known. … (Springfield, MA, Springfield Republican, Wednesday, August 18, 1926, p.04)
trumpets, a trombone, three reeds, four rhythm section and even one or two violins. The saxophone trio had become the spine of the dance-band sound. Groups like the California Ramblers adapted to this trend. Paul Whiteman’s conception of ‘symphonic jazz’, presented by his February 12, 1924 concert at NYC’s Aeolian Hall, further nurtured the public to this sound, and people soon regarded five-piece Dixieland jazz groups as outmoded. Orchestra World, October 1933, p.04 Phil Napoleon, one
of the earliest pioneers of jazz … was the organizer of the original Memphis Five, one of the most celebrated orchestras of the dawn of the jazz age. The Memphis Five, which was famous before Paul Whiteman had an orchestra, disappeared from the scene when orchestrations appeared on the racks of dance musicians.
Metronome, August 1932, p.17 IN DEFENSE OF JAZZ by J. LAWRENCE COOK [negro piano roll artist] … The fact of the matter is, when the word “jazz” first came into vogue, the cacophonous sounds blatantly emitted by the various instruments of “jazz bands” might have been classified by an even worse sounding name. The players in many of these bands frequently engaged in a sort of battle royal, each one seeking individual honors on the merit of endurance, intensity and variety of strange, ear-splitting effects. No wonder that many listeners were amused rather than entertained by these effort-straining gestures. No wonder that the sophisticated had no intention of ever taking “jazz” seriously. Few realized what an important metamorphosis was really taking place. Few were aware of the fact that a distinctive type of American musical expression was finding itself, and yet it was. Even now this statement will be strongly contested by many, although I stand ready to back it up by certain incontrovertible facts. A first class orchestra of today is expected to be able to do as much justice to a symphony as to a popular score and vice versa. … A skillful hand must guide the baton in either case. And, last but not least, the writer of “jazz” score must be an arranger of the first order, lest his work be eschewed by the well-schooled conductor whose critical eye will readily detect the slightest discrepancy in balance, tone color, good harmonization, and so on. If we examine the type of music that was popular at any given period, we will find a true insight to the spirit of the people of that period. … I ask you to study the problems, the manner of dress, the morals, habits and inhibitions of the people of our own nation at various periods of history and then make it a point to ascertain what songs were most popular among the masses, and see if these songs do not unmistakably reflect their general spirit. In our modern popular music we can almost accurately detect the spirit of modern times. … The very existence of our popular tunes of today is not unlike our own existence. We live fast, we are here today and gone tomorrow, as the saying goes. Today the whole nation is humming one popular tune and tomorrow another. Our generation loves life; our popular music is full of life. We seem bent on enjoying all the pleasures earth has to offer us … We like to eat, drink, sing, dance and make merry; consequently, our music must speak of all these things in terms of melody, harmony and rhythm. … Metronome, November 1931, p.29 JAZZ IS DIFFERENT TODAY - AN INTERVIEW WITH [bandleader] JACQUES RENARD by KEYES PORTER … Jazz today is, for the most part, a different thing from what it was seven or eight years ago. The old jazz – noisy, boisterous, full of discords – has largely given way to a more suave, a smoother and a truer playing. Of course, you will hear the noisy type of jazz in some clubs. For instance when I was in New York a few days ago I heard a negro orchestra playing pretty much as they used to play several years ago. There was the abrupt, jerky rhythm and much blasting of trumpets that some people still seem to like a lot. This is what we call “hot” jazz and occasionally any leader will give it to his patrons. But as a rule the interest is now more in the less violent, the less sensational playing both for dinner and for dancing. Another striking difference in the jazz of today over that of a few years ago is the precision with which all the parts are written out for the players. The old way was to furnish only a skeleton of the piece and to allow the players not carrying the melody to fill in – what we call ad libbing. This gave the individual performers a chance to roam all over the lot but it hardly let to qualities that are now giving jazz its strong appeal. … New York Morning Telegraph, July 11, 1928, p.03
NEW ERA OF JAZZ “The jazz orchestra as we knew it five or even three years ago is no longer, except in isolated instances, with us. While it still retains the same name, it has evolved into what I call a jazz symphonic band,” George
Olsen, popular bandmaster, … said. … “The modern jazz band”, continued Olsen, “utilizes practically every musical instrument of a symphony orchestra. Although you will find a musician still using the trick instruments that came in with the birth of jazz in certain spots, the music for the most part is subdued harmony. There is no longer any of the inharmonious jangle of noises that some people mistook for real jazz. Jazz, after all, is nothing more or less than a rhythm, and this rhythm, as now orchestrated, gives jazz a refinement that makes this type music not only essentially American, but the kind of music that vies favorably with the music of other lands.” … Variety, October 06, 1926, p.82 … American syncopation is not only an accepted national institution but has reached beyond into the universe as a world-wide criterion for rhythmic terpsichorean purposes. The desire to dance has been universal for centuries, the band vogue of recent years being merely a modulation and modification of the barbaric tom-toms of yesteryear. Symphonic syncopation, given its important shove-off by Paul Whiteman, has since swept the world in too well-known a manner to require further comment. BETTER MUSIC FROM JAZZ From that has sprung an appreciation for better music. The dance band was formerly the jazz band! Jazz has actually paved the way and made possible better musical ideas and tastes. … This briefly is the answer to the stability of the band craze. It’s no longer a craze, however. Its public appreciation is not of a faddist sort. Dance band music is institutional and the answer is that the outlets for its marketing are increasing in keeping with the demands for its appreciation. That’s why bands are now stage and smart cafe attractions … Variety, March 24, 1926, p.42 … Mr. [Paul] Specht stated that jazz music as understood no longer existed. That now a new expression of American music had been developed in symphonic syncopation … Variety, April 21, 1926, p.36 … Straight jazz became passe long ago … New York Morning Telegraph, May 20, 1927, p.06 JAZZ THREATENS TO BE A CLASSIC Jazz is not only behind the clefs to stay, but it also threatens to become classic, in the opinion of Joseph N. Weber, of New York, president for twenty-eight years of the American Federation of Musicians. … “Jazz”, said Dr. Weber, “is no longer roughneck. It is artistic. All that stands between it and refinement are the tinhat trumpets. Such orchestra leaders as Paul Whiteman and Vincent Lopez have made musicians of the old school recognize the possibilities of jazz”. … Billboard, December 06, 1924, p.51 The jazz band craze hit New York in 1917. It was originally imported from the levee district in New Orleans, where people who danced to jazz tunes were of the lowest order. These tunes were harsh and strident, but were characterized by vigor. It is this attribute that has enabled many of them to survive. However, it has become the consensus of opinion of those of authority that the craze for music that is barbaric and unreasonable is dying out. Better musicians are orchestrating for dance music now, and the old slam-bang school is passing to give way to a high degree of refinement.
A few weeks earlier, critic Abel Green, in Variety (September 24, 1924, p.26-C), had pointed out that in some instances, small ‘hot’ bands were still favored over big ‘symphonic jazz’ aggregations: MINOR BAND’S MUSIC
LIKED BEST It might surprise the managers of some of the big ballrooms and dance halls in this country as well as the feature orchestras therein that their patrons are inclined to favor the dance music purveyed by the so-called “minor” band. This is usually a small “hot” aggregation and subsidiary in billing to the “name” orchestra which built its reputation on the disks where their symphonic arrangements were appreciated to their fullest. In a dance hall amidst hundreds
of feet, the special arrangements are literally lost in the shuffle STRAIGHT BANDS WITHOUT CHANCE WITH ONLY while the “hot” band, with no pretense at symphonic STRAIGHT MUSIC, by Abel [Green] The entertaining band qualities, blares forth the rhythmic jazz in a manner to please is the thing today. Straight dance bands playing straight music the masses. are writing their own professional death warrants, if they Yet the contemporary mainstream publications were all adhere to that sort of musical offering. That is the consensus unanimously deriding hot jazz, that “barbaric music”: of progressive band leaders who have noted the trend of the New York Morning Telegraph, September 09, 1925, p.02 times. The trouble with the younger generation of musicians LOW-DOWN JAZZ PASSING … Jazz originally was is that they play what the musicians think is technically shackled to an immoral meaning, which was employed excellent. But what does that mean to the public ? …. mostly in the underworld and cheap cafes. Through usage, “HOT” DANCE MUSIC FADED … bands have been however, it has been cleaned and made respectable, and to glorifying a type of “hot” dance music that went out of date broad-minded and intelligent persons a synonym for “pep”. with Nick LaRocca, the torrid cornetist, when he headed the Low-down jazz tunes were aimed primarily at the sex Original Dixieland Jazz Band. Accordingly, having dressed instinct, and sold mostly to people with primitive minds and up “hot” jazz, the fad waned. The tip off might be taken from an abnormal supply of animalism. A few small firms Paul Whiteman, ever the leader in his field. Whiteman, specialized in this sort of stuff and made quite a little money recognizing the vogue for novelty vocal interludes and from phonograph records, as several of the second-rate hokum in dance music, set about picking up new men. He mechanical companies put a special campaign behind it. gave Wilbur Hall and Mike Pingitore “spots” for solo During the past two months, however, the demand for this specialties. Whiteman believes he’s showman enough to low-down jazz has taken a big drop, simply because people know what the public wants. Chicago, the hotbed of “hot” have tired of listening to the same kind of junk … . The music, has not given forth one dance band that has made recording companies have discovered the typewriting on the good outside of its own territory. … NOVELTY ceiling and do not expect to release much low-down jazz in COMMANDS DEMAND On the other hand, a number of the future. important contenders have come to large attention because of New York Morning Telegraph, September 08, 1925, p.02 their novelty. … As it is today, with the straight bands killing POOR ORCHESTRA AND BLUES A first-class orchestra is themselves in the heat of competition, there are not five not keen for playing low-down Blues; it prefers the better highlight engagements for a dance band left in the United grade of popular music and the standard compositions. To States. The hotels or vaudeville will not pay money, and it play good music as it should be played one has to possess leaves the picture houses and cabarets as the sole more than ordinary ability, but the low-down stuff may be alternatives. These outlets eat up all the available novelty clowned and put over with effect. And it is common organizations. … (Variety, June 09, 1926, p.41) BROADWAY AND SCALE CUTTING … That there aren’t knowledge among musicians that the recognized orchestras with the least amount of real musical training are the best three worth-while (financially) engagements on Broadway, demonstrators of low-down Blues. that gilded avenue of the World’s amusement, is a true, if Billboard, May 02, 1925, p.22 … With the gradual strange, statement. It is a condition of grave importance to extinction of the smaller orchestra, and the growth of the New York bandmen, but more so it’s the out-of-towners who “symphonic-jazz” idea, musicians are beginning to demand have to be warned. The native son who has been in demand the flare and flash arrangements. The melody is secondary, as on Broadway before the influx of unwise bandmen is muchly long as the arranger puts in plenty of frills and furbelows. … concerned about this. … CUT SALE, BAD PRACTICE Still another factor contributing to the difficult situation of What has happened is that the bands in many night clubs, the OM5, namely the dwindling figures of record sales by Oriental food dispensaries and dance halls are not only “name bands”, is described in the following report: receiving inadequate income, but are actually violating union Not so long ago the recording manager of a prominent regulations in that respect. It is generally known that many phonograph company had no time for an orchestra leader such bands receive below minimum union scale rates. … unless the latter had a big reputation. And it was easier for a (Variety, October 06, 1926, p.86) plain citizen to get an interview with the President of the United States than for an unknown leader or a small And then, the September 10, 1926 issue of the New York publisher to obtain a five-minute hearing with the recording Morning Telegraph (p.08) spread the news: Phil Napoleon, manager. Time and time again persons who called to see him the hot cornetist and leader and founder of the Original had to wait in the outer office and cool their heels for an hour Memphis Five, has severed connections with the latter and is or more. … Then along came a power greater than all the organizing a thirteen-piece band which will be known as the phonograph companies combined – radio. At first radio was “Great Napoleon’s Harmonists”. They start a season’s accepted as a freak, then as a novelty that would soon die engagement at the Rosemont Ballroom in Brooklyn on out. Radio, however, stuck and began to make deep inroads September 30, alternating with the Original Indiana Five that into the record business and took some starch out of the great is now playing at the place across the bridge. recording manager. Leaders with big names no longer were New York Morning Telegraph, September 12, 1926, section PHIL NAPOLEON BRANCHES OUT After able to sell large quantities of records … (New York Morning 03, p.09 Telegraph, May 29, 1925, p.02) having originated and directed the Original Memphis Five for Furthermore, many NYC night clubs, a prime field of work the last seven years, Phil Napoleon, the hot cornetist, has for jazz bands, were often in difficult financial conditions at severed his connections with the other four boys and the time: organized a thirteen-piece band which will be known as the NO “BIG” NIGHT CLUB BUSINESS ANY MORE Great Napoleon and His Harmonists. After a few weeks of Variety’s recent summary that the night life of the future will rehearsals and breaking in out of New York the band will go be centered around the “nice” hotels and restaurants, was over to the Rosemont Ballroom in Brooklyn to alternate with confirmed by cafe men themselves who have confessed the Original Indiana Five, who are now playing over across themselves “licked” by circumstances. There is no room now the bridge after a Summer of one-night stands in the East. in New York that is doing “great” business. After the star Napoleon and his outfit open at the Rosemont on September attraction’s $3,000 weekly is paid, plus the band and the 30, and Manager Joseph Rickman of the ballroom has overhead, there is nothing left for the money man. … arranged for a grand Fall opening when the boys get there. (Variety, May 19, 1926, p.47)
Variety, October 06, 1926, p.82 THROWING AWAY A NAME The Original Memphis Five, today the best known jazz band trade name, is being dissipated because of factional difficulties. Phil Napolean and Frank Signorelli, respectively trumpet player and pianist of the original quintet, and jointly co-managers and directors, have come to a parting of the ways, socially and professionally. Napolean now heads his own 12-piece orchestra at the Rosemont ballroom, Brooklyn, N. Y., and Signorelli is at the ivories with Joe Venuti’s new outfit at the Playground, New York [the Venuti engagement at the Playground Club had started September 24, 1926 1942, 1943, 1945]. Meantime a valuable
phonograph recording label like the Original Memphis Five, which holds the unique reputation for prolific recordings for every phonograph company in the business, is lying dormant. Some arrangement should be made anent the use of the name, not only for the disk but for general contractual purposes, as the name has a tremendous value on the road with patrons of good dance music. The stubbornness of two talented instrumentalists should not blind them to the trade value of their joint property.
Bergen, NJ, Evening Record, September 16, 1926, p.15
Brooklyn Daily Eagle, September 30, 1926, p.05
Variety, January 12, 1927, p.45 NAPOLEON WITH VICTOR Phil Napoleon starts as a Victor recording artist next month. Napoleon has built up his own orchestra of 12 at the Rosemont ballroom, Brooklyn, N. Y. When of the Original Memphis Five, which Napoleon and Frank Signorelli jointly headed, the quintet “canned” for every company. Napoleon and Signorelli had a falling out, and the former started building up his own outfit, Signorelli aligning with Ben Glaser as pianist. Because of the valuable trade name,
Variety, October 06, 1926, p.36
both partners have patched up for recording purposes, the Memphis Five name having important commercial value. Variety, October 06, 1926, p.56 NEW ACTS THIS WEEK PHIL NAPOLEAN AND ORCHESTRA, Rosemont Ballroom, Brooklyn, N. Y. Phil Napoleon the Great, as he is billed, is a unique band proposition in that, after many, many years with one of the “hottest” jazz quintets in the business, he has hearkened to the demands of orchestral progress by taking unto himself a large 12-piece combination. Napolean is the organizer and manager of the Original Memphis Five, the sole survivor of the jazz band craze which even avalanched the one-time sensationally popular Dixieland Jazz band under the avalanche of smooth symphonic dance orchestras. With the split within the ranks of Memphis Five, Napolean has organized a larger combination. … Orchestra World, March 1927, p.20 A SYNCOPATED EMPEROR Although the twentieth century has witnessed the downfall of Imperialism there has been established in the hamlet of Brooklyn a new dynasty. Into the throne of syncopation there has been seated a prince of music whose talents have been inherited and handed down from generation to generation. Napoleon, a historic name to be sure, Phil Napoleon the Great as he is billed is a unique band proposition in that after many years with one of the hottest jazz quintets in the business, he has hearkened to the demands of orchestral progress by taking unto himself a large twelve piece combination. … He organized and managed The Original Memphis Five, the best known jazz band which was the sole survivor in its class. The personnel of his orchestra is extraordinary and it is only fitting that the impression is so favorable. Napoleon has Frank Ward at the sax and arranging. Ward being an ex-leader. Ditto for Ted Rath at the trombone, playing an exceptional instrument. There are Carrol Thorne and Carl Ulrich, reeds; Warren Hookway, Azavedo and Napoleon himself at the trumpets; Dave Skine, banjo; Edward Stern, tuba; Charles Jondro, the tricky popular drummer; Harry Hoffman, violin and Fran Urgeneau at the piano. The ensemble is exceptionally fine and much-much more than the average is to be expected from Phil Napoleon’s Orchestra. In these days of the many fine combinations in the field it is seldom that an opportunity for particular acclaim presents itself and the Napoleon organization is one outfit that merits it. John J. Faggen, the owner of the Rosemont Ballroom in Brooklyn, who sponsored the new Napoleonic adventure, has capitalized to a great extent on the merits and drawing power of Napoleon. Broadcasting over the wave length of WRNY three hours weekly on Monday, Thursday and Saturday nights from 11:30 to 12:30 has earned for Napoleon the sobriquet of “The Emperor of the Air.” Two stenographers are employed at Rosemont to answer the fan mail which averages 1,500 letters weekly.
famous moniker – but not the exclusive rights to perform live under the name. “Phil Napoleon And His Twelve Masters Musicians” started their Brooklyn Rosemont engagement at the ballroom’s Grand Fall Opening on Thursday, September 30, 1926 633, 1480, 1538, 1940, 1941 , playing opposite the Original Indiana Five.1939, 1940, 1941 Due to space considerations, my examination of the story of Phil Napoleon’s Orchestra could not be included in the hard copy edition of VJM, but will be found in the internet version of this article.
Phil Napoleon And His Twelve Master Musicians, at the Rosemont, Brooklyn, late 1926. Courtesy of the late Bob Hilbert.
Variety, October 20, 1926, p.103 CLUB DOVER New York, Oct. 14 - Jimmy Durante, Eddie Jackson and Lou Clayton have their Club Dover … In the band, of which Harry J. Donelly is the pianist … are Jack Roth at the drums; Toney Thomas, cornet ; Barney Bernzweig, trombone; Irving Sherman, banjo, and John Zuckman, sax. … Mildred Melrose is a very nice dancer in straightaway kicks and steps … Metronome, December 15, 1926, p.32 Jack Roth, the former drummer with the Original Memphis Five, has an orchestra at the Club Dover. New York Morning Telegraph, March 04, 1927, p.08
LEADS DURANTE’S MEN Jack Roth, formerly with the Memphis Five, and on the recording list of every known company, is wielding the baton in front of the orchestra assembled by Jimmie Durante. Roth was with the Memphis Five for six years. During that time they were at the Balconades for three seasons. They originated Dixie land music. They made their biggest success with the selection “Sister Kate”. Billboard, April 23, 1927, p.23 Jack Roth, formerly a member of the Original Memphis Five, now is directing the orchestra at the Parody Club.
Weighing all the above, my conclusion is that the OM5 disbanded in early September, 1926. Because of its valuable ‘trade name’, the group sporadically continued to do recording sessions, broadcasts over radio stations, and also played one-night stands as the featured “band within the band” of the Phil Napoleon Orchestra. For special occasions, the original members of the OM5 even staged temporary reunions: NY Morning Telegraph, February 27, 1927, section 03, p.05 ORCHESTRAS COMPETING An unusual
competition is taking place this week in the Rosemont Ballroom, where one of three orchestras will be engaged after a week, being judged by the applause of the dancers. The orchestras competing are the Memphis Five, the Indiana Five and Phil Napoleon’s Band. Billboard, March 05, 1927, p.22 ROSEMONT CELEBRATES ANNIVERSARY Brooklyn, Feb. 26 - The Rosemont Ballroom is celebrating its seventh anniversary. The celebration began Thursday evening [Febr. 24, 1927] and will last for one week [Febr. 24 – March 02, 1927]. As a special attraction, the manager of the ballroom engaged the Original Indiana Five, and brought together, for the week, the charter members of the Original Memphis Five. The Memphis unit will disband when the festivities end and return to recording work. Phil Napoleon and his Orchestra have been furnishing the music at the Rosemont for several months and will continue to do so for the remainder of the season.
However, things seem to have been more complicated: on Buffalo, NY, Evening News, June 07, 1927, p.20 April 14, 1927, a band billed as “Original Memphis Five” [Jimmy Lytell], one of the famous “Memphis Five”, who used recorded four titles for Pathe, the non-vocal “Play It Red” and
to stick the clarinet in one corner of his mouth and blast out the “hottest” jazz you ever heard in the most nonchalant, unconcerned manner imaginable, the while his body swayed and jigged to the seductive strains of the music. Orchestra World, Summer 1927, p.04 Jimmy Lytell and his orchestra are featured in the musical comedy, “Ritzy”. New York Morning Telegraph, January 24, 1927, p.05
Frank Signorelli, of the Memphis Five, playing at the Deauville, expects to leave that orchestra [under the direction of Bennie Glaser 1953, 1955]. Signorelli is a Victor recording artist. New York Morning Telegraph, February 15, 1927, p.05
MAKING PHONOGRAPH RECORDS Frank Signorelli, pianist with Ben Glaser’s orchestra at the Deauville, is spending all of his time in the recording rooms of a number of phonograph companies. Glaser’s orchestra left the Deauville last week, when Charles Strickland and his men came in. Signorelli has other plans up his sleeve. The Billboard issue of April 07, 1928, p.24, reported:
SIGNORELLI HAS MEMPHIS FIVE New York, March 31 Frank Signorelli is directing and managing the Memphis Five in all the band’s recordings. Signorelli also is playing with the orchestra featured in “Rain or Shine”, the new Broadway musical comedy.
Apparently the old OM5’s co-leader, Frank Signorelli, had New York Daily News, February 25, 1927, p.49 secured for him the exclusive recording rights under the
three more with singer Annette Hanshaw. The personnel is uncertain, but did not include Napoleon, Grande, Lytell, Signorelli and Roth. From the following report we learn that this was an aggregation which even played live engagements and used the famous name, most probably without the consent of either Napoleon or Signorelli: New York Morning Telegraph, February 17, 1927, p.05
THE CAVE OF THE FALLEN ANGELS … The Memphis Five have replaced the Cave Dwellers in the downstairs place. The Lee Sisters, a new singing and dancing team, have just been engaged for it. (The Cave of the Fallen Angels Club had opened at its 301 West 46th Street location in November 1925,2625 and advertized itself with the slogan: “Most Unique Club in the City – Montmartre in N. Y.” 1957) However, Phil Napoleon continued to wax recordings under the “Original Memphis Five” name after 1926; the following two reviews may serve as examples: BRUNSWICK RELEASE [Br 3630] For “hot” and original
dance music deluxe The Original Memphis Five cannot be equalled. Their initial release includes “Lovey Lee” and “How Come You Do Me Like You Do”. This aggregation of “hot” dance artists have played in these two selections new color and new rhythm, which is much to the liking of dance devotees. (Evansville, IN, Courier, February 12, 1928,
section C, p.06)
COLUMBIA NO. 2577 – PLAYED BY THE ORIGINAL MEMPHIS FIVE ST. LOUIS GAL – We’ve always felt this combo were one of the real originators of jazz and after hearing this we’re convinced. MY HONEY’S LOVIN’ ARMS – Another record that will appeal to musicians, showing how effective small combinations can be. (Metronome, January 1932, p.39)
Rosemont Ballroom at Fulton and Flatbush, Brooklyn, four famous orchestras will engage in a spectacular battle of music next Thursday night [Oct. 20]. Phil Napoleon, Jack Crawford, the Original Memphis Five and the Original Indiana Five are the four popular phonograph recording units who will invade the realm of syncopation to gain favor in the hearts of Rosemont’s dance lovers. Manager John J. Faggen stated that if these four orchestras were to be engaged under contract they would command an aggregate salary in excess of $ 9,000 per week, and that the only inducement that enabled him to secure their consent for this battle of music was their desire to really determine which orchestra was really supreme. The patrons of the Rosemont will cast a ballot. and the winner will be awarded a silver loving cup in addition to a certificate of musical supremacy. Leading masters of jazz, including such as Whiteman, Lopez, Bernie, Olsen, Lewis, Hallet and others, have been invited. Orchestra World, October 1928, p.07
MEMPHIS FIVE AGAIN There is such a plethora of orchestras in town that one wonders how they sprung into being. Among these is the Memphis Five. After having been disbanded for some time, Phil Napoleon has reorganized the group which is under the able management of F. C. O’Keefe. Bands like this are always welcome on the bright way, for lamentably, there are but too few of them.
Albany, NY, Evening News, April 28, 1927, p.11
Albany, NY, Evening News, October 22, 1929, p.24
Indeed, some plans re the revival of the Memphis Five seem to have worked out for Phil Napoleon, at least intermittently, as the following report, published more than a year later, proves: Vernon, TX, Daily Record, December 19, 1929, p.03 HILL
CREST COUNTRY CLUB TO HOLD OPEN HOUSE DANCE Hill Crest Country Club will celebrate during the Christmas Brooklyn Standard Union, NY, October 16, 1927, p.11 holidays with an open house dance on Friday evening, December 27, it was announced here today. The Memphis (also Brooklyn Daily Eagle, NY, October 18, 1927, p. 12A) MUSIC BATTLE TO OPEN ROSEMONT As a special Five, a recording band, on a coast-to-coast tour to Los feature on the seventh annual grand fall opening of the Angeles to play in Vitaphone pictures, has been booked for
New York Daily News, October 19, 1927, p.33
Jersey City, NJ, Journal, October 31, 1931, p.05
New York Daily News, November 05, 1929, p.40
New York Daily News, April 02, 1932, p.25
New York Daily News, October 10, 1930, p.67
the evening to furnish music.
Akron, OH, Beacon Journal, November 04, 1930, p.23; * Washington Post, November 15, 1930, p.10
Just live long enough and you'll hear a few startling admissions, which serves to introduce the news that Phil Napoleon, who directs NBC's popular "Memphis Five", has broken down and confessed. Phil, the boss, says he never has been in the Tennessee city and that none of his boys hail from there. Nor is he certain that any of them have visited the community either. The name was selected back in the days when all jazz bands were tacking city names to their organization. It sounded "jazzy", Phil says. * “Memphis Five” was selected for no other reason than because it was short and snappy, and seemed to fit the pulse of jazz.
Re-union of the OM5 on a Martin Block Show, 1950’s. In this scene, the four of them inspect one of their vintage records, which Jimmy Lytell at this time had begun to collect. L-R: Lytell, Napoleon, Mole, Signorelli. Courtesy of Bob Hilbert.
The Memphis Five performed sporadically all through the 1930’s and 1940’s, until Phil Napoleon revived the group in 1949. But that is another story …
ORIGINAL MEMPHIS FIVE: known Playing Engagements Compiled 2014 – 2019 by: RALPH WONDRASCHEK, Kaiserstr. 54, 69115 Heidelberg, Germany. E-Mail: rwondraschek@yahoo.de 1925-02-16 1925-02-17 1925-02-21 1925-03-02 1925-03-02 1925-03-08 1925-03-09 1925-03-10 1925-03-10 1925-03-11 1925-03-12 1925-03-13 1925-03-23 1925-03-24 1925-03-25 1925-03-26 1925-03-27 1925-03-28 1925-03-30 1925-04-02 1925-04-04 1925-04-06 1925-04-07
References
“Gardens”, NYC (Febr.16-28) Napoleon/Panely/Lytell/Signorelli/Roth 557 broadcast at WNJ, Newark, NJ (252 meters) 11:00 – 11:30 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 558 ONS: Jamaica, Long Island, Colonial Arms, dance Napoleon/Panely/Lytell/Signorelli/Roth 559 by Young Israel of Jamaica start of 27 weeks dance tour of one-nighters, mgr. Bernie Foyer Napoleon/Panely/Lytell/Signorelli/Roth 550; 569; 570;572; 573; 574; 575; 576; 577; 578; 579; 580; 581; 582; 583; 584; 585; 586; 587; 588; 589; 590; 591; 592; 593; 1099; 1630 Philadelphia, PA, Danceland (March 03 – 07) Napoleon/Panely/Lytell/Signorelli/Roth 1632; 557; 1630; 1633 ONS: Cinderella Ballroom, Broadway & 48th Street, NYC Napoleon/Panely/Lytell/Signorelli/Roth 1634 ONS: Reading, PA, Bach’s Dance Academy, 134 N.5th St. Napoleon/Panely/Lytell/Signorelli/Roth 560; 561; 1100; 1101; 1103 ONS: Harrisburg, PA, Pomeroy’s “Open House”, 2nd floor, 7:00 – 7:30 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1107; 1109; 1110 ONS: Harrisburg, PA, Rendezvous Ball Room, Napoleon/Panely/Lytell/Signorelli/Roth 1102; 1108; 1109; 1110 4th St. & Chestnut St., 8:00 – 12:00 P.M. ONS: York, PA, Coliseum Napoleon/Panely/Lytell/Signorelli/Roth 1104; 1105; 1106 ONS: Wilkes-Barre, PA, Cinderella Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1111; 1112; 1113; 1114; 1115 ONS: Shamokin, PA, Legion, Weekly Dance Napoleon/Panely/Lytell/Signorelli/Roth 1116; 1117; 1118; 1119; 1120 ONS: Reading, PA, Bach’s Dance Academy, 134 N.5th St. Napoleon/Panely/Lytell/Signorelli/Roth 562; 1122; 1123; 1124 ONS: Bethlehem, PA, Colonial Danceland Napoleon/Panely/Lytell/Signorelli/Roth 1905 ONS: Harrisburg, PA, Casino Theatre, 8:00 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1124; 1125; 1131; 1132 ONS: Shamokin, PA, Legion, Weekly Dance Napoleon/Panely/Lytell/Signorelli/Roth 1126; 1127; 1128; 1129; 1130; 1147; 1148; 1149 ONS: York, PA, Coliseum Napoleon/Panely/Lytell/Signorelli/Roth 1150; 1151 ONS: Mount Vernon, NY, Armory, annual ball of Ruffalo Athletic Association Napoleon/Panely/Lytell/Signorelli/Roth 565; 566; 567 Napoleon/Panely/Lytell/Signorelli/Roth 562; 1152 ONS: Reading, PA, Bach’s Dance Academy, 134 N.5th St. ONS: Harrisburg, PA, Coliseum Napoleon/Panely/Lytell/Signorelli/Roth 1131; 1132; 1133; 1134 1134; 1135; 1136; 1137; 1138; 1139; 1140; 1141; 1142; 1143; 1144; 1145; 1146 ONS: Harrisburg, PA, Casino Theatre Napoleon/Panely/Lytell/Signorelli/Roth 1154; 1155; 1156; 1157; 1158; 1159 th ONS: Reading, PA, Bach’s Dance Academy, 134 N.5 St. Napoleon/Panely/Lytell/Signorelli/Roth 1160; 1161; 1162 ONS: Pottstown, PA, Rose Garden Napoleon/Panely/Lytell/Signorelli/Roth 1163
1925-04-08 & 09 & 10 ONS: three days at: Altoona, PA, Strand Theatre, 3 concerts daily Napoleon/Panely/Lytell/Signorelli/Roth 1164; 1165; 1166 1925-04-10 ONS: Altoona, PA, Penn-Alto Hotel, Logan Room, at noon. Napoleon/Panely/Lytell/Signorelli/Roth 1167; 1168; 2110 Weekly meeting of the Shrine Luncheon Club, in conjunction with Knight’s Templar’s Mountain Commandery No. 10’s Good Friday Session. 1925-04-11 ONS: Reading, PA, Bach’s Dance Academy, 134 N.5th St. Napoleon/Panely/Lytell/Signorelli/Roth 1169 1925-04-14 ONS: McKeesport, PA, Rainbow Gardens, 9:00 P.M. – 1:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 1170; 1171; 1172; 1173; 2111 1925-04-16 ONS: Wilkes-Barre, PA, Cinderella Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1174; 1175 1925-04-18 ONS: Wilkes-Barre, PA, Cinderella Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1176 1925-04-20 ONS: Reading, PA, Bach’s Dance Academy, 134 N.5th St. Napoleon/Panely/Lytell/Signorelli/Roth 563; 564; 1177; 1178; 1179 1925-04-22 ONS: Enola, PA, Midway Park Napoleon/Panely/Lytell/Signorelli/Roth 1180; 1181; 1182; 1183; 1184; 1185 1925-04-25 ONS: Harrisburg, PA, Casino Theatre Napoleon/Panely/Lytell/Signorelli/Roth 1186; 1187; 1188; 1189 1925-04-28 ONS: Pottsville, PA, Holly Roof Napoleon/Panely/Lytell/Signorelli/Roth 1970; 1971 1925-05- 01 & 02 ONS: two nights at: Princeton, NJ, Prospect Street, Cottage Club, Dance Festival Napoleon/Panely/Lytell/Signorelli/Roth 871 1925-05-04 ONS: Methuen, MA, Roseland Park, benefit dance for the Lowell I.O.B.B. Napoleon/Panely/Lytell/Signorelli/Roth 1190; 2112; 2113; 2114; 2120 1925-05-05 ONS: Lowell, MA, Commodore Ballroom, Thorndike St. Napoleon/Panely/Lytell/Signorelli/Roth 1190; 1191 1925-05-06 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1190; 2115 1925-05-08 ONS: Lunenburg, MA, Whalom Park Napoleon/Panely/Lytell/Signorelli/Roth 1190; 1191; 1192; 1193; 1194; 1195: 1196 1925-05-09 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1190; 1197; 1198; 2116 1925-05-11 ONS: Lowell, MA, Commodore Ballroom, Thorndike St. Napoleon/Panely/Lytell/Signorelli/Roth 1198; 1199; 1200; 2117 1925-05-13 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1198; 2118 1925-05-14 ONS: Lowell, MA, Commodore Ballroom, Thorndike St. Napoleon/Panely/Lytell/Signorelli/Roth 1198; 1200 1925-05-16 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1198; 2119 1925-05-20 ONS: Marlborough, MA, Lyonhurst Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1204 1925-05-23 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1202; 1203; 1205 1925-05-25 ONS: Lowell, MA, Commodore Ballroom, Thorndike St. Napoleon/Panely/Lytell/Signorelli/Roth 1206 1925-05-30 ONS: Methuen, MA, Roseland Park Napoleon/Panely/Lytell/Signorelli/Roth 1207 1925-05-31 ONS: NYC, Silver Slipper Club, 48th St. & Broadway Napoleon/Panely/Lytell/Signorelli/Roth 568 1925-06-01 ONS: Mount Carmel, PA, Maysville Park, Assembly Club Napoleon/Panely/Lytell/Signorelli/Roth 1208; 1209; 1210; 1211; 1212; 1213; 1214; 1215; 1216; 1217; 1218; 1219; 1220 1925-06-03 ONS: Lebanon, PA, Fair Ground Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1226; 1227 1925-06-04 ONS: Barnesville, PA, Lakeside Park, Nature’s Playground Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1221; 1222; 1223; 1224; 1225 1925-06-05 ONS: Allentown, PA, Eddyside Club, Lafayette Seniors Assembly Napoleon/Panely/Lytell/Signorelli/Roth 1906 1925-06-06 ONS: Barnesville, PA, Lakeside Park, Nature’s Playground Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1221; 1222; 1223; 1224; 1225 1925-06-08 ONS: Pottsville, PA, Manila Grove Napoleon/Panely/Lytell/Signorelli/Roth 1972 1925-06-09 ONS: Lewistown, PA, Alfarata Park Napoleon/Panely/Lytell/Signorelli/Roth 1228; 1229; 1230; 1231; 1232; 1233; 1234; 1235; 1236; 1237; 1238 1925-06-10 ONS: Enola, PA, Midway Park Napoleon/Panely/Lytell/Signorelli/Roth 1239 1925-06-13 ONS: Altoona, PA, Sunset Auditorium Napoleon/Panely/Lytell/Signorelli/Roth 1240; 1241; 1242 1925-06-18 ONS: Franklin, PA, Sugar Creek Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1243; 1244; 1245; 1246; 1247; 1248; 1249; 1250 1925-06-19 ONS: Lemont Furnace, PA, Shady Grove Park Napoleon/Panely/Lytell/Signorelli/Roth 1251; 1252; 1253; 1254; 1255 1925-06-21 ONS: Lemont Furnace, PA, Shady Grove Park Napoleon/Panely/Lytell/Signorelli/Roth 1252; 1253; 1254; 1255; 1256 1925-06-22 ONS: Altoona, PA, Nela Beach Pavilion, 9:00 P.M. – 1:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 1259; 1271; 1272; 1273; 1274; 1275; 1276; 1277; 1278 1925-06-23 ONS: Fousetown, Huntingdon, PA, Liberty Park Pavilion, 9 to 1 Napoleon/Panely/Lytell/Signorelli/Roth 1257; 1258 1925-06-24 ONS: Lewistown, PA, Alfarata Park, 9:00 P.M. – 1:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 1260; 1261; 1262; 1263; 1264; 1265; 1266; 1267; 1268; 1269; 1270 1925-06-26 ONS: Altoona, PA, Nela Beach Pavilion, 8:30 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1279; 1280; 1281; 1282; 1283; 1284 1925-06-27 ONS: Lebanon, PA, Fair Ground Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1285; 1286 1925-07-01 ONS: Reading, PA, Carsonia Park , Crystal Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1287; 1288; 1289 1925-07-02 ONS: Sunbury, PA, Rolling Green Park Napoleon/Panely/Lytell/Signorelli/Roth 1296; 1297 1925-07-03 ONS: Hazleton, PA, Stone Bridge Pavilyun Napoleon/Panely/Lytell/Signorelli/Roth 1290; 1291; 1292; 1293; 1294; 1295 1925-07-04 ONS: Grant, NY, Frank Barley’s Lake View Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 594; 885 1925-07-08 ONS: Reading, PA, Carsonia Park, Crystal Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1298; 1299; 1300 1925-07-09 ONS: Barnesville, PA, Lakeside Park, Nature’s Playground Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1301; 1302; 1303 1925-07-10 ONS: Elmira, NY, Rorick’s Glen Park, 8:00 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 595; 596; 597 1925-07-11 ONS: Elmira, NY, Rorick’s Glen Park, 8:00 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 595; 596; 597 1925-07-12 ONS: Chemung, NY, Pyramids [Ballroom], 9:00 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1907 1925-07-13 ONS: Sunbury, PA, Rolling Green Park, 8:00 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1304 1925-07-14 ONS: Reading, PA, Carsonia Park, Crystal Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1305; 1306 1925-07-15 ONS: Berwick, PA, West Side Park, 9:00 P.M. – 1:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 1307; 1308; 1309 1925-07-16 ONS: Allentown, PA, Central Park Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1973; 1979; 1980 1925-07-20 ONS: Owasco, NY, Lakeside Park Napoleon/Panely/Lytell/Signorelli/Roth 598; 886 1925-07-21 ONS: Canandaigua, NY, Lakeside Park, Roseland Ballroom, 9 to 1 Napoleon/Panely/Lytell/Signorelli/Roth 1310; 1311; 1312 1925-07-22 ONS: Geneva, NY, Seneca Lake, Dance Inn Napoleon/Panely/Lytell/Signorelli/Roth 884 1925-07-23 ONS: Altoona, PA, Nela Beach Pavilion, 8:30 – 12:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 1313; 1314; 1315 1925-07-24&25&26 ONS: three nights at: Lemont Furnace, PA, Shady Grove Park, 8 to 12 Napoleon/Panely/Lytell/Signorelli/Roth 1316; 1317; 1318; 1319; 1320; 1321; 1322 1925-late July-early August ONS: Canton, OH, Meyer’s Lake Park, Moonlight Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 599; 600 1925-08-02 ONS: Geneva, OH, Township Park at the Lake, Pergola Gardens Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 600; 2161 1925-late July-early August ONS: Erie, PA, Waldameer Park Napoleon/Panely/Lytell/Signorelli/Roth 600 1925-08-14 ONS: Celoron, NY, Celoron Park, Pier Ball Room Napoleon/Panely/Lytell/Signorelli/Roth 601 1925-08-17 ONS: Olcott, NY, Olcott Beach Hotel, 9:00 P.M.–2:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 602; 603; 604; 605; 606; 607 1925-08-18 & 19 ONS: three nights at Cleveland, OH, Danceland Napoleon/Panely/Lytell/Signorelli/Roth 1323 1925-08-20 & 21 & 22 ONS: three nights at: Akron, OH, East Market Gardens Napoleon/Panely/Lytell/Signorelli/Roth 1323; 1324 Napoleon/Panely/Lytell/Signorelli/Roth 608 1925-09-01 ONS: NYC, Cinderella ballroom, 48th St. & Broadway 1925-09-04 ONS: Harrisburg, PA, Women’s Club, Front St. & Chestnut St., Napoleon/Panely/Lytell/Signorelli/Roth 1325; 1326 Sigma Gamma Chi Society 1926 of Central High School, final dance of the club year 1925-09-06 B.S. Moss’ Colony Theatre, NYC, Broadway & 53rd St.(Sept. 06–20) Napoleon/Panely/Lytell/Signorelli/Roth 609; 610; 611; 612; 613; 614; 912; 946; 1610; 1693; 1695; 1697; 1698; 1699; 1700; 1701; 1974; 1975
1925-09-08 1925-09-15 1925-09-22 1925-09-23 1925-10-08
ONS: NYC, Cinderella ballroom, NYC (playing opposite the OI5) Napoleon/Panely/Lytell/Signorelli/Roth 608; 609; 1976 NYC, West 54th St., Kit-Cat Club [doubling at Colony until Sept.20] Napoleon/Panely/Lytell/Signorelli/Roth 608; 609; 866; 946; 1554 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1977 ONS: Lewistown, PA, Alfarata Park, 9:00 P.M. – 2:00 A.M. Napoleon/Panely/Lytell/Signorelli/Roth 1328; 1329; 1330; 1331 start of a second dance tour of one-nighters through New Napoleon/Grande/Lytell/Signorelli/Roth 866 England, Pennsylvania and Ohio, which lasted until mid-November 1925-10-09 ONS: Robesonia, PA, Pioneer Auditorium Napoleon/Grande/Lytell/Signorelli/Roth 865; 1333; 1332 1925-10-10 ONS: Reading, PA, Carsonia Park, Crystal Ballroom Napoleon/Grande/Lytell/Signorelli/Roth 865 1925-10-11 ONS: NYC, Cinderella ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1978 1925-10-21 planned ONS: McSherrystown, PA, Colonnade Hall, CANCELLED Napoleon/Grande/Lytell/Signorelli/Roth 1334; 1335; 1336; 1337; DUE TO THE ALLEGED ILLNESS OF THREE OF THE OM5 MUSICIANS 1338; 1339; 1340 1925-11-01 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1981 1925-11-15 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1704; 1982 1925-11-20 broadcast at WEAF (454 meters), approx. 09:30 – 10:00 P.M. Napoleon/Grande/Lytell/Signorelli/Roth 615; 616 1925-11-21 Newark, NJ, Branford Theatre, 100 Branford Place (Nov.21–Dec.12) Napoleon/Grande/Lytell/Signorelli/Roth 1703; 1706; 1707; 2162 1925-11-22 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1704 1925-11-29 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1704 1925-12-06 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1704 1925-12-13 ONS: Cinderella Ballroom, NYC (playing opposite the OI5) Napoleon/Grande/Lytell/Signorelli/Roth 1704 1925-12-14 start of a third dance tour of one-nighters, which ended Napoleon/Grande/Lytell/Signorelli/Roth early February, 1926: 1925-12-14 Boston, MA, Avalon ballroom (December 13 – 18) Napoleon/Grande/Lytell/Signorelli/Roth 618 1926-01-13 ONS: Hotel Shelburne, Brighton Beach, NY, Napoleon/Grande/Lytell/Signorelli/Roth 911 eighth annual winter dance of the Dixie Pleasure Club 1926-02-06 Rosemont ballroom, Brooklyn, NY Napoleon/Grande/Lytell/Signorelli/Roth 619; 1983; 2011; 2012; 2013; 2014; 2015; 2016; 2017; 2018 1926-early May Cinderella ballroom, NYC (prob. May 03-08) Napoleon/Grande/Lytell/Signorelli/Roth 620 1926-05-13 ONS: Pittston, PA, Cork Lane, School Auditorium, Dance of Napoleon/Grande/Lytell/Signorelli/Roth 1363 Fernwood Club 1926-05-15 ONS: Albany, NY, Albany Yacht Club, 8:30–12:00 P.M. Napoleon/Grande/Lytell/Signorelli/Roth 621; 622 1926-05-17 Rosemont ballroom, Brooklyn, NY (May 17 – 23) Napoleon/Grande/Lytell/Signorelli/Roth 623 1926-05-24 Newark, NJ, Dreamland Park (May 24 – June 05) Napoleon/Grande/Lytell/Signorelli/Roth 624; 625; 626; 1937 1926-05-26 broadcast at WNJ, Newark, NJ (252 meters) 10:00 P.M. Napoleon/Grande/Lytell/Signorelli/Roth 1984 1926-05-28 broadcast at WNJ, Newark, NJ (252 meters) 09:30 P.M. Napoleon/Grande/Lytell/Signorelli/Roth 811; 1985; 2163; 2164 1926-06-01 broadcast at WNJ, Newark, NJ (252 meters) 09:30 – 10:30 P.M. Napoleon/Grande/Lytell/Signorelli/Roth 627; 628; 1986 1926-06-09 ONS: Fousetown, Huntingdon, PA, Liberty Park Pavilion, 9:00 to 1:00 Napoleon/Grande/Lytell/Signorelli/Roth 1364; 1365; 1366 1926-06-[06to14 period] ONS: Pennsylvania State University, Alpha Gamma Rho house Napoleon/Grande/Lytell/Signorelli/Roth 1987 1926-06-28 Dayton, OH, Forest Gables Ballroom (June 28 – July 03) Napoleon/Grande/Lytell/Signorelli/Roth 1988; 1989; 1990; 1991; 1992; 1993; 1994; 1995; 1996; 1997; 1998; 1999; 2000; 2001; 2002; 2003; 2004; 2005; 2166; 2167 1926-07-05 Columbus, OH, Valley Dale Ballroom (July 04 – 10) Napoleon/Grande/Lytell/Signorelli/Roth 2165; 2167; 2168; 2169; 2170; 2171; 2172; 2173; 2174; 2175 1926-summer ONS: Ashland, PA, Washington Park, Monday Night Dance of Napoleon/Grande/Lytell/Signorelli/Roth 1362 the Ashland Collegiate Club 1926-mid July ONS: Albany, NY, Albany Yacht Club Napoleon/Grande/Lytell/Signorelli/Roth 629 1926-08-02 Vaudeville appearance with dancer Mildred Melrose, unknown venue Napoleon/Grande/Lytell/Signorelli/Roth 1908 1926-08-16 ONS: Lake Sunapee, NH, Birch Grove Pavilion Napoleon/Grande/Lytell/Signorelli/Roth 1367 1926-08-18 ONS: Pittsfield, MA, Pontoosuc Lake, Boat Club Auditorium Napoleon/Grande/Lytell/Signorelli/Roth 2123; 2124; 2125; 2126; 2127; 2128 1926-08-19 & 20 ONS: two days at Crystal Ballroom, Riverside Park, Springfield, MA Napoleon/Grande/Lytell/Signorelli/Roth 2176; 2177; 2178 1926-08-21 ONS.: Western MA Republican Outing, Riverside Park, Springfield, MA Napoleon/Grande/Lytell/Signorelli/Roth 2176; 2177; 2178 1926-early Sept. OM5 disbands, Napoleon forms 12-piece Orchestra. OM5 continues to be featured as “band within the band”. 632; 633; 634; 635; Frank Signorelli leads his own “Hot Combination” of seven pieces for about two weeks; joins Joe Venuti’s Orch. on Sept. 24. 636; 637 1926-09-18 & 19 Signorelli’s Hot Combination at Arcola Park Ballroom, Paramus, NJ Signorelli & six unknown musicians 2006; 2007; 2008; 2009 1926-09-30 Rosemont Ballroom, Brooklyn (second band: Original Indiana Five) Phil Napoleon and his Twelve Master Musicians 633; 1481; 1538; 1939; 1940; 1941; 2048; 2049; 2050; 2051
Due to space limitations, the list of more than 2600 contemporary sources used for this 4-part study of the OM5 could not be included in the printed edition of VJM. These references are listed at the end of the internet version of my piece. Also, the digital version of this part 4 of my study of the Original Memphis Five contains additional material on the band from the years 1919 – 1924 (relevant to parts 1, 2 and 3), which, again due to space considerations, could not appear in the hard copy edition of VJM. Some important discoveries are included, for instance an online access to a silent movie of the Memphis Five from the year 1920, etc. … Furthermore, the reader of the online version of this article will find appendices with material on the careers of singer Leona Williams, and dancer Mildred Melrose, both of whom had worked with the OM5. Readers are encouraged to print-out these additional pages for quick and permanent reference. My 4-part work on the OM5 is confined to factual and descriptive matter regarding the band’s musical career. Since I firmly believe that this itself is a legitimate objective, the material included is given in full and minute detail (perhaps more detail than you wish to know!). There can be no satisfactory “analysis” without first having a sound body of fact on which to base an interpretation; perhaps others will find here the necessary facts for a more interpretive essay in times to come … Thanks to Russ Shor and to Dave Hignett, who sent me some additional issues of ‘Orchestra World’. If you have any contributions or suggestions to make, please email me at rwondraschek@yahoo.de © Ralph Wondraschek 2019
ATE’S DISCOGRAPHICAL RAMBLINGS When was the last time that you played a 78 and said to JIMMY BERTRAND'S WASHBOARD WIZARDS ON yourself "I never noticed that!". That could well be a VOCALION "Rambling"! Send it in! Here's the news: Richard Rains (UK) started this what became an intensive search among collectors for take E3165 of Little Bits by ART HICKMAN ON COLUMBIA Jimmy Bertrand's Washboard Wizards on Vocalion 1035. From 1919 onwards this pioneer orchestra leader made a Richard checked any 78 or LP/CD reissue and concluded that large number of records, at first for Columbia. None of these they all have E3164. Collectors, including Richard, who have is in JR6, but some are nice such as The Hesitating Blues/ the original Vocalion, usually have 2 copies, each with the Those Draftin' Blues on Col A1813. In 1924 Hickman common take of Little Bits and different takes of the reverse (actually Earl Burnett’s orchestra) recorded for Victor. Only side Struggling. These collectors include Bernhard Behncke, one of these made it to JR6, but there are more goodies. In Steven Lasker and myself. There are two contemporary issues, 1920 and 1921 a group of musicians booked by Hickman Br A164 (G) and Oriole 1008 (UK). The BrG has the known even recorded several nice sides for HMV in England as Art take. The Oriole was listed by Laurie Wright in Storyville 6 Hickman’s New York London Five. Björn Englund noted that (1966) with takes E3164/E3166). ADBORAF and Brian Rust's Columbia Master Book discography give conflicting data and mentions this one: Rust Steven Lasker wrote: “An unpublished listing (copy held gives 15 Sep 1919 for mx 78658 Louisiana and September 25 here) of the Vocalion race series compiled in 1950 by Daniel for mx 78695 Yellow Dog Blues, correcting ADBORAF, but Mahony from file cards then held in the office of Columbia Rust's book lacks mx 78693/78694 Patches/Hold Me listed Records, Inc. (and now held in the Sony Music Archives) by the 1975 ed. of Rust's dance band discography and by shows the file card for Vocalion 1035 gives "E3166W-67W" ADBORAF. for the A side and "E3164" for the B side.” JOHNNY SYLVESTER / ORIGINAL INDIANA FIVE ON PATHE/PERFECT The Editor has been playing his Johnny Sylvester Pathe/ Perfects and in particular to the session that produced I Wanna Jazz Some More. Discographies have given an unknown bass sax here. However, judging the range of this instrument it can only be a baritone sax. Also a drummer is listed but is not heard. The baritone is out on the next session (King Porter Stomp) but the drummer is definitely in.
Ross Laird confirms in his Brunswick discography that only one take of Little Bits was issued and he adds Chicago Cmaster numbers: C353/4 = E3164/5 and C355/6 = E3166/67. Laird also notes that matrices C357-8 followed on the two Bertrand titles but no details are known. Can we now lay this matter to rest?
AND NOW ONE REACTION… Steven Lasker on Duke Ellington's Black And Tan Fantasy on OKeh: OK8521 (released 15 Dec. 1927): all copies contain DIXIELAND JUG BLOWERS, ETC., ON PICT-UR-MUSIC take C; all copies of OK 40955 (released 15 Jan. 1928) The Victor Special Labels discography (John R. Bolig, 2014) contain take B. All Parlophone pressings of take C were lists 100s of film and theater Records in the Pict-Ur-Music pressed from parts that, according to Steven, were severely, 0100 series. The block 0111 - 0120 consists of jazz records arguably ruinously, overpolished (unlike pressings on OKeh).. (mainly black), including Dixieland Jug Blowers (0112), Bennie Moten (0113, 0116, 0117, 0120), Jelly Roll Morton AND NOW ADRIAN ROLLINI! (0114, 0116) and Red Nichols (0112, 0113), Charles Rollini recorded often for Harmony, first with the University Dornberger (0114), Phil Napoleon (0115), Philip Spitalny Six, later on with Bert Lown, The Singing Boys, Jack Miller, (0115). Would be nice to hear Memphis Shake or Moten Ben Selvin, Annette Hanshaw, even with the California Stomp in a cinema! Ramblers. Most of these also appeared on Velvet Tone and on Diva. The earliest Rollini found on VT is 1134V and on Diva CLARENCE WILLIAMS ON PARLOPHON(E) AND ODEON it's 2134G, both from Har 134H. The highest numbers are VT For many collectors one of the first 78s they owned may have 2209V and Diva 3209G, from Har 1209H. Most Velvet Tone been Par R2531 by Clarence Williams Washboard Four issues in this range have been found, but can anyone confirm (Candy Lips / Nobody But My Baby), amazingly credited to VT 1230V or 1296V? Diva is less common and only 3 Rollini Louis Armstrong's Original Washboard Beaters. This issues numbered below 2399D have been found (2134G, Parlophone was a reissue of Par R3445 with the same wrong 2245G and 2399G). And above 2399G, can anyone confirm credit. The titles were issued by OKeh's European partners but Diva 3088D, 3116D or 3145D? Above 1209H there are for unknown reasons the artist credit was repeatedly changed. Rollini Harmonys, but by then the Velvet Tones are numbered On Parlophon B71120 it became Clarence Williams and his in another range and Divas have not been found. Harmonizers. The same artist credit was used on Odeon A2339, while another Odeon, O28628, was credited to FINALLY AN APPEAL Clarence Williams' Original Washboard Beaters, thus almost I normally have a small reserve supply of ‘Ramblings’ for back to Armstrong. For good measure it should be noted that forthcoming issues of VJM, but that particular barrel is looking Parlophone used the cat. nr. R3445 again later for a Graeme dry – can you let me have any queries, discoveries and Bell coupling! Label collector Han Enderman (NL) supplied solutions so we can share them with our readers? the labels. Reactions (and please refer to the relevant VJM issue!) and new to a.vandelden@onsmail.nl. Thanks. 31
VJM Reviews & Previews VJM’s review team and guest columnists review the latest Books/CDs/DVDs Whilst we aim to review the best of currently-available CDs, Books and other media likely to interest VJM readers, there are many items we don’t get to know about. If you feel we should review a specific item, please provide details or, better still, why not have a go at reviewing it yourself? union officials that testing them with difficult pieces was one way of eliminating competition for jobs from out of town upstarts. The final Gennett session, in July 1923, occurred after the band had left the Friars Inn and while the band members were preparing to leave town. But what a session it was. Sue Fischer detailers how Jelly Roll Morton approached them to record his compositions, with the result that the Roll himself appeared on two of the sides; Bix had attended with hopes of sitting in (Roppolo and Brunies nixed it, and Roppolo and Chink Martin recorded two guitar duets that Gennett ultimately rejected. Fischer also details how the two New Orleans sessions (for OKeh and Victor) came together, with Roppolo walking out before the latter session over a dispute with Charlie Cordilla, who was supposed to play sax on the disc. Even if there were no accompanying disc with this booklet, it would be worth the price, but, the excellent news is that the 42 issued recordings (including alternate takes) with beautiful transfers are here on 2 CDs. In 1922, jazz recording had hit a standstill. After the Original Dixieland Jazz Band made a number of authentic 2 CD SET: NEW ORLEANS RHYTHM KINGS Complete jazz sides in 1917-8, a host of imitators piled in adopting the R e c o r d i n g s 1 9 2 2 - 1 9 2 5 . R i v e r m o n t 1 1 7 0 . trombone brays and clarinet squeals but failing to understand www.rivermontrecords.com the essence of the new music. Or others like Art Hickman Back in the 1940s when jazz writing came of age, the New and, of course, Paul Whiteman, who offered “tame” versions Orleans Rhythm Kings were lionized almost as much as Bix, of this wild music. “Real jazz” was hard to find, at least on Louis Armstrong and Jelly Roll Morton. It seems strange then, record. that so little research had been done on the lives and backgrounds of some of the musicians, especially Leon In August, the Friars Society Orchestra, the first nom-deRoppolo, the most eloquent player in the group and another disque for the New Orleans Rhythm Kings made their initial doomed genius of the Jazz Age. recordings, featuring the New Orleans-bred front line with the addition of midwesterners Jack Pettis on sax and Elmer Strange, because we can probably find sources to tell us Schoebel, future composer of hot tunes, on piano. O’Hare, what Bix had for breakfast on February 17, 1927 but, until the session fixer, added his name as director. recently no one had ever thought to find and interview Roppolo’s family, or Paul Mares’ family for that matter. Most of the records sold fairly well judging by the number of Researcher Sue Fischer has done just that and distilled her copies that still turn up today, with Farewell Blues and exhaustive research into a 26 page booklet. Eccentric by far the most popular. Sue Fischer rightly focuses on the doings of the band, Jazz history writers tend to ignore Pettis, but here he was in detailing the tortuous paths that brought them together in 1922 playing credible jazz with some of the best of the day. 1921 at Mike Fritzel’s Friar’s Inn, the dubious dealing of their (Pettis was something of a mystery man, disappearing recording broker Husk O’Hare and the temperamental between 1930 and 1937—only in the past decade have goings-on that led to shifts in personnel during their brief details about his life emerged). The sax also allowed the recording career. (They seemed to be a combative lot) band to record smoother, fox-trot numbers like Discontented Example: Roppolo, George Brunies and Mares wanted to Blues and Oriental (which tend to be to be collectors’ least replace the drummer Frank Snyder but couldn’t find an favorite sides by the band). excuse until the night when Snyder refused to participate in a jam session with a (unnamed) black musician. Ben Pollack sat A word on the transfer quality here. They are all superb. The in in his stead and became the group’s regular drummer. “odd” track from the session, Livery Stable Blues was not issued by Gennett (probably intended to be the flip of Besides temperament, union troubles plagued the members Eccentric), presumably because of copyright disputes. The of the band because some of them, including Roppolo, were first reissue of this, on a John Steiner Paramount 78, was a not adept readers. And, it was not lost on Chicago musicians !32
horrendous job, with the music barely audible so it’s great to While most reissue sets tout their’s is the “most improved have a transfer where all of the instruments can be heard sound” ever, this one delivers this and much much more. You clearly with some presence. are also getting years of research distilled into the booklet that accompanies the music. By all means get this collection. The second session, issued as the New Orleans Rhythm It’s essential. Kings, occurred in March, 1923 after the band had broken up RUSS SHOR and re-formed with a dispute with the Friars owner. Volly De Faut was hired to play sax at their Friars job, apparently, but he’s obviously not present on the records. Bassist Steve Brown was gone, along with Schoebel (replaced by another songwriting pianist Mel Stitzel). As Fischer notes, without the sax “competing for notes” Roppolo’s clarinet becomes more prominent as the band recorded a number of songs which have been embedded in traditional jazz repertoire : Weary Blues, Wolverine Blues, Shimmeshawabble and especially Tin Roof Blues – this latter tune being a genuine hit that inspired cover versions by groups on Victor and Columbia. As noted above, the final Gennett session occurred after the band left the Friars and had officially broken up. Two reedmen were added, including Don Murray, and once again a near-completely changed rhythm section. The two added saxes make the proceedings sound a bit more formal, though they were no longer trying to please dancers at the Friars Inn. But anyone who wants to know what different Jelly Roll Morton could bring to an ensemble, just listen to his playing on Mr Jelly Lord, Milenburg Joys and London Blues. As noted in the notes, some of these were reworked published arrangements from Melrose Publishing who Morton worked with at the time. Morton engages your ear through the 4 CD SET : Down Home Blues: New York, Cincinnati & The ensemble, even with Gennett’s thin acoustic sound. North Eastern States: Tough Enough. WNRCD5104. Incidentally, Roppolo’s solo on Milenburg Joys was www.weinerworld.com apparently written down and included in the publisher’s Following critically acclaimed surveys of blues in Detroit and arrangements because even bands as far away as Argentina Chicago, this third instalment of Weinerworld’s “Down Home and Germany included it, however feebly, in their recordings Blues” series turns its attention to blues and R&B in the North Eastern States of the USA, most of which was recorded in of the song. New York, and Cincinnati. Carefully selected by Peter Moody The final sides were made in New Orleans in 1925 with a and expertly annotated by Chris Bentley, this wonderful pickup group that included only Mares and Roppolo from the anthology gathers 110 titles by thirty three different artists and original lineup. Brunies was working with Ted Lewis by then. gives us a snap shot of a post –war blues scene little known in This group was convened by trombonist Santo Pecora who comparison with that of Chicago (or even Detroit). put Mares and Roppolo together with the rhythm section of In general, the story authoritatively told by Chris Bentley in the Halfway House Orchestra (led by George’s brother Albert the eighty page book, which illuminates and contextualises Brunies), with the addition of himself on trombone and the excellent music we hear over these four CDs, is familiar. The Second World War and the migrations it provoked was a Charlie Cordilla on sax. catalyst which drew musicians and their prospective It’s fortunate that OKeh, with the best acoustical sound of audiences from rural lives to urban settings. So that, as the era, recorded these four glorious sides to give all of us a between 1940 and 1950, one and a half million migrants more presence-filled listen to Roppolo who made use of the from the southern states moved to Chicago (and Detroit) entire range of his clarinet on these. The arrangements are creating the audience for the new “country” blues styles of slightly more “modern” than the Gennett sides, with a more their fellow musical migrants like Muddy Water and John Lee controlled swing replacing the freewheeling ensemble of the Hooker, other large groups of migrants carried their blues earlier discs. I Never Knew What A Gal Could Do and styles and tastes to the major cities (and recording centres) of New York, Cincinnati and Philadelphia. While the majority of Golden Leaf Strut are the best examples. migrants to Chicago and Detroit came from Mississippi and Two months later, Victor came to town and Pecora Louisiana, so many musicians (and their audiences) reconvened the “new” Rhythm Kings to record for that label. represented in this compilation came from the South-Eastern Before the session Pecora and Roppolo apparently got in an states –from Florida and Georgia to the Carolinas and argument, with Roppolo walking out and Mares essentially Virginia. telling him to stay out. Cordilla took Roppolo’s clarinet spots. The pre-war “Piedmont” blues style, often identified with fine The sound on the Victor version of She’s Crying For Me is guitarists like Buddy Moss in Atlanta and Blind Boy Fuller in much “cleaner” than the OKeh but lacks the intensity of the North Carolina, is clearly glimpsed in the playing of a number of musicians here: some are obscure like John Tinsley former. and others famous, like Brownie McGhee (who early on was Beyond the notes by Sue Fischer, trombonist David Sager, dubbed Blind boy Fuller No.2).Tinsley’s Trouble Blues is a who has made a study of acoustical recording techniques, fine and very rare record (about 150 copies pressed) where analyses the music and sound on each track so even the most both the vocal and instrumental phrasing recalls Fuller; likewise Hank Kilroy’s Awful Shame is a splendid, slow experienced listener can learn something from this set. “Piedmont” blues that draws on a Fuller song. Sunny Jones made two records before the war (as Sonny Jones at a session !33
with Fuller in 1939) and then this rare and fine, post war record of 1950 which recalls the playing and singing of Buddy Moss. Another excellent artist who recorded before the war (for the Library of Congress in 1938) was the Florida born singer-guitarist Gabriel Brown whose four sides here are compelling, especially Hold That Train. Also from Florida but recorded in Boston in 1962 was the obscure and idiosyncratic Guitar Nubbitt whose two excellent singles on Bluestown caused quite a stir among European blues collectors in the 1960s. The best of these titles - Hard Road and the wonderful, lyrically rather extraordinary Georgia Chain Gang - retain their power. The two 1943 titles by Skoodle-Dum-Do and Sheffield are again very rare and fascinating. Skoodle-Dum-do is Seth Richards who recorded for Columbia in 1928 (recording Skoodle-Dum-Do which became his eccentric, 1943 nom-dedisque). Both the up-tempo Tampa Blues and Gas Ration Blues which comments on war –time fuel restrictions, feature the harmonica playing of the obscure Sheffield whose harp and vocal “whooping” recalls Sonny Terry. Brownie McGhee and Sonny Terry were key figures in the New York musical world represented here, both as named artists and as accompanists to performers like Alonzo Scales, Cousin Leroy and Square Walton. In the late forties and fifties Terry and McGhee pursued parallel recording careers, the duo making R&B records for predominantly black record buyers and recording “folkblues” for a growing white audience. Their popularity with white record buyers had its origins in Sonny Terry’s appearance at the 1938 “Spirituals to Swing” concert which brought him and subsequently Brownie McGhee into contact with radical, intellectual circles in New York. In come with many other people, my first experience of Sonny and Brownie was through the many records they made for labels like Folkways, Topic and Prestige Bluesville, and I still recall my surprise and pleasure on first hearing some of the records they’d made for their R&B audience. If you’re only familiar with Sonny Terry as a virtuoso “folk” harmonica player and vocalist performing things like Fox Chase, Cousin Leroy’s I’m Lonesome will be a revelation. Here Terry’s power and lyrical invention is brilliant in the context of a band that features Champion Jack Dupree on piano and the masterly guitar playing of Larry Dale in support of Cousin Leroy’s expressive singing. Leroy was an eclectic performer who reshaped Muddy Water’s Rollin’ Stone on the splendid Catfish and the great Crossroads: both showcasing the skills of Larry Dale. He also appropriated Blind Lemon Jefferson’s Matchbox Blues (as Will A Matchbox Hold My Clothes). Similarly, Sonny Terry’s playing, along with Champion Jack Dupree and Brownie McGhee on guitar, lifts the records of the sharp voiced Alonzo Scales about whom, in his notes, Chris Bentley presents new biographical information and photographs. Terry’s named sides range from the OK (like Going Down Slow) to the memorable: both Telephone Blues and Tell Me, Tell feature Sonny’s amplified harp playing in a tough, band setting with sterling guitar work from Brownie McGhee and the excellent piano playing of Big Chief Ellis. His hammered piano figures support Brownie’s warm vocal and splendid guitar playing on My Bulldog Blues which reprises a theme Brownie’s first recorded in 1940 (Me and My Dog Blues, Okeh 05933). The marriage of the prewar Piedmont style with that of post-war juke joint blues is exemplified by Brownie’s How Can I Love You: it’s a fine record. From Ellis’s first session in 1945 comes the excellent guitarpiano duet I Love You, Baby with Ellis and Brownie McGhee recalling the almost contemporary duets of Big Maceo and Tampa Red, whilst Poor Man’s Blues from 1948, channels the wistful melancholy of Leroy Carr (it employs his Rocks are My Pillow tune.) Big Chief Ellis wasn’t the only pianist to
make a mark in the post war New York scene; he was numbered with Bob Gaddy who remains, to most, an obscurity and Champion Jack Dupree from New Orleans, who went on to what passes for great fame in the “blues world”. Like Ellis, Bob Gaddy came to record through his association with Brownie McGhee (“Brownie got me some recordings….everything came through Brownie and Sonny Terry”). His outstanding performance is the brilliant Paper Lady. Distinguished by the exceptional guitar work of either Brownie McGhee or the otherwise unknown Joe Ruffin, it’s one of the great tracks in this collection. In 1940 Champion Jack Dupree had recorded for OKeh in Chicago, but by the early 1950s he was a well-known figure on the New York scene, recording both as accompanist and named artist for a variety of labels like Continental, Red Robin and King. He’s represented here by two Victor sides from 1957 which team him with the guitarist, Larry Dale. Just like a Woman is a comic, talking blues (which those of us with long memories will recall as an important element of his shows in Europe), and Dirty Women not only showcases Larry Dale’s outstanding skills but also Dupree’s simple but effective piano playing. Just a year later, Dupree with Larry Dale made his finest recording: the Atlantic album “Blues from the Gutter”. In contrast with Dupree’s success, is the utter obscurity of Fred Dunn whose one 1947 release couples Fred’s BoogieWoogie –its ringing trebles and pounding bass recalling Pine Top Smith – with a fine, slow blues: Baby Don’t Feel Lowdown. One obvious point that emerges from listening to this anthology is that unlike Chicago or even Detroit, there’s no homogenous, “New York” style. Instead, we find echoes both of the Piedmont and of popular blues stars such as Muddy Waters and Jimmy Reed who’s heard here in the lopping rhythms of Little Luther’s Ever Loving Baby, Morris Bailey’s Tell Me Why, the high pitched harmonica and rhythm of The Bees’ So Jealous as well as in Little Red Walter’s Aw, Shucks, Baby. All these records are new to me being, it goes without saying, very scare: some like Little Luther’s dance novelty Du De Squat are inconsequential, whilst others like Kine Morgan’s Nobody’s Fool feature a very ordinary vocal redeemed by a brief but brilliant (and anonymous) guitar solo. I have to say that I greatly enjoyed the harp-led records of Little Boyd and Blues Bees especially the superb instrumental Harmonica Rock and the driving, Muddy Waters-influenced Drinking Blues. Another memorable record here is Guitar Crusher’s I Got to Know on which he captures the vocal and bottleneck energy of Elmore James. Similarly, Robert Henry is clearly a disciple of John Lee “Sonny Boy” Williamson and his four titles all derive from Sonny Boy’s recordings. Although Chris Bentley doubts that Henry plays both piano and rack harmonica, to my ears, the harmonica playing doesn’t sound like that of an instrument cupped in both hands. Whatever the case, these are fine, if derivative records. Another echo of an even further past is caught in Otis Hinton’s Walkin’ Down Hill which recycles Tommy Johnson’s Big Road Blues. Hinton made one issued record, and so did Doug Quattlebaum, a long-time favourite of mine. His rich, soulful singing, clearly influenced by Sam Cooke, distinguishes Don’t Be Funny Baby which, unlike the original, edited Gotham 78, is offered here in its five minute plus incarnation. Subsequently, but without much greater success, he recorded for Pete Welding (Prestige Bluesville LP 1065 Softee Man Blues and a Testament TCD 6003). His final, very soulful recording of Jailhouse Blues on the obscure Na-Cat label (212) deserves reissue. Another fine, soulful, gospel inflected voice was that of Alan Bunn - Tar Heel Slim - whose five selections are among this anthology’s highlights. The Guy With A ‘45’ with evocative harp from Sonny Terry, is
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deservedly well known, but so should be Discouraged and the previously unissued You’re A little Too Slow. Once again, Peter Moody (and Weinerworld) has produced an exemplary reissue. Elegantly packaged, expertly remastered by Glenn Keiles and annotated by Chris Bentley, it gathers together some fascinating music and some very rare records that few collectors will have heard. Buy it and enjoy it, and thus encourage Weinerworld (and Peter Moody) to issue further collections – Texas, the Deep South, West Coast? - in what is becoming a very important reissue series of postwar blues. HENRY THOMAS
much to add or subtract from what the original recording engineer put on wax; not to mention the fact that we all hear things slightly differently from someone else. So our personal auditory preferences and our personal auditory deficiencies combine to add to the purely technical controversy.
are, in which case many potential buyers will reject them because of the obvious deficiencies of the acoustic (and even the earlier electric) recording process, not to mention other drawbacks such as surface noise and rumble; or apply what he feels is the necessary degree of sound restoration, to produce a product which will bring the maximum pleasure to the maximum number of listeners. It’s the ‘what he feels’ that is the rub, because there will always be controversy over how
to the review proper! This edition of the University resumes from where the earlier CD I reviewed left off, with the final two King Oliver OKeh sides, the Paramounts (minus the second take of Southern Stomps); all the Red Onion Jazz Babies, including the sides accompanying Alberta Hunter; and finally the Blue Fives, minus three: Cast Away - which is a waltz – the trio version of Santa Claus Blues and Squeeze Me, for reasons of space: 27 tracks, after all, is pretty good
My job as a reviewer is to have an opinion, which should help you, the reader / listener, to make an informed choice; and that the amount of probably arcane technical detail and discussion that might involve needs careful consideration on my part, to avoid either confusing or boring you; but, in the end, I have to assume that most of you have not spent many thousands of pounds on top-end reproduction equipment or CD: THE UNIVERSITY of LOUIS ARMSTRONG 1923 - 1925 indeed E+ copies of the original 78s. So lengthy disquisitions King Oliver’s Jazz Band, Red Onion Jazz Babies, Clarence on the finer points of transfer options have to give way to a Williams’ Blue Five. 27 tracks. HQdiscs HQ05 (See advert general upsum of the result – and I stick to my view that HQ for ordering details) did a very good job. When I reviewed HQ’s first volume of the University of Louis Armstrong (see the Winter 2018 VJM), covering the King My correspondent also criticized me for not mentioning the Oliver period, I wrote of the amazing sound quality and how erratic pitches and speeds of some of the original 78s used – the producer, Dave Bennett, had extracted every possible which is clearly an important point, as many 78s were microhertz of tonal response from the grooves of the original recorded at speeds wildly different from 78rpm, because recordings. I was promptly taken firmly to task by a recording lathes were affected by heat, humidity and the like. correspondent, who found my comments “very puzzling”, And as many collectors perhaps don’t own decks with because he found the sound “overprocessed…congested and continuous speed controls, it can be a good idea to do some unnatural…[with] overloaded and compressed pseudo- speed / pitch correction. But there’s a trap here: before 1929, electrics.” His view was that “a fine-condition 78rpm disc there was no internationally accepted standard for concert and a suitably-sized stylus” are all that is needed and that pitch and it could vary just as wildly as the recording speed, what we don’t need is “mediocre digitizations”. Which is true by up to a whole semi-tone between different locations. So is enough, as far as it goes: but how many of us can afford (or that something to correct? Or just to accept as a historical even find) a fine-condition copy of just one King Oliver reality? It’s impossible to tell whether a pitch anomaly is lathe Gennett, never mind the whole set? The point here, I feel, is or tuning in origin, and correcting it may mean you’re that whichever sound engineer sets out to re-master these old actually playing the record at the ‘wrong’ speed. recordings faces a dilemma: leave them more or less as they OK, so if you’re still reading this, anorak time is over…back
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value, and the omitted sides will no doubt appear on the next CD. Once again, I confess to being amazed at the clarity and breadth of sound: the Paramounts, in particular, stand out as the best I’ve ever heard them. Paramount was notorious for a very poor signal to surface noise ratio on many of its records, and I think you’ll be genuinely surprised at how bright and fresh these transfers are, with Johnny Dodds’ clarinet searingly beautiful. The Red Onions are essentially the same basic personnel as the Blue Fives, with which they are contemporaneous, except that Lil Armstrong is the pianist. Buster Bailey’s clarinet and soprano sax playing is as clear here as Bechet’s on the later tracks, which is not always the case on the unprocessed originals. The studio balance on these Gennett tracks is sometimes not as good as was achieved on the Paramounts (recorded in the Marsh Laboratories in Chicago) and on the later OKehs, so it’s a tribute to the remastering and restoration that Armstrong’s cornet, which is almost always muted on these sides, comes through as well as it does. The balance on the Blue Five sides is extraordinarily good and can be heard in superb clarity on these transfers: Of All the Wrongs You Done To Me is an especially good example, with this group sounding like almost twice its actual size of five. Bailey’s soprano playing is uncannily like Bechet’s. OKeh’s ability to record low frequencies with its acoustic system, is demonstrated by the breadth of sound from Bechet’s sarrusophone on Mandy Make Up Your Mind. If there’s a criticism here, it’s that Clarence Williams had a tendency to thump and clump out his chords, which is all too evident, especially in the slow tempo numbers, now that the bass frequencies are so audible. However, on the plus side, it’s good to have the rarer Blue Five sides in such good sound quality, such as Pickin’ On Your Baby, one of the harder to find items and a truly great performance all round. Interesting also, that there’s a sudden change in the original recording quality between when that side was recorded in January 1925 and Papa-De-Da-Da two months later, in March: the sound is noticeably thinner. It’s hard to be precisely sure why: maybe a different recording engineer, more probably changes to the recording set-up. The final track on the CD is the alternate take of the Paramount version of Mabel’s Dream: it’s a pity, in my opinion, to have separated it from the other Paramounts, as it makes comparison of the two takes very difficult. If I have one serious criticism, it’s the confusing way the personnels are laid out: there are no liner notes, so the only place for them is on the back-cover and there just isn’t enough space. Something to think about for the future… But, of course, running through all these sides is the reason they’re here: Louis Armstrong’s incomparable cornet playing. His ability to cut through the ensembles on these early recordings, even when untreated, is a tribute to the forceful nature of his playing; only he could truly stand up to the power of Sidney Bechet’s soprano sax and I don’t think there’s any better way to hear this than on this CD. MAX EASTERMAN CD: “WASN’T IT NICE?” TOM CLINES & HIS MUSIC 1929-1930, FEATURING ADRIAN ROLLINI. RIVERMONT CD-BSW 1169. www.rivermontrecords.com “Tom Clines? Never heard of him. Who was he?” asked a collector friend of mine when I told him this CD had arrived for review. It’s a fair question, given that he doesn’t appear at all in Jazz Records.
Tom Clines was a successful bandleader during the late 1920s and through the 1930s. Born in New York in 1900, he apparently had little or no involvement in the music business until about 1927, when he met up with Bert Lown. By 1927 Lown was already established and had formed a partnership with Rudy Vallee. Tom Clines was put in charge of one of the seventeen bands Lown was running at this time, in this case at the Heigh-Ho Club, where he replaced Vallee’s band. By 1929 Clines had moved on to leading the “Lown-Vallee” Orchestra at the New Colonial Hotel in Nassau. Tom Clines at this time was being reported as having a “soft, mellow crooning” voice and leading his orchestra on violin, although neither talents are apparent on these recordings. Cline’s first recordings were for the Harmony label, and he then moved to Brunswick, and it is the Brunswick sides which are on this CD. By 1940 Clines had left the entertainment business and was living in Georgia. He retired to Long Island City, New York, where he died in1988. It has to be said that this is a CD of well-played dance music; these are not jazz performances. However, on several sides the legendary Adrian Rollini is present, and although on most tracks he does little more than “fill-ins”, on the two versions of The Free And Easy he gets an 8-bar solo, plus some nice “breaks”. Whilst this is not a jazz CD, it is nevertheless pleasant listening and I would imagine Rollini collectors would probably want this for completeness. I must also commend Randy Skretvedt’s liner notes, which are extremely informative. JOE MOORE BOOK: NEW ORLEANS TO TEXAS. By Christopher Hillman and Richard Rains, with Michael Hortig. Pub. by Chris Hillman Books. 84pp, softbound, illus. £20 + p&p . www.chbooks.info (see advert in this issue). As Paul Swinton astutely notes in his foreword, the flow of musical ideas between New Orleans and Texas, courtesy of the itinerant pianists, guitar pickers and small touring groups, was long-established before the age of field recording trips. One can add to the above list the vaudeville and tent show touring acts, so well-documented in the Doug Seroff and Lynn Abbott’s amazing trilogy of books on this subject (and I believe there is a big clue there to some of the activity discussed in this book). The relative ease of travelling the 500 miles between New Orleans and Dallas via train made such communication possible, and musicians regularly made this a two-way street of influences. The book opens with a brief study of the the African American jazz and blues performers who recorded in New Orleans in the 1920s and 1930s and a discography of these recordings (including, oddly, the Joe Robechaux Vocalions made in New York). This is followed by a similar study of African American performers who recorded in Dallas, again with a discography, and finally the same treatment for San Antonio performers. There is a certain logic to this format, but
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it does make for odd gaps, most notably with the 1928 New credit is due to Chris, Richard and Michael for their sterling Orleans sessions by Dallas-based artists, which are listed in efforts to keep this music listened to and analysed. MARK BERRESFORD the Dallas section. It has to be made clear at this point that the personnels listed for several of the sessions is at variance with those published in the standard discographies; this, as the authors state from the outset, is based on careful aural study of the recordings themselves, and to this end a complimentary CD containing a selection of mainly Dallas/San Antonio recordings is included (the New Orleans recordings all available on CD/LP). Some of the conclusions the authors reach are plausible - such as the identification of Leroy Williams as the likely trumpeter on the Ben Norsingle, Ollie Ross and Hattie Burleson Brunswicks, and the likely identification of clarinettist Jesse Hooker on several of the 1928 Dallas sessions and on the 1928 New Orleans coupling by Will Day. However, I find myself disagreeing with some of the identifications, particularly the oft-repeated theory that members of Johnnie Miller’s New Orleans Frolickers, including trumpeter Sharkey Bonano and clarinettist Sidney Arodin, accompanied Lillian Glinn and Alberta Brown on their April 1928 New Orleans sessions, for no other reason than that they were in the studio on the same day! With the best will in the world, and with my keenest ears, do I hear anything remotely resembling the distinct styles of these players; I suspect that the accompanists were those brought from Dallas - pianist Willie Tyson, bassist Octave Gaspard, clarinettist Jesse Hooker (who they DO say is on the Will Day sides recorded the same day) and an unidentified trumpeter. Still, as Paul Swinton remarks in the foreword, the fact that we are still listening, debating and arguing about this music nearly a century after it was made keeps it fresh and alive, and the authors are to be commended for their efforts in bringing it to the forefront.
CD: DUKE ELLINGTON & HIS ORCHESTRA - “HEADING FOR NEWPORT”. 12 tracks Doctor Jazz DJ018. www.doctorjazz.nl (See advert in this issue for ordering details) The music on this CD is not mentioned in any of the discographies I have consulted and I imagine has never been heard by the general public since it was recorded at a concert on July 2nd, 1956, at Ann Arbor University in Michigan. The reason for this isn’t given in Steve Voce’s otherwise excellent liner notes, but presumably the tapes were only recently discovered in some long-forgotten cupboard in the university archives (or perhaps in some alumnus’ attic)! The recordings of the latter part of the concert have deteriorated beyond the point of restoration, though most of the music on them is, apparently, a rather ordinary medley of the Duke’s greatest hits. What has survived, however, is extraordinarily well recorded, and suggests that someone had spent a lot of money equipping the university’s Hill Auditorium with a state-of-the-art amplification system.
There are several discographical anomalies which I found disconcerting. Firstly, the insistence of listing LP reissues, with a complete disregard to CD reissues, as if vinyl carries greater importance in matters discographical - of course it doesn’t, and which to younger collectors is completely irrelevant, as they can hear practically every recording on YouTube! Secondly, the authors have copied from Jazz Records all of the spurious ‘alternate’ takes that are purported to exist on Columbia, as often as not the result of over-enthusiastic misreading of the stamper number for the take number. This alone is worthy of an article in VJM at some point for, although alternate issued Columbia takes do indeed exist, there are nowhere near as many as JR and this volume suppose! Also, the authors fall into the ‘if it’s white it can’t be right’ trap - their Mouldy Fygge dismissal of the ‘white hillbilly’ group who accompany Lillian Glinn’s Atlanta sessions of April 1929 is laughable - they were highly professional Atlanta dance band musicians, as their records attest. This is, amazingly, the twelfth book to be published by Chris Hillman and his team since 1997, and those familiar with the previous books will know what to expect in terms of production standards, layout etc; softbound, on matt paper throughout, which means the many illustrations are acceptable but not great, with some showing telltale signs of being grabbed from low-resolution scans on the internet.
The previous year, 1955, was a bad one for the Duke; he only recorded five commercial tracks, to which we can add a few concert excerpts: 15 numbers in all. He had, surprisingly, contracted to play the summer season at a swimming show in Flushing Meadows, NY, which meant that several key players had to leave the band because there were problems with their union cards. Even Ellington himself was only allowed to play an opening solo spot each evening. Although they had two recording sessions early in 1956, the results were very uneven, in spite of Johnny Hodges having finally rejoined the band after a four years’ absence leading his own small group (the rumour persists that Ellington and his manager somehow persuaded the clubs and halls to stop booking him, in order to force him back). Be that as it may, when it was announced that Ellington would appear at the Newport Jazz Festival on July 7th, neither the critics nor the public were expecting too much. And so the band’s rapturous reception was a total surprise: Paul Gonsalves’ tenor-sax solo on Diminuendo and Crescendo in Blue caused a near riot. It was a new arrangement (with long-term collaborator Billy Strayhorn) and its success led Ellington to claim that Newport ’56 was where he “was born”. It certainly launched the band into a whole new musical era. And if it was where he was born, then the Ann Arbor concert was where he went into labour! For the music on this CD is every bit as remarkable as what they played 5 days later…the Ellington outfit on top form with no sign of the travails of the previous year.
I recommend you buy this book if you have an interest in the music under discussion for two reasons: first, so you can read for yourself the conclusions the authors have arrived at and then start to dismantle - or agree with - their conclusions. Second, because I guarantee that it will make you drag the originals (if you’re lucky enough to own them) or reissues off your shelves and do some serious listening of your own. All
The band’s genius had always been their ability to blend the new with the old: to turn old tunes into new tunes and make them sound as fresh every time they were performed as the first time. Added to this, Ellington had skilfully developed his piano introductions on stage: precisely crafted and often atonal, though sounding lazily informal. So, at this point in the band’s career, you get a very real sense that these men
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ATTENTION – PARAMOUNT RECORD COLLECTORS G.H.B. JAZZ FOUNDATION, a non-profit organization, is working on a “COMPLETE LOUIS ARMSTRONG ON PARAMOUNT” compact disc to be released on our Black Swan label. We are searching for the cleanest possible copies of the following alternate takes:
Fletcher Henderson: Trixie Smith:
1974-1 Mandy 2016-2 Mining Camp Blues 2063-1 The World’s Jazz Crazy
(Puritan 11367) (Paramount 12256) (Paramount 12262)
Coot Grant:
2282-2 Find Me At The Greasy Spoon
(Paramount 12337)
*Audio specialist Doug Benson will be handling the digital transfers. We are also looking for the cleanest possible copies of a World Broadcasting System disc: Muggsy Spanier’s Chicago Loopers > C24966 : Baby Won’t You Please Come Home originally issued on World Transcription Disc JS-24 IF YOU WOULD LIKE TO HELP IN THIS ENDEAVOR PLEASE CONTACT US:
GEORGE H. BUCK JAZZ FOUNDATION
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World’s Largest And Most Important Catalog of Authentic Jazz were making musical history. But it’s interesting that the number that caused such a stir at Newport didn’t feature in this concert: maybe it wasn’t ready, or maybe Ellington suspected it was something he should keep it up his sleeve. As so often, then, he kicked off at Ann Arbor with that old warhorse, Black and Tan Fantasy, which is a perfect example of what I mentioned above: trumpeter Ray Nance, Quentin Jackson on trombone and old-timer Russel Procope on alto turn in an array of startlingly original solos, full of fascinating phrasing, which gives a whole new texture to this number. The Duke’s own solo is also way out in front modernistic and elicits gasps of delight from the audience.
high notes in the finale that would have taxed even his predecessor. Ray Nance returns in a punchy version of Satin Doll backed with some fine lazy-rhythm section work, followed by a double helping of Take the ‘A’ Train; first off, a feature for Ellington himself, a great rhythmic solo punctuated with stomping chords, leading into an ensemble statement of the theme. Nance sings and shouts, the band throbs and fades, then a huge chord, another piano introduction and Paul Gonsalves steps up with a solo that’s a worthy forerunner for his performance five days later at Newport…typically, he manages to combine a laid back rhythm with booting high register clusters of notes that mimic the clatter of the subway train: tremendous stuff. La Virgen de la Macarena is a showcase for Cat Anderson – the high register trumpet man who also shows us how to make much of the lower register: contrast is everything with this man, from screaming triple-tongued top notes to a series of ringing bell-like high tones that echo into an almost inaudible finale.
Stomping at the Savoy features some amazing jamming from Clark Terry, Paul Gonsalves and Harry Carney, after which Ellington reminds the auditorium of the band’s signature thought that “they want you to know they do love you madly”. Then Jimmy Hamilton launches into Clarinet Melodrama, his beautiful liquid playing showing what a worthy successor he was to Barney Bigard, on an instrument that many musicians thought was outmoded by the 1950s. Another old favourite, Harlem Air-Shaft shows Clark Terry’s extraordinary abilities on the trumpet, his tone almost like Duke Ellington interpolates at this point his famous that of like an alto-sax on LSD! Monologue: his homage to Peter and the Wolf, Pretty and the Wolf, with musical interludes from Hamilton, Procope and Harry Carney had been playing baritone sax with Ellington Carney. Carney and Hamilton also feature in the next for 30 years by the time of this concert, but he makes number, VIP Boogie, which is followed by a pyrotechnical Sophisticated Lady, which he must have played a thousand display of solo work from just about everyone in the frontline, times, sound as if she were just born, or re-born, that on Jam with Sam. Particularly noteworthy is Cat Anderson, evening…a real tour de force. Britt Woodman replaced with pulsating backing from the band, and Britt Woodman’s Lawrence Brown on trombone, when he left along with shouting trombone, driven along by some fine drum work by Johnny Hodges in 1951. On Theme for Trambean he Sam Woodyard. There are more pyrotechnics from Anderson demonstrates his ability to produce the same style of fine on The Hawk Talks; then Johnny Hodges takes the first of two upper register smooth trombone work in the best Brown solo spots on Prelude to a Kiss: this is lyricism personified, a tradition…with some lovely humorous touches and a series of solo a tempo with a beautiful single note interjections in !38
Ellington’s piano accompaniment. It segues straight into Hodges’ second solo, Things Ain’t What They Used To Be: more lyricism with added edge and punch and Hodges’ trademark lightly swinging rhythm. The final track is a vocal spot by Jimmy Grissom, Day In, Day Out. As Steve Voce points out in the liner notes, Ellington’s vocalists are “unfortunate individuals”, standing around knowing the audience can’t “wait for them to get the hell out”. Grissom is better than some, but he’s no great shakes. The pity is that he winds up the concert here, because the rest, as mentioned earlier is effectively lost, unfit to be remastered. I must also mention that Harry Coster has done a fine job on the technical side and this CD is a pleasure to listen to: the Ellington band on top form again and a must for your CD shelf. MAX EASTERMAN CD: THE UNIVERSITY OF LOUIS ARMSTRONG, 1927-1928. HQ Discs HQ04 (see advert in this issue for ordering details) Previous issues in this ground-breaking series of CDs covered the King Oliver CreoleJazz Band recordings as far as the fourth Okeh session on 26 October 1923 and the 27 Hot Five sides made between 12 November 1925 and 27 November 1926. All these were mechanically recorded of course; the Okeh label, following the lead by Victor and Columbia, only adopting the Western Electric recording process early in 1927.
Peter Lederman. Each system is custom built and very tricky to operate, the stylus exploring the groove in great depth and, when handled correctly, producing a full-bodied mid-range response as well as tremendous detail never previously revealed from these venerable 78rpm shellac pressings. Your reviewer’s first encounter with opening track Willie the Weeper led him to check that the bass control on his amplifier was not turned up because the initial impression is of reduced high frequencies when compared with the ‘usual’ CD transfers of 78s. Once the ear is accustomed to the sound, however, it is clear that all the ‘top’ is there but the bass and, especially the mid range is greatly enhanced. Thus the warmth of vinyl is preserved without the thin somewhat artificial brightness, often bordering on harshness, of previous re-mastering on CD. These masterpieces of jazz will be familiar to most VJM readers making detailed consideration of the performances unnecessary here. Nevertheless, some comment is required.
Once discographers realised that Kid Ory was away from Chicago touring with King Oliver when the Hot Seven records were made, it was assumed that the trombone work on all tracks was by the Kentucky born John Thomas. However, the first five numbers feature a different, smoother, trombone sound than the rougher style of Thomas present on the remaining seven selections. For the first time the correct personnel is given on the back cover of this CD. The This CD contains the 12 numbers featuring the Hot Seven, trombone was the New Orleans legend Honore Dutrey – the remaining Hot Fives by the classic line-up of 1926 as well without a shadow of doubt. Compare his playing here with as the first four tracks by the Savoy Ballroom Five (actually six Louis with that on the Johnny Dodds Orchestra Victors of musicians). 1929. Dave Bennett is to be congratulated on his use of the Although individual solos had been included in the classic revolutionary Strain-Gauge cartridge system developed by small band records by such as Morton, Oliver. Beiderbecke,
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The Ivory Men: Black Bob and Blind John and The Ivory Ladies: Aletha and Myrtle by Christopher Hillman and Daniel Gugolz with Paolo Fornara £20.00 each or £36.00 plus postage if ordered together. All Cygnet products are still available from Chris Hillman Books - CDs: Memphis Night Hawks and Chicago Rhythm Kings CYG 1001; State Street Ramblers 1928-1931 CYG1003; Bennie Moten’s Kansas City Orchestra CYG 1004; also State Street Ramblers Vol 1 Gannet CJR 1003. All £9.00 Discographies: Richard M. Jones: Forgotten Man Of Jazz; Dave Nelson And Others; New Orleans Trumpet In Chicago; Chicago Swingers. All £9.00 each (£30.00 if all purchased together). Paramount Serenaders and Paramount Piano. £18.00 each ( £30.00 if all purchased together). Postage per item: £1.26 to UK; £4.00 to EU; £5.00 elsewhere. Payment in £Sterling please. Cheques to be made out to C. Hillman, Chris Hillman or Chris Hillman Books. Cheques made out to Cygnet Productions can no longer be accepted. Paypal is available to the Email above. Please add £1.00 per item. Trade enquiries welcomed - discounts for quantity. !39
as well as Armstrong, for the previous three years or so – supplanting the earlier format of ensemble playing interspersed with solo breaks and occasional, often learned or even written, solos in the manner of the Piron and Creole Jazz band sides – the Hot Seven ensembles were still in the collectively improvised New Orleans format.
(particularly the interchange between Armstrong and Hines) presaging the way ahead.
All-in-all this CD deserves to find its way into every jazz enthusiasts collection - after all this must be the nearest anyone is ever likely to get to hearing this music performed live in the studio! Having given up the long cornet with its big, warm sound HENRY DAVIES in favour of the brighter, sweeter sounding trumpet, Armstrong’s sheer power guaranteed his dominance of these BOOK: FIELD RECORDINGS OF BLACK SINGERS AND ensembles, Only a clarinetist of the stature of Johnny Dodds MUSICIANS, 1901-1943 An annotated discography of Artists could compete on equal terms. Neither Dutrey nor Thomas from West Africa, the Caribbean and the Eastern and attempt to join the polyphony of Armstrong and Dodds, Southern United States. Compiled by Craig Martin Gibbs. preferring to underpin the harmonic structure. 460 pp, softbound. Published by McFarland and Co Inc. ISBN (print) 978-1-4766-7338-7 ISBN (ebook) Once Kid Ory was back in Chicago Louis reverted to the 978-1-4766-3187-5. previous Hot Five line up for the next five Okeh sessions held When I first picked between September and December 1927. On the final three up this discography, sides the Hot Five is joined by blues guitarist Lonnie Johnson. I’ll admit that the compilers name of The two numbers recorded on December 13th, contrasting Craig Martin Gibbs totally in mood and feeling, are unquestionably among the was new to me. It finest ever made by Louis. His variation on the last theme of transpires that he Tiger Rag, the up-tempo Hotter Than That is just what the title was a lecturer at says. Both Dodds and Ory play great solos but Armstrong’s Kyoto University in virtuosic solo work was never surpassed for ebullient creative Japan, who intensity and the uplifting duet chorus between Louis, scat unfortunately died in singing, and Lonnie’s leaping guitar accompaniment ends October 2017 with a beautifully conceived ‘call and response’ series of shortly after finishing breaks after which the pounding piano of Lil brings in the the manuscript for classic New Orleans style ride-out. Even here Armstrong has this, his last, in a solo breaks as well as a quirky codetta between trumpet and short series of guitar. discographies commissioned by the Kid Ory’s composition, Savoy Blues, in complete contrast, is North Carolina a medium tempo multi-thematic 12 bar blues nicely publishing company arranged, presumably by Ory, well-rehearsed and of McFarland & Co. immaculately performed (it is one of only five first ‘takes’ on The two previously this CD). Louis takes Ory’s first theme, a repeated three note p u b l i s h e d riff, and treats it to a series of introspective variations worthy compilations by this author, were not so much criticized as of Beethoven. The ensuing guitar duet is delightful – probably ‘savaged’ by most - if not all - earlier reviewers… certainly by the reason why the whole piece is pitched in the unusual, but the ones that I could locate. But I did notice that all these guitar-friendly, key of G Major. Louis was grieving the loss of ‘maulings’ had been administered by better known or leading his beloved recently deceased mother, May Ann, and this figures in the same discographical field. undoubtedly influenced his playing around this time. His Have you ever asked a builder what he thinks of another? two-chorus solo is achingly beautiful, wistfully nostalgic and There’s rarely a good word between rivals in the building executed with a delicate restraint making it difficult to believe trade and it would seem that in the ever-shrinking world of that the same musician had also played with such bravura truly expert preservation of early African American music only a short while before. Kid Ory’s solo has been quoted the same might apply. Sound ‘restorers/ engineers’ are usually verbatim by countless trombonists ever since, albeit in the the worst, closely followed by musicians – particularly easier key of F, the whole piece having become, in a drummers - “one man’s beat is another man’s poison” etc. But bowdlerised version, a traditional jazz standard along with it makes me wonder if this the case with all our much Muskrat Ramble. His other fine compositions, among them respected, matrix-crunching academics? Ory’s Creole Trombone and Sweet Little Papa are seldom heard live today. On the subject of Kid Ory, a bonus for the In some quarters it is now almost fashionable to criticize purchaser of this CD is the reprint of his recollections of the and snipe at our earliest and most famous discographers in Hot Five as told to Lester Koenig. the field. Pioneers like Brian Rust – whose monumental and ground-breaking discography of Jazz Records is regularly and The programme is rounded off with the first four titles made unfairly sniped at - without any concession from its detractors by the revised line up featuring the mercurial Earl Hines. They - that Rust’s work was ‘of its time’, ‘pre-internet’ and the very all have elements of the New Orleans ensemble system – foundation of most everything discographical that followed it. later sessions abandoned any attempt at this altogether – the The Blues & Gospel discography originally produced by Bob other front line members (Jimmy Strong and Fred Robinson) Dixon and John Godrich fares a lot better with unreasonable being competent read/busk musicians along with the banjo, criticism, mainly due to the constant & expert attention & Mancy Cara. The wonderful Zutty Singleton is the only New updates given by Howard Rye and many other dedicated Orleans man here; he doesn’t play a full drum kit just finger scribes such as Chris Smith, who is at present trying to cymbals, mainly solo intros and bridge passages, plus a single update, fulfill and complete listings of field records – floor cymbal ‘chop’ in Skip The Gutter. We are in a totally particularly from the Library of Congress – for a fifth edition different world here, these brilliant virtuosic performances of B&GR. Let’s keep our fingers crossed that this work sees the light of day as a hard copy. !40
I have always been in awe at the sheer scale of dogged determination and devotion that goes into collecting and ultimately producing these ‘Bibles’ for the dedicated collector and researcher. So with this all in mind I have desperately tried to say something positive about the late Craig Martin Gibbs’ annotated discography under review. But it’s hard. He has gathered together recordings from West Africa, the Caribbean and the Eastern and Southern United States in an effort to “trace in detail the evolution of the African American musical experience”. It is, admittedly, a new way of gathering genres together and each entry is listed not by artist, but by number and a strict…ish chronological order. A recording date is therefore easy to find, but artists need navigating via the index.
listed by matrix under ‘The McDonald Family’. Document CD (DOCD-5578) in turn adopted the B&GR alternative title and had McDonald as the certain vocalist (based on what information?). Gibbs took the Document detail – although added in his ‘sources’… ”Rounder 1513 gives Harriet McClintock as performer”. There you are…clear as mud.
I could be missing something here, but my point is that the detail and its ‘source’ are often far from clear and I, like one of the ‘kinder’ of Gibbs’ earlier critics, feel that his conclusions here and many places elsewhere, bear all the earmarks of an ‘enthusiastic compiler not entirely familiar with the field he is covering and not taking the time to check the accuracy of the data he includes’. Ultimately, I wonder why someone would spend so much time and effort doing Regardless of new formats and procedure, there is little here this while disregarding the care and attention this kind of that hasn’t come or gone before. The first quarter covers West work patently needs and settling for recreating ‘copy & paste’ African & Caribbean chronological listings although I am versions of other people’s work? assured by experts in that field – (that have more interest than me or the average American roots music enthusiast) that the Finally, to add insult to injury… McFarland discographies detail is far from complete and only includes what can easily are not cheap - the usual RRP is around the £100 mark and be found ‘online’. I found it hard to understand why the while I am well aware of the high cost of producing ‘low-run’ 1934 Laura C. Boulton Silent Film Collection is included. specialist interest books like this – I think any buyer spending Featuring as it does “unidentified performers” on an unknown ‘top dollar’ could at least expect a professional binding on his amount of “unknown titles”! Although in fairness, these are card/paperback book. The review copy sent to me and a chronologically followed by the Robert H. Morley Collection second copy I’ve been able to examine - both come with of cylinders (cut in Liberia or Sierra Leone in 1935?!) held at badly pressed binding and ‘irregular’ glue seams to the spine. the Eastman School of Music in Rochester, New York. that did As a result I’m sure neither copy seen could withstand regular look more than a little interesting – I will follow these up at usage and reference…but then why would they? www.worldcat.org/title/liberia-and-seirra-leone-glande-lomaPAUL SWINTON mandingo-1935/0clc/14939294 BOOK: HAPPY FEET - DANCING AND SWINGING IN The remainder of the book that should have been of the AUSTRALIA IN THE THIRTIES. By Jack Mitchell. Published most interest to blues, gospel & jazz enthusiasts has been 2018 by Jack Mitchell, 10 Carbine St., Lithgow NSW 2790, copied en-masse from the fourth edition of Blues & Gospel Australia. ISBN978-646-99162-7. 125pp soft cover, illus. Records , pasted & rearranged into the chronological order Available from the author at Au$35 (Australia)/ Au$50 with ‘sources’ added. Sources, in this case, refers to a release R.O.W. fjmitch@westnet.com.au where the reader can hear the title in question. This in itself, In September 1950, the Melbourne-based Australian Jazz could have been a very helpful addition to any Library of Quarterly published a pioneering 10-page discographical Congress listing but, once again, it is far from complete. What booklet of jazz recordings by Antipodean artists. This first constitutes new listings not found in B&GR is minimal and Australian Discography cost 2/6d and was compiled by the random, and what constitutes ‘new’ source notes or then 24-year-old Jack Mitchell. Now in his 93rd year, Jack has information are invariably ‘lifted’ from Document CD liner since revised and expanded his original work several times, notes, which in themselves were far from exemplary in their culminating in the 330-page hardback Australian Jazz on attention to detail. Record 1925-1980 (Canberra: AGPS, 1988). In 2015 he published Blistered Heels - Jazz and Hot Dance Music In The author doesn’t seem to have gained access to the Australia in the Twenties (reviewed in VJM 176 by Nick Washington or Austin archives of the Library, nor has he been Dellow). able to access to the most important first LP reissues by Alan Lomax let alone the original LofC 78s and card files that The present work extends this historical coverage of the offered the original, and one assumes, most accurate of all Australian dance band scene as far as WW2, with an account data. of the main interstate dance venues, the role of radio, the local impact of the Depression, and a series of detailed While often referred to on a daily basis, most discographies biographical vignettes of bands and musicians, fleshed out are modes of reference and only the lonely (or other with numerous photographs. discographers) would want to read every number and letter page by page – but even as a non-discographer a cursory look American-style dancing had been a fixture in Australia since at one of my favourite early LP releases, Afro-American Blues before WWl. In May 1914, a young Canadian promoter, & Game Songs (Library of Congress AFS L4) (NOT listed in James Charles Bendrodt (1891-1973) [sic] converted a Sydney ‘sources’) became quite confusing by comparison. Track A7 is roller-skating rink into the "Imperial Salon De Luxe", where Country Rag listed as by Smith Casey (that was apparently his on Friday afternoons he and his dancing partner would give name despite some previous doubts) - Gibbs uses Casey e x h i b i t i o n p e r f o r m a n c e s o f " t h e r e a l A m e r i c a n Smith (without comment) in listing and index but not in his Ragtime" [Sydney Morning Herald 14May14]. ‘sources’. Track B13 on the same LofC LP issue (not in ‘sources’ - but the later reissues on Rounder are) originally After the war, Bendrodt resumed his activities on a grander titled by John/ Ruby Lomax and ‘file card’? as Gon Knock Joe scale. In 1923 he leased the so-called "Palais Royal", a large Booker To The Low Ground and as performed by Harriet hall in the Sydney Royal Agricultural Society’s Showground at McClintock. B&GR altered the title to “Knock Joe Booker To Moore Park [sic] (NB: since 1997 the site of Rupert De Low Ground” and added that this could possibly have Murdoch's Fox Studios, birthplace of The Matrix, Mission been performed by Aunt Molly McDonald and was therefore Impossible 2, etc.). Here Bendrodt presented Frank Ellis and !41
Blues’, where, some researchers may be surprised to read this issue for ordering details). thatCalifornians, Thomas Morris doesn’t mention but theOriginal author Fletcher was oneofofhow the much small "swinging" number of—black his hyping themget as a"Art Hickman's This thenHenderson raises the question as “visually and aurally” identifies Joe Smith and Sidney De who Paris suggested band leaders whotitle made big book in the— 1920s andwent managed World Famous Band from the Hotel St. Francis, ‘Frisco", in the of itthis really on into as the apparently, horn players"aasveritable definitelyriot" appearing two Australia maintaininthat erarecommend of the following were, [SMH in15Bessie’s May 23]. theposition 1930s. into Theretheis Swing little to the Wallflowers were invited to take remedial instruction at J. C. handful Sydney band recordings the threefor least dance because of his status asmade chiefinarranger reeler. decade,ofnot Bendrodt's own dance studio, which taught "the 'Chicago' — years prior to the release of Jim Davidson's 1933 band the Benny Goodman orchestra at precisely initial the time Goodman more thanthat the the Fox-trot, so simple." Indeed, J. C. Bendrodt's hailed as the ‘King of promotional Swing’… and blurb it’s forfor his I canfascinating only assume final and section of this book, under sides. was being New Palais trumpeted, "At lovers last, ground-breaking chartsRoyal with Orchestra this outfit that many jazz the heading of ‘influences and legacy’ where separate Davidson's Although the U.S. Pacific Coast was three weeks a decade of trying, a dance that compares withfew theof know his name and his work. band I suspect that a good biographical sections on Connie Boswell, Janis away Joplin,from Ella after Sydney by steamer, it was a good deal closer than London. great combinations abroad" [SMH 1 Jun 33]. That's a moot them but have probably never heard any offirst his dozen 1920s recordings Fitzgerald, Bigoverseas Joe Williams and were Bob Wills werehired added as point, Consequently, musicians routinely from whoever selected Davidson's recorded Thatorthese were included simply because titles and certainly wouldn’thad givegood the earlier ones, at least, much time if they ‘padding’. San Francisco Los artists Angeles. While imported mid-1920s marketing instincts. they ‘admired’ Bessie or covered syncopation one of her songs records tended to reflectSmith the buttoned-up of New– did. But the seeds of Henderson’s orchestrating genius were a random selection. There are few discerning in the period covered by this and seems York andrather London, what Sydneysiders and Melburnians heard already In Junegerminating 1933, Warners' musical "42nd St." was doingCD brisk blues jazz floor musicians in influenced history thatbydidn’t admire or, business many of the State tracks hereinare as interesting their on the or dance was also the more loping at the Theatre Sydney, yet the onlyfor locally howeverofindirectly, wereWest. influenced by her! Smith together available arrangements as for theofhot provided by the stars rhythms the American U.S. recording the solo title work song was Don Bestor's on In Ma MayRainey 1927 and J.C. Bendrodt Harvey Ball nonand a playing full-price HMV, with it's melodramatic sirens and plodding with maybe to brought a lesser over extent, Bessie’s them. his alleged "Virginians" —Rosa actually from thewere U.S.THE Grant Hotel vocal opening. By contrast, Davidson's 42nd St. launches relative, Clara Smith and Henderson pioneers in San Diego — plus an all-girl orchestra: Ruth Varin and her straight into rhythmic dance tempo, jazza solos during the early 1920s, who through their record releases The Henderson orchestra was firsthas andseveral foremost dance "Maryland Maids", based even less exotically at a dance hall and dispenses entirely with a vocal. Recorded at theis popularised a form of blues phrasing and delivery that I am band, playing at this time at the Club Alabam, which in San Bernadino. In 1929 Melbourne's Capitol Theatre Columbia Homebush studio on 6th June 1933, it was in the sure influenced ALL blues singers, both male and female of credited on some of the Vocalion issues. There has in the past recruited L.A. violinist Jan Rubini to front the house orchestra. shops three weeks later on the cheaper Regal Zonophone that and that we staple still hear today. to have been the light label, been coupled much speculation about differentfrom the band might Whiletime Rubini's usual appears with Shuffle Offhow To Buffalo the same have sounded away from the recording studio, with the classics, he made a couple of Melbourne dance recordings movie. It is finally worth noting that some truly excellent Bessie musicians not confined to the 3-minute format recording with his mix of U.S. and local musicians, who sounded for all I think, byFederation Don Redman Smith session analysis is territory being undertaken by Wayne B. demanded. But inthat an interview the world like a competent band. Coincidentally, very weekgiven, the Australian of somewhat later, he finally made the point that dance bands were Shirley for The Ranson Hogan jazz Archive’s half-yearly Broadcasting Stations came to an agreement with EMI By the end of 1929 of affairsBut hadwaiting changed. allowed to play their otherwise product expected to commercial stick rigidly radio to thestations 3-minute formula, newsletter/magazine ‘The the Jazzstate Archivist’. six that Anticipating London five years, the local on air. This must have boosted Davidson's potential sales – thetheclub hostesses – who charged ’10 cents a dance’ months at a their time for a newcolleagues chapter ofbyany story is frustrating Musicians' Union hadmeanwhile, successfully lobbied the Australian In enough the event, band's sold wouldn’t make of anthe evening. So first whatcoupling we hear on this to say the least. In the I would recommend - with considerably. Federal Government to issue no further work permits to extremely well in the course of nearly a decade in the the above reservations - this latest ‘listeners companion’ to CD will be very much what the patrons of the Club Alabam foreign dance bands — or, at least, none to those from catalogue. Jack Mitchell quotes Davidson as claiming the would have heard 94 years ago! Except, of course, they would the Bessie Smith library - according to John Clark. outside "British Territories". Although this redressed the figure to have been 95,000 units. However, when I checked PAUL SWINTON have heard the band in glorious full frequency sound, whereas longstanding inequity of a virtual American ban on Australian the relevant EMI file card in 1976 for a projected LP reissue, I we have with the best30,000 the acoustic musicians, it effectively cut off Australian players from any noted this toasmake beingdoslightly over — still,recording pretty CD: FLETCHER HENDERSON & HIS ORCHESTRA “DO studios could manage. In the case of Vocalion (from whose further first-hand contact with Californian idiom, leaving impressive for a widely-dispersed market of barely 7 million THAT THING.” Vocalian and Pathé recordings 1924 25. 25 catalogue majority of these recordings them very much to their own devices. souls in the the middle of a catastrophic slump. come) the sound tracks. Frog DGF87 www.frog-records.co.uk (see advert in quality was amongst the better examples of the period; Pathé,
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In a sense, the Californian influence had come back with a vengeance, given that the New Palais Royal Orchestra's first 20 sides included 12 titles from movie musicals, which were either about to open or already playing in Melbourne and Sydney. This was hard-nosed strategy rather than mere serendipity. Whether or not one agrees with Jack's contention that "the Australian film industry was being strangled by British and American companies" [p8], the public evidently wanted to dance to tunes they heard in Hollywood musicals. The fact that Davidson could deliver anything from a Viennese waltz to a hard-blowing swing number is the reason his band remained on top until he left Australia in 1941 to lead the Band of the A.I.F. in the Middle East. Aussies have always been inveterate travellers, and Jack Mitchell's book also traces the sometimes unexpected career paths of Australians overseas. In 1934, Perth-born trombonist/ pianist Abe Walters was playing for Dutch planters at the Raffles Hotel in Singapore, then gigged around England from 1936 with Tommy Kinsman, Harry Roy and Maurice Winnick, before finally achieving unlikely stardom in the 1940s as "Don Carlos", leader of a frilly-shirted rumba band at Ciro's Club in London. Comedian Dick Bentley, now remembered principally as the gormless "Ron" in the post-WW2 BBC comedy series "Take It From Here", started life as an alto player in 1920s Melbourne, where he even made records. His radio boss in the 1950s was none other than the aforementioned Jim Davidson, by then Assistant Head of Variety at the BBC. Melburnian music journalist and broadcaster Stan Patchett, aka "Joe Paradise", acted as a kind of unofficial agent for Australian musicians in London. His most bizarre achievement, however, was to broadcast his own a capella rendering of Papa Charlie Jackson's Judge Cliff Davis Blues over the BBC Regional Programme one Saturday night in 1936. Judging from the surviving acetate, one feels Stan may have rehearsed rather too extensively at some Great Portland Street watering hole.
The Blues singer’s early history according to Greene produces some surprises. Even the generally accepted birth-date of 1903 is overturned as it would appear that new evidence has come to light c o n fi r m i n g t h a t Broonzy definitely did serve in WW1 from America’s first involvement in 1917 - making a safer estimate of D.O.B. as being “sometime around the turn of the century”. Blind Blake and particularly Blind Lemon Jefferson seem to have had a far greater influence and impact on Broonzy’s informative years than had previously been reported. Jefferson is credited with having “tutored” Broonzy as “the younger musician tried to gain entry into Chicago’s blues world” even showing him how to tune guitar strings and giving him lessons! Both Blake and Jefferson seem to have gained ‘new’ Christian names of William and Henry respectively! Roosevely Sikes (sic) is twice mentioned in the text but not in the index. Other inaccurate statements like “Jefferson recorded one hundred songs, fifty of which were commercially issued” could all be put down to oversights or some careless wording from the author or just as possible, taken verbatim from hitherto unseen or heard discussions made between Broonzy and Alan Lomax. These are quoted at length by Greene and they produce several revelations that greatly benefit the narrative. Gaining access to Lomax’s archived papers (referred to in the 23 pages of notes as: Interview transcripts, folder 09.04.10, Lomax Collection) and the resulting wider testimony from Broonzy, greatly improves the historical perspective, and insight into the man himself.
As a footnote, it's a rare luxury these days to have a typeface and layout that are actually legible. Too often desktop publishing confronts the reader with a miniscule text that crowds the page and disappears into the spine. Here, with generous margins, double-spacing and bold type, Jack Mitchell’s excellent book can be comfortably read in an afternoon. Greene often surprises and revisits some quite telling stories ANTHONY BALDWIN – one of which I confess to having long forgotten – involves Big Bill making a premature and hasty exit from another BOOK: THE INVENTION AND REINVENTION OF BIG BILL milestone in his career - playing at Carnegie Hall, missing BROONZY. By Kevin D. Greene. Pub. by University of North playing a planned final number at John Hammond’s Carolina Press ISBN No. 9781469646497 paperback, renowned Spirituals To Swing Concert - because “he wanted 978-1-4696-4648-0 hardback. 226pp, illus. $29.95 PB, $90 to get home to Arkansas for Christmas.” HB. https://www.uncpress.org Studies of Big Bill Broonzy’s life and career have appeared in Broonzy wasn’t, of course, the only blues singer to learn to print several times over the years and this the latest by Prof. adapt and navigate the cultural expectancies of the different Kevin Greene is a well written and welcome addition. The audiences that he met in marked stages of his career - from author relates the political and sociological changes that the land of his birth, ‘Down South’ in Arkansas and coincided and helped structure Bill’s career while primarily Mississippi to Chicago and on to Europe. Sonny & Brownie, developing the perspective that the great blues singer, having Muddy and many others followed similar paths and some been born and ‘invented’ in the South and recorded and knew better than others how to appease the ‘Jazzers’ that first performed primarily for a black audiences in the North - championed them as ‘a folk blues’ artists - both Stateside and remodelled himself several times as he progressed through then in Europe. marked, and often iconic events; from a Country blues player to an R&B Band Leader and from John Hammond’s Spirituals Despite some ill-informed claims to the contrary, Broonzy to Swing concert in 1939 to the 1950s when he became a was not the first real African-American blues-singer to visit or leading folk blues star to white audiences on both sides of the even conquer Europe. That honour probably rested with Atlantic. Lonnie Johnson way back in 1917. And Alberta Hunter and other women of the blues caused a ‘20s sensation singing !43
their blues from London vaudeville and cabaret stages long before Broonzy arrived there in 1951. But I have sat and talked first hand with several people who met and played with Broonzy during the ‘fifties – and to a man, and a woman, they corroborated what most interviews with the great man would suggest – that he was an highly intelligent, personable and decent man – he made many friends and had a genuine fondness for most white Europeans especially the French…”The people in France are good people” he once told Lomax “the best people I’ve met in my life…and I was never treated no better nowhere in the world than I’ve been treated in France. The people in France are just like the Negro of America – they’ve been pushed around, …they’ve been done bad, all their lives, they’ve been in sorrow, they’ve been in the shape of the blues all their lives. And I think the people of France is just like my people”. There are other memorable and earnest statements like this throughout the book – not just about our friends from over the channel, but on all his new European fans and it’s obvious to me that this was not ‘Uncle Tom’ speaking or a black blues singer adopting a trademark folk celebrity style - this was heartfelt stuff from a man feeling genuinely at home with his new friends.
music” nor do I see Broonzy as a possible trailblazer or harbinger in a new era of black music in a transnational setting. All testimony and interviews of the period suggest to me that he was just happy to show the Europeans what he had to offer and in turn happy to go along with what they thought both he and they could, and should, offer. Was this ‘reinvention’ ‘rejuvenation’ or just a natural process combined with a new-found freedom? There is cruel, but fair, scrutiny of the often cringing ‘cult of authenticity’ that Bill came across… often enacted by many of the young middle class whites that he encountered when he ‘played Europe’ – there was those who portrayed Bill as a stereotypical sharecroppin’ Mississippi Country Bluesman (despite the fact he was born and raised in Arkansas and spent the best part of his playing ‘career’ in Chicago and across the Atlantic.) and even those that did the most good for him - came at his music from an equally ‘foreign’ musical direction. All neatly summed up by Greene in the wonderfully headed title of Chapter Six, “We Love the Blues, but Tell Us about Jazz’.
The importance of the Belgium jazz critic Yannick Bruynoghe is duly noted. He became a great friend of Broonzy and together they produced the fascinating, albeit limited, autobiography ‘Big Bill’s Blues’. This folksy, romanticised version of Bill’s life and the early blues scene in Chicago – gives plenty of ammunition to the author and there is a full, fair and critical analysis of this ground-breaking book. The epilogue of ‘Big Bills Blues’ as written by Big Bill himself is repeated here and neatly sums up his frustrations at the ‘identities’ people had already tried to burden him with Ultimately, I’m not sure that I agree with the Authors by the time his book was first published in 1954… “As for assessment that Broonzy… “ was beginning to see himself as me, I would love to pick up a book and read a story about a critical link between European and American forms of Big Bill Broonzy…but when you write about me please don’t With such a huge body of recordings behind him – it’s not surprising that his repertoire performed outside of the US didn’t radically change - although he did undoubtedly adopt a ‘Folkier approach’ while in Europe and must of felt a new freedom to perform racially combative songs to a white audience – which he did night after night – but even then, some mainstays of his set such as Black, Brown & White had been written, but not performed, back in 1939.
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say I’m a jazz musician. Don’t say I’m a musician or a guitar player – just say that Bill was a well known blues singer and player and has recorded 260 blues songs from 1925 up till 1952.” Bill may have been a bit shaky on his dates and numbers, but he knew what was important to him. The book is not perfect for me. The constant referrals to “Broonzy’s otherness” left me slightly irritated and confused. The sections on our man in Chicago, the South Side and Melrose years etc seem to tread familiar territory..and water. The index was missing many key entries and occasional ‘bad proofing’ just niggled. But very little is perfect (unless, of course, you count Bill’s guitar playing on House Rent Stomp). And this latest way of looking at a great performer is a fascinating and thought-provoking study and a good read to boot. Plus…there are handful of nicely reproduced familiar Big Bill studio photographs and some family snaps including one of a proud Dad holding both his guitar and his new born Dutch son Michael van Isveldt - that must be worth the ‘cost of entry’ alone. PAUL SWINTON
fairly clear to judge from the range of songs here that we’re dealing with the mid-1940s (Hoagy Carmichael’s Memphis in June - a super performance - was copyrighted in 1945, for example); so it is then perfectly possible to imagine that Bix, had he survived into the swing era and beyond, would initially have adopted a style very much like that played by Andy Schumm. Certainly, I think that he would by 1945 have abandoned all the more obviously dated elements in his playing. But by that time, jazz was developing in several directions at once - be-bop, mainstream, revivalist – and I’m not at all sure that Bix would have kept to the middle-of-theroad, which is what is suggested on this CD. He was by nature an experimentalist, as witness not only his unorthodox approach to playing generally, but also the harmonies and rhythms of his only full piano recording, Bixology, even though this turned out be a single, tentative effort. It seems to me that, given the more prominent role played by jazz in the popular music output of the 1930s, which gave many musicians the opportunity to try out new ideas in recording studios as well as in back rooms, Bix would have taken a rather different career turn. The 1930s were full of experimental stuff, from the likes of Reginald Foresythe, Raymond Scott and Bert Shefter: in retrospect, it all amounted to not very much, something of a dead end, though at the time it attracted much critical interest. I’d like to think Bix would have been in there, and probably, given his profile and musical abilities, he would have made a better fist of it. Perhaps he would have been an early fusion success… Moreover, the increasing involvement of jazz musicians with their serious music counterparts, especially in the 1940s, as witness both Benny Goodman’s and Woody Herman’s classical recordings, and perhaps more importantly, Neal Hefti’s arrangements for the latter, might well have chimed quite well with Bix’s forward-looking musical leanings. It’s not at all unlikely that he would have turned increasingly to the piano as a means of expressing his musical ideas. I’ve no doubt that he would have played in groups like the one on this CD, but I think he would also have sought inspiration much further afield.
CD: FUTURISTIC RHYTHMS “Imagining the later Bix Beiderbecke”. Andy Schumm and his Sink-o-Pators 12 tracks Rivermont BSW-2244 www.rivermontrecords.com I really enjoyed the music on this CD: the band is outstanding in all respects. In the tradition of the best small jazz groups, they manage to sound much bigger than their six instruments (cornet, clarinet / tenor-sax, piano, guitar, string bass and drums) and the musicians, led by cornetist Andy Of course, this is mere speculation on my part, and the Schumm, are all fine performers: every track is crisp, counter-argument is the assertion – which is just as likely to swinging and musically inspired. Overall, the general sound be true – that we are all children of our time and hence also is not unlike that of the 1940s Bob Crosby Bobcats. prisoners of it: in other words, Bix might have found it impossible to develop new ways. Predicting the future is a The liner notes make much of the players’ accomplishments dangerous game, something I was reminded of listening to hitherto in re-creating early jazz styles, which is perhaps Christopher Stone and Fred Elizalde on Rhythm Past and slightly odd, given that the aim in this case is to project Present recently, which ends with Elizalde’s projection of forwards from 1931, the year that Bix Beiderbecke passed how ‘rhythm’ (i.e. jazz) would change post-1932. It was into jazz history. And this is what they do (though tracks like head-shakingly wrong and he was only looking a couple of San are more of a look backwards): Ewan Bleach’s tenor-sax years ahead! But that’s the penalty for trying to be a prophet. style displays interesting overtones of both Coleman Hawkins’ At least we have his recording to prove he was it. In the case punch and Chu Berry’s fluidity on Why Can’t You Behave?; of Bix, we are all as much in the dark now as we would have pianist Andrew Oliver opens Moten Swing with a very Basie- been back in 1931. All I can say is, I don’t really agree with esque line reminiscent of the late-30’s (though using rather this CD’s predictions, but I repeat what I said above: whatever more notes than Basie was wont to!); and the guitarist, Martin you might imagine Bix might have been, the music Wheatley, picks his solos with a smooth modernism - The ‘imagined’ here is great, so just enjoy it! Things That Were Made for Love is particularly good. The MAX EASTERMAN leader’s cornet, whilst retaining much of Bix’s tonality, has nonetheless dropped several of his keynote ‘licks’, such as his driving glissandi into a solo or the ride-out chorus. Schumm’s solos are poised and inventive, though he sounds to me much more like Bunny Berigan on top form than Bix: his two choruses on Rain are a good example: superb attack and construction, but just lacking the final lyrical touch that Bix always seemed to achieve. But then, would a surviving Bix have abandoned that for a harder, swing-era style? It’s not specifically stated in the CD notes which period the band is aiming at in their imagining of Bix’s future. But it’s !45
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JUAN MIGUEL CASTRO & BRUNO GIANNAULA RECORDS Offers to: Bruno92@live.com.ar Bids in US$. Shipping worldwide costs $50 for up to 6 records. Ask cost for shipping more records. No packing cost!! Payment via bank transfer or Paypal. We don’t grade sleeves but if the record comes with the original one we use “os”. 1 Vi 38011 CLIFFORD HAYES L.VILLE S. Blue Trombone St…-Clef Club S.. N- 95 Master 117 DUKE ELLINGTON It’s Swell of You-There’s a Lull in My Life sol N 2 Vi Ar 38057 NAPOLEON’S EMPERORS Mean to Me-My Kinda Love dam lbl E/E- 96 Master 102 DUKE ELLINGTON Sophisticated Lady And I...-Mood Indigo… sol N97 Master 114 A.ROLLINI Slap That Bass-Let´s Call The Whole Thing Off E-/E 3 Vi Ar 38055 J.R.MORTON Red Hot Pepper-Deep Creek os E/E98 Master 126 IRVING MILLS Merry Widow on a S…-Dear Dear What Can T…os N4 Vi Ar 20252 J.R.MORTON Sidewalk Blues-Dead Man Blues sol os N99 Od Ar 284465 ART TATUM Anything For You-Boots And Saddle os N5 Vi Ar 38060 TINY PARHAM Tiny´s Stomp-Stompin´on Down os E 100 Od Ar 284450 E.FITZGERALD Bei Mir Bist Du Schoen -It´s Wonderful sol V6 Vi 38041 TINY PARHAM Subway Sobs-Blues Island Blues N101 Od Ar 284650 C.BASIE. London Bridge is Falling Down-Texas Suffle os E++ 7 Vi 38126 TINY PARHAM Fat Man Blues-Black Cat Moan E+ 102 Od Ar 284519 C.BASIE. Dark Rapture-Jumpin´ at the Woodside os E/V+ 8 Vi 38009 TINY PARHAM Jogo Rhythm- Stuttering Blues N103 Od Ar 284464 DJANGO REINHARDT and E.GRAPPELLY If I Had you-Tornerai 9 Vi Ar 38056 FESS WILLAMS Friction-Here´Tis os E+ sol os N10 Vi Ar 38095 FESS WILLIAMS Musical Campmeeting-Buttons os N104 Od Ar 194156 L.AMSTRONG I Got Rhythm-Star Dust os E++ 11Vi Ar 38106 FESS WILLIAMS Slide Mr Jelly Slide–Goin´to Get´Cha os N105 Od Ar 284499 L.AMSTRONG Mexican Swing-Save It Pretty Mama os V+ 12 Vi Ar 38062 FESS WILLIAMS Sell it-Betsy Brown os E106 Od Ar 284476 BOB CROSBY w/Orch. Tea for Two-Royal Garden Blues os V+ 13 Vi 38105 IRVING MILLS At the Prom/J.PETTIS Bugle call Blues N107 Od Ar 284493 BOB CROSBY´S BOB CATS Hindustan-Mournin´Blues os E+ 14 Vi 38012 B.MOTEN Slow Motion-Hot Water Blues N108 Od Ar 284787 J.DORSEY Minnie de Trinidad-Maria Elena V/E15 Vi Ar 38091 B.MOTEN Kansas City Squabble-Now Goofy Dust os N109 Od Ar 194494 WASHBOARD SERENADERS Black Eyes-The Sheik.. ef nap N16 Vi Ar 38123 B.MOTEN Loose Like a Goose-It Won´t Be Long os N110 Od Ar 193332 IRVING KAUFMANN Broadway Melody-You Were Meant... os E+ 17 Vi Ar 23037 B.MOTEN The Candy Man-Rumba Negro os E18 Vi Ar 38146 BUBBER MILEY Chinnin’ and Chattin’ With May-Black Maria os N- 111 Od Ar 193333 DORSEY BROTHERS Breakaway-Evening Star os E 112 Od Ar 193478 CAROLINA C.OR I´ve Got to Have You- He´s so Unusual os V+ 19 Vi Ar 23016 DUKE ELLINGTON Hittin´the Bottle/ That Lindy Hop E 113 Od Ar 193375 CAROLINA C.OR. Do Something-Am I A Passing Fancy os V 20 Vi Ar 38053 DUKE ELLINGTON Stevedore Stomp-The Dicty Glide os N114 Od Ar 193365 SEGER ELLIS Hollywood Revue 1929 I-II fade ef 3 grooves V21 Vi 38065 DUKE ELLINGTON Hot Feet-Sloppy Joe E 115 Od Ar 193394 ED KIRKEBY Waiting at The..-The One in The World sol os V 22 Vi Ar 38079 DUKE ELLINGTON Cotton Club Stomp-Arabian Lover os N116 Od Ar 193335 S. BALLEW HITTIN The Ceiling-Spossin os V23 Vi Ar 38089 DUKE ELLINGTON Swanee Shuffles-Mississippi os N117 Od Ar 193364 SMITH BALLEW Evangeline/S. ELLIS-Coquette os E+ 24 Vi Ar 38092 DUKE ELLINGTON Haunted Nights-The Duke Steps Out E118 Od Ar 193391 SMITH BALLEW Painting The Clouds…-Tip Toe Through... os V+ 25 Vi 38130 DUKE ELLINGTON I Was Made to Love You-My Gal Is Good ..E 26 Vi 38034 D.ELLINGTON/ KING OLIVER The Mooche-West End Bl... sol os E- 119 Od Ar 193658 SMITH BALLEW Sing You Sinners-In My Little Hope Chest os E120 Od Ar 193470 CARL WEBSTER Puttin´on The Ritz-With You os eb nap V+ 27 Vi Ar 38134 KING OLIVER Boogie Woogie-Mule Face Blues E121 Od Ar 193236 F.TRUMBAUER Bless You! Sister- Dusky Stevedore E/E28 Vi Ar 38137 KING OLIVER Rhythm Club Stomp-Edna os E122 Od Ar 193050 F.TRUMBAUER w/BIX I’m Coming Virginia-Why Down... os E 29 Vi Ar 23009 KING OLIVER Shake it and Break it-Stingaree Blues E123 Od Ar 193090 F.TRUMBAUER w/BIX Blue River-Three Blind Mice E30 Vi Ar 38515 CANNON’S JUG STOMPERS Riley´s Wagon-Feather Bed os E 31 Vi Ar 38103 THE MISSOURIANS Vine Street Drag- I´ve Got Someone sol os E 124 Od Ar 193101 F.TRUMBAUER w/BIX There´s a Cradl…- Crazy Cat dam lbl os E 125 Od Ar 193426 F.TRUMB. w/BIX Turn on The Heat-Sunnyside Up os E32 Vi Ar 23020 MCK. C. PICKERS Never Swat a Fly-Laughing at Life sol os N126 BB 10087 MEZZ MEZROW If You See Me Comin’-Royal Garden b. V 33 Vi Ar 23024 MCK. C. PICKERS I Miss a Little Miss-After All,You´re.. sol E/E34 Vi 38013 MCK.C. PICKERS It´s Tight Like That-There´s a Rainbo… sol os V++ 127 BB 10088 MEZZ MEZROW Revolutionary Blues- Getting’ Together V dam lbl V+ 35 Vi Ar 38052 MCK. C. PICKERS Beedle Um Bum-Selling That Stuff sol os E/N- 128 BB 10254 J.R.MORTON Cannon Ball blues- Grandpa’s Spells 36 Vi Ar 24942 G.WASHBOARD ST Sophisticated Lady- My Pretty Girl sol os N- 129 BB 10264 F.WALLER Sweet Savannah…-Waitin’ At The End of The Road V+ 130 Co Ar 291247 T.WILLSON Sweet Loreine-But not For me os N37 Vi Ar 24059 WASHBOARD R.B./A.BARTHA Tiger Rag-Hot Biscuits N38 Br 3664 C.WILLIAMS B.5 Baltimore/THE FIVE HARMANIACS-Carolina… os N- 131 Co Ar 291228 T.WILLSON w/BILLIE Liza- Mean to me os NEUROPEAN JAZZ 39 Br x-2540 J.ROBECHAUX Stormy Weather-Lazybones N132 El.Sp. 4012 NEW HOT PLAYERS Diga Diga Doo- I Found a New Baby os E+ 40 Br 6368 DON REDMAN Hot and Anxious-If it’s True N133 El.Sp. 4014 NEW HOT PLAYERS St.James Infirmery-I Can´t Make.. os E+/E41 Br 6885 E.WATERS You´ve Seen Harlem at Its Best-Come Up and… N134 El.Sp. 4031 RAY VENTURA China Boy-Nagasaky os N42 Br 6317 DUKE ELLINGTON Moon Over Dixie-Baby When You Ain´t There E 135 El.Sp. 4062 TEDDY STAUFFER Margritllied-Das Traumschiet E 43 Col Blue 2963 MILL’S BLUE R.B. Out of a Dream-Let´s Have a Jubilee E 44 Col Blue 2742 LOUISIANA FIVE Yelping Hound Blues-Just Another Good.. sol E 136 El.Sp. 4193 EDDIE BRUNNER Eddie Stomp-Boogie Woogie In C-Major os E 45 Ed 50569 LOUISIANA FIVE Foot Warmer/BETSY LANE SHEPHERD-I´ll re… E 137 El.Sp. 4192 E.HOLLERHAGEN Melancholy Baby-In a Little Spanish T.. os E46 Gnt 5105 NEW ORLEANS R.KIMGS That´s a Plenty-TIN Roof Blues sol E- 138 El.Sp. 4075 ORIGINAL TEDDIES Moni Stomp-Lucky Day os NBlue Party-I-II os V 47 OK 40979 F.TRUMBAUER w/BIX Mississippi Mud-There´ll Come a Time E-/N-- 139 El.Sp. 4149 PHILLIPPE BRUN Blue Skyes-Maggie eb nap. os E+ 48 OK 41468 H.M.MASTER (DUKE)-Ring Dem Bells/L.AMSTRONG-Body and .. E- 140 El.Sp. 4081 WILLIE LEWIS 141 El.Sp. 4079 W.LEWIS NEGRO BAND Ol´Man River-Christopher Colu... eb os N49 OK 8064 SARA MARTIN Laughin´Cryin’ Blues-Sweet Baby, Good Bye! E 142 El.Sp. 4071 W.LEWIS NEGRO BAND I ain´t Got Nobody-Bacon’s Blues os N50 OK 8349 RICHARD M. JONES Kin to Kant Blues-Mush mouth Blues V 143 El.Sp. 4068 W.LEWIS NEGRO BAND Baby Ain´t You Satisfied-Ti-Pi-Tin os N51 Solo Art 12003 LOFTON p.solo Streamline Train-Had a Dream E 144 El.Sp. 4078 W.LEWIS NEGRO BAND I´ve Found a New Baby-Christm... os N52 Solo Art 12008 JIM YANCEY p.solo The Fives-Jimmy´s Stuff E+ 145 El.Sp. 4067 W.LEWIS NEGRO BAND Happy Feet-What Will I Do E/E53 Solo Art 12009 C. LOFTON I don´t Know-Pine Top´s Boogie Woogie E ARGENTINIAN JAZZ 54 MW 1140 LEROY SMITH St.Louis Blues/C.DORNBERGER-Tiger.. very rare V 55 QRS 7053 THE JUBILEE G.TEAM I´m Termined To Pray Right on-God Giveth.. E- 146 Vi Ar 68-0110 VIERI FIDANZINI ORCH. Saint Louis Blues-Frenesi bolero V+ 56 Re 9680 F.HENDERSON Charley, My Boy/MISSOURI J.BAND-Doodle-D.. E 147 Vi Ar 60-1961 SANTA ANITA ORCH. Copapada-La cancion de la Buena Sue.. sol hot dam pw side B V 57 Clef 89005 BILLIE HOLIDAY Solitude-East of the Sun os N148 Vi Ar 60-1137 SANTA ANITA Buscandote (bolero)- Sing,Sing,Sing V 58 MGM 295 ZIGGY ELMAN Cheek to Cheek-Me and my Shadow sol V149 Vi Ar 60-1194 SANTA ANITA Alegrate-Diablo y Rumbero V 59 MGM 237 E.HINES Keyboard Kapers-Sweet Honey Babe E+ 150 Vi Ar 63-0129 JAZZ CASINO Tiger rag-Mama Eu Quero samba E 60 Cres 1 KID ORY South-Creole Song V 151 Vi Ar 63-0233 JAZZ CASINO Ojos Negros-Que Tiene Maria sol E61 Cres 2 KID ORY Blues for Jimmy-Get out of Here V+ 152 Vi Ar 60-2028 CASTRITO ORCH. Bugle Call Rag-Puede Ser bolero E 62 Cres 3 KID ORY Maryland-Oh Didn´t He Ramble E153 Vi Ar 60-0722 RENE COSPITO & RHYTHM Pobre mariposa…- Bassie Boogie 63 Cres 4 KID ORY 1919-Down Home Rag E+ Woogie sol E 64 Cres 5 KID ORY Careless Love-Do What Ory Say V/V+ 154 Vi Ar 60-0934 HAWAIIAN SERENADERS Chico Chico-En Acapulco V 65 Cres 6 KID ORY Ory´s Creole Trombone-Orig.Dixieland One-Step V+ 155 Vi Ar 60-0548 HECTOR BIG ORCH. Yo Fui ..- Boogie Woogie Bugle Boy sol V/V+ 66 Co E 626 WASHBOARD R. B. A Ghost of a Chance-Midnight Rhythm sol V 67 Co Ar 291317 TEDDY WILSON w/BILLY Easy Liv..-What a Little Moonlight N- 156 Vi Ar 60-0570 HECTOR BIG ORCH. A Journey to a Star-Minnie sol fade os V 157 Vi Ar 39517 HAMILTON-VARELA Margie-Lady Be Good V 68 Co Ar 291306 TEDDY WILSON w/BILLY Foolin´Myself-If You where Mine N158 Vi Ar 37414 DON DEAN Yo-Bailando en el Alvear sol E69 KEY 602 GEORGE HARTMAN Muskrat Ramble-Diga, Diga Doo E 159 Od Ar 22018 BARRY MORAL El Boogie de los Ese Besito-Chinitos sol V 70 KEY 601 GEORGE HARTMAN Tin Roof Blues -Jazz Me Blues E 71 Exc. 165 GLADYS BENTLEY Red Beans & Rice Blues-Find Out What He…sol V 160 Od Ar 22019 BARRY MORAL Pesadilla-Juguemos de Nuevo sol V+ 72 De 23021 GRAPPELLY w/DJANGO I´ve Found a New Baby-Limehouse Blues E 161 Od Ar 22022 BARRY MORAL Divito Boogie-Muy Bien sol dig nap side b V 162 Od Ar 22026 BARRY MORAL Adios Mariquita Linda-El Boogie de los Patitos sol 73 De 23032 GRAPPELLY w/DJANGO St.Louis Blues-It don´t Mean a Thing E 74 De E 5943 GRAPPELLY w/DJANGO I´ve Found a New Baby-It Was so… sol E dam lbl V+ 163 Od Ar 22030 BARRY MORAL Te Para Dos-Momo Boogie sol V 75 De E 5831 GRAPPELLY w/DJANGO Moon glow-It Don´t Mean a Thing sol E 164 Od Ar 22410 SANTA PAULA SEREN. Cinco minutos Mas-Fiesta Para .. V 76 De E 6077 GRAPPELLY w/DJANGO Djangology-Avalon sol V+ 165 Od Ar 22401 SANTA PAULA SEREN. El Boogie del Banco Rojo-Cuantos eb 3 77 De E 5824 GRAPPELLY w/DJANGO St.Louis Blues-China Boy sol Ngrooves..V-/V 78 De F 9207 FUD CANDRIX The Girl I Love-Flamingo os V+ 166 Od Ar 45663 SANTA PAULA SEREN. Este Chanchito Fue al..- Nuevo Ritmo E79 De E 3229 FRED ELIZALDE Nobody’s Sweetheart-Allah’s Holiday N167 Od Ar 45667 SANTA PAULA SEREN. Dinah-Nunca Tuve una Oport… sol os E80 De E 2844 SPIKE HUGHES Six Bells Stampede-Sirocco sol N168 Od Ar 45700 THE RHYTHM TRIO (D.V.-K.H.-F.R.) Confessin’-Whispering sol os 81 De E 2711 SPIKE HUGHES A Harlem Symphony-I-II sol NE- very rare 82 De E 2259 SPIKE HUGHES Moon Love-Some of These Days N169 Od Ar 42103 THE DIXIELANDERS South Rampart Str..- After You´ve Gone os V 83 De E 3717 SPIKE HUGHES Donegal Cradle Song-Firebird E 84 De E 3089 SPIKE HUGHES Buddy´s Wednesday Outing-Long Night Sca… sol N- 170 Od Ar 45811 RAY VENTURA Danse Macabre-Bolero sol os V 171 Od Ar 45821 RAY VENTURA Tico Tico No Fuba-Jalousie V+ 85 De E 3004 SPIKE HUGHES Limehouse Blues-Elegy N86 De E 7039 DANNY POLO w/G.WILSON You Made Me Love You-Montma.. sol N- 172 Od Ar 45702 ISMAEL PAZ w/FIETTA After You´ve Gone-R.SANCHEZ REINOSO Y SUS S.P SERENADERS Three Little Words N87 De E 6899 5° HOT C.FRANCE Swing From Paris-Them There Eyes sol E 173 Od Ar 45701 H.L.FIETTA The Sheik-SAM REZNICK Sophisticated Lady N-88 De 7097 G.WASHBOARD ST. The Lady in Red-Chasing Shadows sol E 174 Nacional 8001 E.YRIBARREN Chloe-Sapho sol os V/V89 De 7459 ROSETTA HOWARD w/HAMFATS Stay on It- How Long Baby E175 Nacional 8185 E.YRIBARREN Yo Quiero de Eso-Dallas Stomp eb nap sol os V 90 De 555 F. HENDERSON Liza-Hotter Than´Ell E 176 Nacional 8258 R.AVILÉS J.B. Dinah-Zarina sol os V/V+ 91 De 342 F.HENDERSON Wild Party-Rug Cutter´s Swing E 177 Nacional 8100 YRIBARREN J.B. Valencia-Milenberg Joys sol os V 92 De 388 NEW ORLEANS R.KINGS Dust Off That Old Pianna-Since we.. sol N178 Music Hall 15427 E.VILLEGAS Y SU RITMO Organ Grinder…-That´s.. os very 93 De 640 CHICK WEBB I May Be Wrong-I´ll Chase The Blues Away Erare N94 De 173 CHICK WEBB Rhythm Man-Lona N-
OFFERS INVITED by
Mark Berresford Rare Records
The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: mark@jazzhound.net Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic.
HOW TO BID
Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the highest bid, you win at that price. Secondly, and easier for those more familiar with internet auctions and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins.
IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! NOTE: Some of the categorisation of certain instrumental-based artists has been, by necessity, arbitrary so please check all sections.
SECTION ONE: BLUES, GOSPEL AND R&B INCLUDING ITEMS WITH JAZZ ACCOMPANIMENT.
001 BELMONT SILVERTONE SINGERS. How We Got Over/ I Don’t Know What I’d Do Without Lord. Dec 7685 E- inaud 1/2“ rep cr. 002 BIG MACEO. Texas Stomp/ Maceo’s 32-20. Vic 20-2028 E+ 003 BIG BILL BROONZY. Cell No. 13 Blues/ You Got The Best Go. Col 37164 E+ Great! 004 Sweet Honey Bee/ My Little Flower. OK 06386 E005 BUTTERBEANS & SUSIE. You Ain’t Talkin’ To Me/ Don’t Start Nothin’ Here Tonight. OK 8233 E fine copy 006 DORA CARR (COW COW DAVENPORT PIANO). Cow Cow Blues. 1/s styrene Master Test Pressing of OK mx 73667-A E+ Amazing sound from this 1925 recording - you’ll never find an OKeh copy playing this well! 007 LEROY CARR - SCRAPPER BLACKWELL. Bozetta Blues. 1/s Vinyl Master Test Pressing of Voc mx 16443-2 E+ Unissued on 78! 008 IDA COX & LOVIE AUSTIN’S BLUES SERES. Wild Women Don’t Have The Blues/ Cherry Picking Blues. (Brown wax) Pm 12228 E- some light blasting in spots, tiny rc s2, 0gvs Fabulous acc. - Ladnier, O’Bryant etc. 009 H-BOMB FERGUSON. Bookie’s Blues/ Big City Blues. Sav 836 E+ Orig Sleeve 010 BLIND BOY FULLER. Shake It Baby. 1/s oversize Vinyl Master Test Pressing of Voc mx 26598-A E+ Tremendous up-tempo Guitar feature! 011 LILLIAN GLINN. Moanin’ Blues/ Don’t Leave Me Daddy. Col 14493-D E+ Super copy of fine Dallas 1929 sides, A1/A2 stampers! 012 WYNONIE HARRIS. Lollipop Mama/ Blow Your Brains Out. King 4226 E lt scfs nap 013 PEG LEG HOWELL. Please Ma’am/ Fairy Blues. Col 14356-D E++ Dealer Stock, beautiful and fine Guitar Blues, 1928! 014 IVORY JOE HUNTER. Woo Wee Blues/Old Gal & New Gal Bl. King 4455 E+ 015 MAHALIA JACKSON. The Lord Is A Busy Man/ U’re Not Living In Vain. Col 40610 E+ 016 PAPA CHARLIE JACKSON. Shake That Thing/ The Faking Blues. Pm 12281 V+ scrs Classic! 017 JENKINS & JENKINS. Mouth Organ Blues/ Hen Pecked Man. VT 7052-V EE+ Pioneer harmonica/guitar blues, 1924! 018 ALBERTA JONES. Trampin’ Blues/ Sud Bustin’ Blues. (Red) Gnt 3144 E- 1st session, 1925 019 JOE LIGGINS & HIS HONEYDRIPPERS. Miss You/ Big Baritone. Exclusive 102 E+ 020 VIRGINIA LISTON. I Don’t Love Nobody/ Tain’t A Doggone Thing But Blues. OK 8138 E- Fine 1924 with hot acc. by important Blues pioneer! 021 SARA MARTIN. Sweet Man Was The Cause Of It All/ Sympathizing Blues. OK 8088 E022 TOMMY McCLENNON. Bluebird Blues/ Blues Trip Me Up This Morning. BB B9037 E+ Orig sleeve Great Guitar Blues! 023 OZIE McPHERSON (acc. Fletcher Henderson group). Nobody Rolls Their Jelly Roll Like Mine/ I’m so Blue… Pm 12355 E- Great and uncommon! 024 LIZZIE MILES (as Mandy Smith). If You Can’t Control Your Man/ Shootin’ Star Blues. Oriole 1170 V++ 025 MONKEY JOE (JESSE COLEMAN). Just Out of the Big House/ New York Central. Voc 04618 E press marks nap. Stunning piano! 026 JEWELL PAIGE & HER BROWN BROWNIES. Give It Up/ Ain’t Gonna Give Nobody None O’ This Jellyroll. Dec 7863 E Fine band acc! 027 PIANO RED. Just Right Bounce/ Jumpin’ The Boogie. Vic 22-0118 E 028 PIGMEAT PETE & CATJUICE CHARLIE (Wesley Wilson-Harry McDaniels). Our Turpentine Farm/ My Friend John. Col 14485-D E+ Fun side! !48
029 THE PILGRIM TRAVELERS. When I Join The Jubilee/ Leading Me. Spec SP819 E+ 030 OTIS RUSH. Sit Down Baby/ I Can’t Quit You Baby. Cobra 5000 E Rare and fine! 031 BESSIE SMITH. Sorrowful Blues/ Rocking Chair Blues. Col 14020-D EE- Early Guitar Blues side 1, John Griffin. 032 You’ve Got To Give Me Some/ I’m Wild About That Thing. Col 14427-D EE+ Lovely copy, great Eddie Lang Guitar! 033 Blue Spirit Blues/ Worn Out Papa Blues. Col 14527-D E, tiny dig s1, just into intro s1. James P. Johnson Piano! 034 CLARA SMITH. Kansas City Man Blues/ Uncle Sam Blues. Col 12-D E+ Superb copy! 035 Done Sold My Soul To The Devil/ Freight Train Blues. Col 14041-D E+ Another fine copy! 036 STATE STREET BOYS. Midnight Special/ Crazy About You. OK 8964 EE- tiny rc s2 nap. Great Skiffle sides - Broonzy, Carl Martin, Jazz Gillum etc! 037 SONNY TERRY. Crow Jane Blues/ Beer Garden Blues. Cap 40097 E+ 038 LAVINIA TURNER. Don’t Cut Off Your Nose To Spite Yr Face/ How Can I Be Your Sweet Mama… OK 8042 E+ Stunning copy of only sides by legendary Harlem pianist Hughie Woolford! 039 & HER JAZZ BAND. Can’t Get Lovin’/ How Many Times. PActE 10134. EE- 1st Blues Record to be issued in Britain, 1922! 040 GEORGE WILLIAMS. The Gal Ain’t Born…/ A Woman Gets Tired of One Man.. Col 14002-D EE+ bad lbl dam s2 041 SONNY BOY WILLIAMSON. Elevator Woman/ Sonny Boy’s Jump. BB 34-0744 EE+ 042 OSCAR (BUDDY) WOODS. Token Blues/ Jam Session Blues. Voc 04604 EE+ Great sides by Shreveport slide guitar player! 043 THE YAS YAS GIRL. Good Old Easy Street/ Two By Four Blues. OK 06446 E+ Gorgeous copy of great sides
SECTION TWO: BRITISH & EUROPEAN JAZZ AND HOT DANCE - SOME RARE & UNUSUAL DISCS, INCLUDING RARE TEST PRESSINGS!
044 ALFREDO & HIS BAND. Up In The Clouds/ Thinking Of U. EBW 4904 E+ Excellent solos s1 045 AMBROSE & HIS ORCH. Happy Days Are Here Again/ My Love Parade. (White label Review copy) DeE M117 E- Fine hot s1, Polo, Ahola, great string bass! 046 SVEND ASMUSSEN ORCH. Nobody’s Sweetheart/ Dinah. Od D5252 E+ Hot violin! 047 CLAUDE BAMPTON & HIS BANDITS. Double Check Stomp/ Promenade. DeE F5891 E+ Uncommon and fine sides! 048 THE BARNSTORMERS (English Roadhouse band - rare!). Tain’t/ This Town’s Too Quiet. EBW W39 E 049 CYRIL BLAKE & HIS JIGS CLUB BAND. Rhythm Is Our Business/ No. 14 Blues. ReZ MR3623 E+ Unique 1941 live recording by black jazz band in London nightclub! 050 THE BLUE MOUNTAINEERS. You Rascal You/ Kiss By Kiss. Broadcast 12 3176 EE+ Fine 1931 side by moonlighting Ambrose sidemen, Ted Heath, Goldberg, Crossman etc! 051 CONNIE BOSWELL w/ AMBROSE & HIS ORCH. Things Might Have BeenDifferent. 1/s vinyl Decca Master Test Pressing of mx GB7318-1 E+ London 1935. 052 ALIX COMBELLE & JAM SESSION No. 1. Blues, Look Out There/ Take That Last Note. Swing SW227 E 053 BILLY COTTON & HIS BAND. I Heard/ They All Start Whistling Mary. ReE MR653 EE+ 2 hot sides, Ellis Jackson vcl. 054 Black & Tan Fantasy/ Trouble In Paradise. ReZ MR1037 E+ 055 FRED ELIZALDE & HIS MUSIC. Shy Anna/ Music & Moonlight. BrE 158 E Fine Rollini bsx/hot fountain pen, Quealey etc! 056 & HIS CONCERT ORCH. Heart of a Ni—er Suite Parts 1-4. DeE K686/687 (2 discs) E+ Rare!! 057 BILLY ELLIOTT. Stay Out of the South/Broken Dreams. EBW 4844 EE- Ahola tpt! 058 EMBASSY RHYTHM EIGHT. Where The Black-Eyed Susans Grow. 1/s vinyl Decca Master Test Pressing of mx GB6977-2 Hot Ambrose small group - Goldberg, Danny Polo etc. 059 TEDDY FOSTER & HIS KINGS OF SWING. Poor Dinah/ Sugar Rose. DeE F6050 E 060 ROY FOX & HIS BAND. Roll On Mississippi Roll On. 1/s vinyl Decca Master Test Pressing of mx GB3030-3 EE+ Hot 1931 side - Bowlly, Gonella etc. 061 IKE HATCH & HIS HARLEM STOMPERS. Yes Suh!/ High Rhythm & Low Moanin’. ReE MR2019 E+ 062 Sing Me A Swing Song/ There’s A New World. PaE F565 E+ 063 COLEMAN HAWKINS acc. THE RAMBLERS D.O. I Wish I Were Twins/ SWINGING RASCALS (Ramblers DO). Wabash Blues. DeE F5457 E 064 TRIO. When Buddha Smiles/ Dear Old Southland. VoE S210 E Holland, 1938 065 w/ ARTHUR BRIGGS-MICHEL WARLOP ORCH. Blue Moon/ What A Difference A Day Made. HMV X4497 E+ Orig Sleeve. Paris 1935, Django etc, fine sides! 066 PAT HYDE Acc. EDGAR JACKSON’S ORCH. Bugle Call Rag/ ICGYAB Luv. PaE R1973 E+/EE+ Rare 1934 sides by this fine singer w. great backing - Freddy Gardner etc! 067 JACK HYLTON & HIS ORCH. Come On Baby/ I’m Just In The Mood Tonight. HMV B5708 E solos both sides! 068 THE JACKDAUZ. The Snake Charmer/ Ultra Modern Swing. PaE F1129 E+ 2 good sides 069 JEFFRIES RIALTO ORCH. Yes Sir That’s My Baby/ n.i. Beltona 842 E070 GLADYS KEEP w/ RUDOLPH DUNBAR’S AFRICAN POLYPHONY. St. Louis Blues/ Dinah. ReZ MR1531 V+ Rare London 1934 sides Dunbar’s only records! 071 TOMMY KINSMAN BAND (as Florida Club Bd). Tain’t No Sin/ Ro-Ro-Rolling Along. Sterno 412 E 072 ARTHUR LALLY BAND (as Fenton’s Rainbows). Sweet Jenny Lee/ Bye Bye Blues. (Flexible blue) Filmophone 162 E Rare and hot - blistering tpt solo s1! 073 BRIAN LAWRANCE LANSDOWNE 6. Everybody Luvs My Baby. 1/s vinyl Decca Master Test Pressing of mx TB2017-3 E+ 074 NISSE LIND (Accordion solos). Tiger Rag/ Chinatown. (Swed) Toni 545 E+ 075 SYD LIPTON BAND. Swaller Tail Coat/ THE MASTERKEYS. I Had to Change The Words. Hom HR87 EE+ lt nr s1, slt tix. Rare issue with Freddy Gardner sax s1 076 MARIO LORENZI & HIS RHYTHMICS. Blue Skies/ Whispering. (Aust) Co DO-1695 E Fine laminated pressing of hot sides, Gardner etc! 077 MONIA LITTER (Piano solos). Savage Serenade/ Mexican Serenade. ReZ MR 2775 E+ Rare and unlisted! 078 FRIEDRICH MEYER-GERGS TANZ ORCH. So Wie Du/ Die Kleine Stadt Will Schlafen Geh’n. (Ger) Polydor 47430 E sm dig s1, 3 tix. Rare and hot Berlin 1940 Eurojazz! !49
079 ORIGINAL DIXIELAND JAZZ BAND. Sensation Rag/ Ostrich Walk. 12” CoE 736 E- Superb, exciting London 1919 sides, very rarely seen this clean! 080 ORIGINAL JAZZ. Look What I’ve Got/ Who’s Afraid of Big Bad Wolf. Pathe PA73 E081 JEAN PAQUES (Piano solos). Crooked Notes/ Pianotes. EBW 4932 E+ Rare London 1928 sides by Belgian jazz pioneer! 082 JACK PAYNE & BBC DANCE ORCH. Hot and Heavy/ Hot Bricks. CoE 5205 E Very rare and hot London 1928 sides! 083 Here Comes Emily Brown/ Cheer Up and Smile. CoE CB98 EE- plays E 2 hot sides, 1930! 084 Hot Coffee/ Back Again. Imp 2677 E+ Fine side! 085 Tiger Rag. 1/s vinyl Rex Master Test Pressing of mx F731-2 E+ Great hot side, tenor sax + clt solos - different take to the issued copy on Youtube! 086 ERN PETTIFER (Clarinet solos). Memphis Blues/ Somebody’s Wrong. PaE F517 E- lbl fade s2. Uncommon hot sides by Australian clarinettist! 087 VAN PHILLIPS & HIS CONCERT BAND. The Cuckoos Selection/ n.i. (12”) CoE DX83 E+ Rare London 1930 side by a band made up of musicians from the visiting Ted Lewis and Hal Kemp bands, featuring an amazing Jimmy Dorsey solo and great string bass (Harry Barth?). 088 PICCADILLY PLAYERS. From Monday On/ Heaven For Two. CoE 5156 E+ 2 hot 1928 sides - gorgeous Bixian tpt from Norman Payne s2! 089 QUINTETTE OF HOT CLUB OF FRANCE (Django). Body and Soul/ A Little Love, A Little Kiss. HMV B8598 E+ 90 Hot Lips/ Ain’t Misbehavin’. HMV B8690 E+ 091 DJANGO REINHARDT & HIS QHCF. Duke and Dukie/ Songe d’Automne. DeE C16092 E+ Django on electric guitar! 092 RHYTHMIC EIGHT. O Kay Baby/ What Good Am I Without You. Zon 5784 E Uncommon and hot solos both sides 093 Hullabaloo/ Dance of the Wooden Shoes. Zon 5730 E Hot s1, ts/ scat vocal 094 SYD ROY’S LYRICALS. Take Your Finger Out Your Mouth/ It Made You Happy. Gmn 2062 E- Solos both sides 095 ALAN SELBY & HIS BAND. Haven’t I?/ Giggling Gollywog. Picc 328 Excellent hot solos s1, 1929 096 NAT STAR & HIS DANCE BAND. A Blues Serenade/ Zulu Wail. Hom D1203 EE+ Rare and fine sides! 097 RAY STARITA & HIS BAND. I’ve Got A Feeling/ I Don’t Wanna Go Home. CoE CB118 E+ 2 hot 1930 sides, uncommon. 098 VALAIDA. Whisper Sweet/ Singin’ In The Rain. PaE F165 EE- plays E lt scfs nap 099 RAY VENTURA & HIS ORCH. Blue Prelude/ Night and Day. EBW W31 E+ Rare 100 GABY WAGENHEIM QUINTETTE. Star Dust/ Rosetta. (Fr) Cantoria RC152 E+ 101 WASHBOARD SERENADERS. St. Louis Blues/ The Sheik of Araby. PaE F428 E+ Orig sleeve. Romping London 1934 sides with Derek Neville’s amazing baritone sax!
SECTION THREE - IT’S A BEAR! BRITISH, EUROPEAN AND AMERICAN RAGTIME - ANOTHER TIPTOP SELECTION!
102 AMERICAN RAGTIME OCTETTE. Robert E. Lee/ Hitchy-Koo. EBW 2261 E- E Fine copy of these London 1912 sides! 103 ARIZONA JACK. Ragtime Cowboy Joe/ On The Mississippi./ Cinch 5101 E 104 MIKE BERNARD (Piano solos). 1915 Rag/ Maori. Col A1427 V+ Terrific 1913 Ragtime piano! 105 JACK CHARMAN & HARRY COVE. Alexander’s Ragtime Band/ I’m Busy In The City Kitty. (Vert) Marathon 116 E106 CONWAY’S BAND. Slidus Trombonus/ n.i. Vic 18117 E+ Super copy of this great 1916 ragtime trombone workout! 107 DE GROOT & THE PICCADILLY ORCH. The Apache Rag/ The Tickle Toe. HMV B982 EE+ De Groot wasn’t normally associated with anything quite as avant garde as Ragtime! 108 FAVORITE ORCH. Darkie Revels/ CITY OF LONDON POLICE BAND. Lancashire Clogs. John Bull B120 V+ light int hc nap 109 GOTTLIEB’S ORCHESTRA. Tres Moutarde (Too Much Mustard). 1/s HMV GC824 E sm nr slt tix. London 1911, 2 years before Jim Europe! 110 THE HEDGES BROS & JACOBSON. The Land of Cotton/ The Trail of the Lonesome Pine. CoE 2172 V+ Stunning 1913 ragtime piano by Elven Hedges - veterans of the 1900s Barbary Coast! 111 IMPERIAL REGIMENTAL BAND. Anona/ Hiawatha. Homophon 133 E Two fine ‘Indian Intermezzos’ 112 VESS L. OSSMAN. St. Louis Tickle/ PRINCE’S BAND. Silver Bell. United Record A937 EE- rare large spindle hole issue ex-Columbia 113 OLLY OAKLEY. Poppies and Wheat/ Sweet Jessamine. EBW 2046 V 114 JOHN PIDOUX (Banjo solos). Dervish Dance/ Merry and Bright. Cinch 5399 E+ Stunning copy of fine and rare 1914 banjo solos! 115 The White Coons/ Queen of Diamonds. Beka 40318 V 116 PRINCES’S BAND. Alexander’s Ragtime Band/ That Mysterious Rag. CoE 1907 E n gouge s1, 4 tix 117 ROYAL MILITARY BAND. That Mysterious Rag/ Rum Tum Tiddle. Colis 147 V+ 118 SAVOY QUARTET. He May Be Old But He’s Got Young Ideas/ Mammy’s Little Coal Black Rose. HMV B879 V+ scrs 119 I Don’t Want To Get well (great side!)/ How Ya Gonna Keep Em Down On Farm. HMV B962 EE120 THE VERSATILE THREE. Mammy O’ Mine/ Back To The Land of Dreams. EBW 3360 V+ 121 THE VERSATILE FOUR. Bo-Bo-Beedle-Um-Bo/ Japanese Sandman. EBW 3524 E122 VICTOR MILITARY BAND. Down Home Rag/ Horse Trot. Vic 17340 E-
SECTION FOUR: AMERICAN JAZZ AND HOT DANCE BANDS - SOME FINE ITEMS HERE!
123 HENRY ALLEN & HIS ORCH. Why Don’t U Practice What You Preach/ Don’t Let Your Love Go Wrong. Or 2898 E124 THE AMBASSADORS. That Certain Party/ I Never Knew. Voc 15153 EE+ Good tpt - Nichols? 125 ARCADIA PEACOCK ORCH. Where’s My Sweetie Hiding?/ Let Me Be The First To Kiss U Good Morning. PaE E5325 E 126 LIL ARMSTRONG & HER SWING ORCH. Oriental Swing/ Let’s Get Happy Together. Dec 10904 E+ 127 PAUL ASH & HIS ORCHESTRA. Take In The Sun, Hang Out The Moon/ I’m Tellin’ The Birds. Col 828-D E 2 good 1926 sides 128 BAILEY’S LUCKY 7. That Bran New Gal/ Linger Awhile. Gnt 5300 E fine copy 129 BARBARY COAST FOUR. Bugle Blues/ Bam Bam Bamy Shore. OK 40511 EE- Uncommon! 130 AL BERNARD & THE GOOFUS FIVE. Hesitating Blues/ St. Louis Blues. PaE R110 E+ 2 great, red hot sides, uncommon! 131 BUNNY BERIGAN & HIS ORCH. Frankie & Johnnie/ Mother Goose. Vic 25616 E+ 132 CHU BERRY & HIS STOMPY STEVEDORES. Indiana. 1/s vinyl Master Test Pressing of Vri Mx M294-2 E+ 133 PAUL BIESE & HIS NOVELTY ORCH. Yellow Dog Blues/ I Left My Door Open… Voc 14007 Great, rough hewn 1919 Jazz sides! 134 JACK BLAND & HIS RHYTHMAKERS. Who Stole De Lock?/Someone Stole Gabriel’s Horn. Kr 21182 Unusual issue of classic sides! 135 BROADWAY SYNCOPATORS. Bit By Bit You’re Breaking My Heart/ n.i. VoE X9386 EE+ !50
136 CALIFORNIA RAMBLERS. Sister Kate/ Lonesome Mama Blues. Voc 14436 EE+ 137 Charleston Cabin/ Please. Col 171-D E+ Gorgeous copy - Rollini etc s1 138 Susquehanna Home/ I Want To Be Happy. Col 199-D E++ Another Dealer Stock copy and hot - Rollini etc. 139 CAROLINA CLUB ORCH. Do Something/ Am I A Passing Fancy? (Arg) Od 193375 E+ 2 good sides! 140 BENNY CARTER & HIS CLUB HARLEM O. Devil’s Holiday/ Symphony In Riffs. CoE CB698 E- Great 1933 sides Unissued in USA! 141 JUANITA STINNETTE CHAPPELLE (Fats Waller organ both sides). Florence/ BERT HOWELL. Bye Bye Florence. Vic 21062 E+ Rare 1927 tribute records to African American international stage star Florence Mills, 1895-1927. 142 THE CHARLESTON CHASERS. Farewell Blues/ My Gal Sal. Co 1539-D E++ Superb Dealer Stock copy! 143 EDDIE CONDON’S QUARTET. Indiana/ Oh! Baby. Col 35950 E+ 1st US issue of these great 1928 sides - Tesch! 144 COON-SANDERS ORCH. Smiling Skies. 1/s white styrene Master Test Pressing of Vic Mx 48625-1 N145 WILLIE CREAGER & HIS ORCH. Crying Blues/ ERNIE GOLDEN O. Doin’ The Raccoon. Ban 6226 EE- Fine s1! 146 DIXIELAND JUG BLOWERS. Don’t Give All The Lard Away/ House Rent Rag. Vic 20420 E Indispensable classics! 147 DORSEY BROS. ORCH. Singin’ In The Rain/ Your Mother & Mine. PaE R433 E+ fine copy 148 Dinah/ I’m Getting Sentimental Over U. (Fr) Br A81473 E+ lovely surface pressing! 149 LLOYD FINLAY & HIS ORCH. Fiddlin’ Blues/ Jews Harp Blues. Vic 19644 E- lt scrs s2, nap. 1925 Texas Jazz - Seger Ellis piano! 150 FIVE BIRMINGHAM BABIES. Hard Hearted Hannah/ GOLDEN GATE O. Charley My Boy. Per 14311 EE151 Indigo Blues/ LOU GOLD ORCH. Roll ‘Em Girls. Per 14530 E 152 JAY C. FLIPPEN & HIS GANG. Sadie Green/ Baby Face. Per 12284 E153 GEORGIA WASHBOARD STOMPERS. Name It/ Lulu’s Back in Town. (SB) Dec 7095 E 154 GOLDEN GATE ORCH. Zulu Wail (-1)/ Just Another Day Wasted Away. Ban 6007 E155 THE GOOFUS FIVE. Clap Hands Here Comes Charley/ I Wonder Where My Baby Is Tonight. (Red) PaE E5539 E lbl fade s2 156 Muddy Water/ HARY RESER’S JAZZ PILOTS. Just The Same. (Fr) Od 165115 E157 TINY GRIMES & HIS BAND. Jumpin’ At Gleason’s/ Flying High. Atlantic 920 E158 THE GULF COAST 7. Memphis Tennessee/ Papa Better Watch Your Step. Col A3978 E159 THE HALFWAY HOUSE ORCH. Maple Leaf Rag/ Let Me Call U Sweetheart. Col 476-D EE-/E 160 EDMOND HALL’S SWINGTET. It’s Been So Long/ I Can’t Believe That U’re In Luv With Me. BN 51 E+ 161 FRED HALL’S SUGAR BABIES. Everything We Like We Like Alike/ It Goes Like This. (Red) PaE E6131 EE- lt scfs plays E 162 HEGAMIN’S BLUE FLAME SYNCOPATORS (Instrumental sides). Strut Miss Lizzie/ Sweet Mama Papa’s Getting’ Mad. HyTone K69 E- Rare! 163 FLETCHER HENDERSON’S CLUB ALABAM ORCH. 31st Street Blues/ Old Black Joe’s Blues. Per 14223 E- Two fine 1924 sides 164 JUSTIN HUBER’S ORCH. Sweet Papa Joe/ She’s Got That Too. Gnt 5253 V+ Unusual and rare 1923 sides by Territory Band! 165 THE JIM-DANDIES. Charleston Geechie Dance/ Shake That Thing. Har 55-H E 166 JAMES P. JOHNSON (Piano solos). Feelin’ Blues/ Riffs. OK 8770 E- plays better. Classic 1929 Stride Piano solos! 167 IRVING KAUFMAN. Red Hot Henry Brown/ n.i. Gmn 1765 E- Fine acc. s1! 168 SAM LANIN ORCH. Little Girl/ I Found A Million $ Baby. (Can) Royal 391156 E- fine tbn/clt side 1 169 LANIN’S SOUTHERN SERENADERS. Shake It and Break It (-3)/ Aunt Hagar’s Children Blues (-3). Em 10439 E lt rubs s2 nap/ Great 1921 sides 170 TED LEWIS & HIS BAND. Hot Lips/ I Love Sweet Angeline. Col A3730 E 171 Beale Street Mama/ Louisville Lou. Col A3892 E+ Ted plays a fine soprano sax solo s1! 172 Jungle Blues/ A Jazz Holiday. Col 1525-D EE+ 2 fine sides! 173 At Last I’m Happy/ Truly. Col 2408-D E lt scfs, shop stickers on lbls. 174 Rhythm/ Lazybones. (Blue wax) Col 2786-D EE- Rare and very fine 1933 sides - Muggsy, Slats Long, Brunies etc! 175 THE LITTLE RAMBLERS. Play It Red/ Swamp Blues. Col 1103-D E Two great sides - Rollini etc 176 VINCENT LOPEZ HOTEL PENNSYLVANIA O. Aggravatin’ Papa/ HARRY RESER & FRANK BANTA. Sugar Blues. OK 4812 E+ 177 CHARLES MATSON’S LUCKY SEVEN. Lawdy Lawdy Blues/ Jailhouse Blues. Pm 30306 V+ Great 1924 Harlem band sides 178 McKENZIE’S CANDY KIDS. Hot Honey/ If You Never Come Back. Voc 15166 V+ 179 BENNY MEROFF & HIS ORCH. Me & the Man In the Moon/ DORSEY BROS O. Sally of My Dreams. PaE R316 EE+ Wild Bill Davison tpt s1! 180 THE MISSOURIANS. Market Street Stomp/ TED WEEMS ORCH. Jig Time. (Spanish) Disco Gramofono AE 4365 E+ Rare issue! 181 TOOTS MONDELLO ORCH. Sweet Lorraine/ Beyond The Moon. Vars 8110 E+ 182 THOMAS MORRIS & HIS 7 HOT BABIES. The Mess/ NEW ORLEANS BLUE FIVE. My Baby Doesn’t Squawk. Vic 20364 EE+ Great coupling! 183 JELLY ROLL MORTON & HIS RED HOT PEPPERS. Little Lawrence / Ponchatrain. (Aust) HMV EA3680 E+ Fine laminated pressings! 184 BENNIE MOTEN’S K.C. ORCHESTRA. New Vine Street Blues. 1/s vinyl Master Test Pressing of Vic mx 57315-2 E++ Great sound! 185 MOUND CITY BLUE BLOWERS. Girls Like You Were Made For Boys Like Me. 1/s vinyl Master Test Pressing of ARC mx 10194 E- Great and Unissued on 78 1930 side with Fats, Hawkins, Goodman etc! 186 MUSICAL STEVEDORES. Honeycomb Harmony/ Happy Rhythm. Col 14406-D E, noisy gr s1 passes 2 fine 1929 sides by Elmer Snowden’s band! 187 NEW ORLEANS RHYTHM KINGS. Tin Roof Blues (take -)/ That’s A Plenty (-A). Gnt 5105 EE188 She’s Crying For Me/ Everyone Loves Somebody Blues. Vic 19645 E- lt nr s1 N.O. 1925. lt nr s1 nap 189 RED NORVO & HIS SWING OCTET (Berigan, Chu Berry). Blues in E Flat. 1/s Oversize Shellac Columbia Master Test Pressing of mx 16711-1 V+ lt scfs and edge ‘crumple’ nap. George Avakian’s copy. 190 TINY PARHAM & HIS MUSICIANS. Blue Melody Blues/ That Kind of Love. Vic V38047 V+ noisy gr s2 passes. Levy’s import sol 191 NORMAN PHELPS & HIS VIRGINIA ROUNDERS. It’s Tight Like That/ Sweet Violets. (SB) Dec 5191 E- Hot string band! 192 BOB POPE & HIS ORCHESTRA. Let’s Sing Again/ Take My Heart. (Buff) BB B6454 E wol s2 193 ANDY PREER & THE COTTON CLUB ORCHESTRA. I Found A New Baby/ ROSS GORMAN’S FIRE-EATERS. Come Day Go Day. Keith Prowse K102 E Mega-rare 1927 British issue! 194 MARTHA RAYE (Lonnie Johnson gtr!). How’m I Doin’ & Dinah. 1/s vinyl Master Test Pressing of ARC mx TO-1198-1 E+ Great 1932 side, Unissued on 78! 195 REUBEN REEVES & HIS RIVER BOYS. Zuddan. 1/s vinyl Master Test Pressing of Voc mx C683-1 E+ 196 Yellow Five. 1/s vinyl Master Test Pressing of Voc mx C682-1 E+ !51
197 HARRY RESER’S SYNCOPATORS. What Do I Care What Somebody Said/ I’m In Love Again. Col 981-D E- solos both sides! 198 Kansas City Kitty/ I’m Wild About Horns on Automobiles. Col 1761-D E+ 2 hot sides! 199 Collegiate Sam/ Piccolo Pete. Col 1973-D E++ Dealer Stock! Hot solos! 200 FRED RICH & HIS ORCH. The One-Man Band. 1/s styrene Master Test Pressing of OK max 404862-A E+ 201 GENE RODEMICH & HIS ORCH. Got No Time/ Isn’t She The Sweetest Thing. Br 2892 EE+ Excellent s1 with great drumming! 202 ROLY’S TAP ROOM GANG (Rollini). Old Fashioned Love. 1/s vinyl Oversize Master Test Pressing of Vri mx M273-1 E+ Unissued on 78! 203 Old Fashioned Love. 1/s vinyl Oversize Master Test Pressing of Vri mx M273-2 E- stained metal plays Unissued on 78! 204 ARTHUR SCHUTT (Piano solos). Piano Puzzle/ Lover Come Back To Me. PaE R412 E 205 BLOSSOM SEELEY ACC. THE GEORGIANS. A New Kind Of Man With New Kind of Love/ Bringin’ Home the Bacon. Col 136-D E206 BEN SELVIN ORCH (Moulin Rouge O). Loud Speakin’ Papa (great side)/ LOU GOLD O. Gonna Charleston Back To Charleston. Re 9887 E 207 ALBERT SHORT TIVOLI SYNCOS. Long Lost Mamma/ SELVIN O. Ritzi Mitzi. VoE M1166 E+ 208 NOBLE SISSLE & HIS ORCH. The Basement Blues (great Bechet/Ladnier!)/ ANDY KIRK 12 CLOUDS OF JOY. Dallas Blues. Br 6129 E- plays E 209 PAUL SPECHT & HIS ORCH. Here Or There/ HARRY RESER’S SYNCOS. JeT’Aime.. Col 853-D EE+ solos both sides, inc. Sylvester Ahola! 210 AL STARITA & HIS SOCIETY ORCH. Wang Wang Blues/ KRUEGER’S MELODY SYNCOS. Saxopation. GG L1055 E211 STATE STREET RAMBLERS. Wild Man Stomp/ Stomp Your Stuff. Dec 7424 Looks V+ plays E- Gennett masters 212 CHARLEY STRAIGHT’S RENDEZVOUS ORCH. Sweet Henry/ Easy Melody. Pm 1543 E- 2 good 1923 sides 213 JOHNNY SYLVESTER & HIS ORCH. King Porter Stomp/ Hot Hot Hottentot. PAct 036211 EE- Fine 1925 sides 214 JACK TEAGARDEN ORCH. I’ve Got It/ Someone Stole Gabriel’s Horn. CoE DB5035 E215 TEXAS WANDERERS. Pipe Liner’s Blues/ Rackin’ It Back. Dec 5831 V+ Great Western Swing sides! 216 CHARLIE TROUTT’S MELODY ARTISTS. Transportation Blues Parts 3 and 4. Col 1265-D E++ Atlanta band on Dealer Stock copy - gorgeous! 217 FRANKIE TRUMBAUER & HIS ORCH. Louise/ n.i. PaE E6208 E Bix! 218 JOE VENUTI & HIS ORCH. Everybody Shuffle/ Moon Glow. ReZ MR1419 E219 THE WANDERERS. Tiger Rag/ KXYZ NOVELTY BAND. I Found A New Baby. HMV JF26 E+ Territory Jazz! 220 WASHBOARD RHYTHM KINGS. Ash Man Crawl. 1/s vinyl Master Test Pressing of Vic mx 59031-1 E+ 221 Going Going Gone. 1/s vinyl Master Test Pressing of Col mx 265088-1 E+ 222 CARL WEBSTER’S YALE COLLEGIANS. Dream Child. 1/s styrene Master Test Pressing of Col mx 170422-1 E+ Fine College Jazz side with Bixian tpt and clt solos! 223 TED WEEMS & HIS ORCH. She’ll Never Find A Fellow Like Me. 1/s styrene Master Test Pressing of Vic mx 39581-4 E+ Unissued take! 224 DICKY WELLS’ SHIM SHAMMERS. Baby Are You Satisfied?/ BENNY CARTER ORCH. Minnie The Moocher. PaE R2345 E Rare! 225 FRANK WESTPHAL & HIS ORCH. Stop Your Kidding/ Greenwich Witch. Col A3786 E+ Fine s1! 226 PAUL WHITEMAN & HIS ORCH. San/ I Can’t Get The One I Want. Vic 19381 EE- 2 hot sides! 227 WHITEWAY JAZZ BAND. Tiger Rag/ Blue My Naughty Sweetie. Pm 20014 Great 1920 Dixieland sides! 228 HERB WIEDOEFT CINDERELLA ROOF O. Chimes Blues/ Moonlight Memories. Br 2647 E+ 229 Withdrawn 230 CLARENCE WILLIAMS & HIS ORCH. Lady Luck Blues/Yama Yama Blues. Voc 2991 E- LMS shop sticker s1 231 Mississippi Basin/ Walk That Broad. Voc 03350 EE+ 1/s vinyl Master Test Pressing of Voc mx M956-1 E Unissued on 78! 232 DOUGLAS WILLIAMS (Clarinet solos). Friendless Blues/ Riverside Stomp. Vi V38031 EE233 FESS WILLIAMS ROYAL FLUSH ORCH. Make Me Know It (-1)/ My Mamma’s In Town (-3) Har 189-H V+ 234 DALE WIMBROW & HIS RUBEVILLE TUNERS. Oshkosh/ Roll Right Offa My Green. Col 1200-D E++ Dealer Stock!
BUYING NOW! I pay Top Prices for Top Quality Jazz and Blues 78 collections of American original issues and original pre-1935 European Jazz and will travel virtually anywhere for the ‘right’ records. I also offer very competitive consignment rates to sell quality Jazz and Blues 78s.
What Do You Have?? I always have a constantly-changing stock of 12000+ Classic Jazz, Blues, Dance, Big Band, Bop/Modern Jazz and Personality 78s plus gramophones and phonographs, hundreds of jazz and blues books, discographies, magazines and related ephemera for Set Price sale from £1 upwards - visitors are always welcome... but please phone or email first!
+44 1773 550275 Email: mark@jazzhound.net Web: www.jazzhound.net MARK BERRESFORD RARE RECORDS !52
OFFERS INVITED: ROB ALLINGHAM P.O. Box 44650/Linden/2194/South Africa Email: recordiana@gmail.com Bid in US Dollars. Minimum $5 per item unless otherwise noted. Payment via bank transfer or Paypal. Shipment is extra and items will be shipped via the South African Post Office unless otherwise requested. (The SAPO still offers the option of shipping via surface mail at about one third the cost of airmail.) Aural grading using either a 2.5T or 3.2T stylus. 1 HENRY ALLEN & HIS NEW YORK ORCH Make A Country Bird Fly Wild/Pleasing Paul Vic V38107 E ($40 min) 2 ALLEN-HAWKINS & THEIR ORCH You’re Gonna Lose Your Gal/My Galveston Gal Per 15851 E+ ($20 min) 3 ALL STAR SWING BAND Here You Are/The Pity Of It All Indian Col FB 40230 E 4 BUSTER BAILEY & HIS RHYTHM BUSTERS Afternoon In Africa/Dizzy Debutante Vri 668 E 5 BILLY BANKS & HIS ORCH Bugle Call Rag/Spider Crawl Per 15656 EE- 6 COUNT BASIE & HIS ORCH Sent For You Yesterday And Here You Come Today/Swinging The Blues Dec 1880 EE+ 7 COUNT BASIE & HIS ORCH Texas Shuffle/Mama Don’t Want No Peas An’ Rice An’ Coconut Oil Dec 2030 E 8 COUNT BASIE & HIS ORCH If I Could Be With You/Taxi War Dance Voc 4748 EE+ 9 COUNT BASIE & HIS ORCH I Struck A Match In The Dark/Platterbrains OK 6508 E 10 CHU BERRY & HIS JAZZ ENSEMBLE Blowing Up A Breeze/Monday At Minton’s Com 541 E 11 BOSWELL SISTERS Down On The Delta/Charlie Twostep UK Br 1403 EE+ 12 CONNIE BOSWELL I Cried For You/I Can’t Believe That It’s You UK Br 1298 EE+ 13 BENNY CARTER & HIS CLUB HARLEM ORCH Devil’s Holiday/Symphony In Riffs UK Col CB 698 EE+ 14 BING CROSBY Beautiful Girl/After Sundown Br 6694 EE+ label tear side a 15 DORSEY BROTHERS ORCH Shim Sham Shimmy/Mood Hollywood Br 6537 E+ ($20 min) 16 DORSEY BROTHERS ORCH Mama….Yo Quiero Un Novio/Gracias Dec (sb) 445 E+ 17 DORSEY BROTHERS ORCH Au Revoir L’Amour/Singing A Happy Song Dec (sb) 357 E+ 18 TOMMY DORSEY & HIS ORCH Weary/Pagan Star Vic (scr) 25206 E 19 TOMMY DORSEY & HIS ORCH I’m Shooting High/Lovely Lady Vic (scr) 25216 EE+ 20 TOMMY DORSEY & HIS ORCH Goin’ Home/Humoresque Vic (scr) 25600 E 21 TOMMY DORSEY & HIS ORCH The Morning After/I May Be Wrong Vic (gld) 25703 EE+ 22 TOMMY DORSEY & HIS ORCH Blue Skies (voc Sinatra)/Back Stage At The Ballet Vic 27566 E 23 TOMMY DORSEY & HIS ORCH Swingin’ On Nothin’/On The Alamo Vic 27578 E 24 DUKE ELLINGTON & HIS FAMOUS ORCH The Sheik Of Araby/Blue Ramble Br 6336 EE+ ($20 min) 25 MILLS BROTHERS WITH DUKE ELLINGTON & HIS FAMOUS ORCH Diga Diga Do/MILLS BROTHERS I Can’t Give You Anything But Love Br 6519 E+ ($20 min) 26 DUKE ELLINGTON & HIS FAMOUS ORCH Take It Easy/Black Beauty Br 6803 E+ 27 DUKE ELLINGTON & HIS FAMOUS ORCH Doin’ The Voom Voom/I’m Checkin’ Out – Go-Om Bye Col 35208 E 28 DUKE ELLINGTON & HIS FAMOUS ORCH Tootin’ Through The Roof/Grievin’ Col 35310 E+ 29 DUKE ELLINGTON & HIS FAMOUS ORCH Solitude/Mood Indigo Col 35427 EE+ 30 DUKE ELLINGTON & HIS FAMOUS ORCH Swing Low (A)/Ducky Wucky (A) Col 35683 E+ 31 DUKE ELLINGTON & HIS FAMOUS ORCH Blue Mood/Delta Bound Col 37298 E+ 32 DUKE ELLINGTON & HIS FAMOUS ORCH Clouds In My Heart (B)/Slippery Horn (A) Col 37299 EE+ 33 THE FIVE BREEZES My Buddy Blues/Return, Gal Of Mine BB B8614 E 34 LOU GOLD & HIS ORCH True Blue Lou/SAM LANIN’S DANCE ORCH Wishing And Waiting For Love Dom 4373 E 35 NAT GONELLA & HIS GEORGIANS Georgia’s Gorgeous Girl/I’m Gonna Wash My Hands Of You UK Par F 116 E 36 NAT GONELLA & HIS GEORGIANS Nagasaki/Tiger Rag UK Par F 161 E+ 37 BENNY GOODMAN & HIS ORCH Junk Man/Ol’ Pappy UK Col CB 730 EE+ 38 BENNY GOODMAN TRIO Nobody’s Sweetheart/More Than You Know Vic (scr) 25345 EE+/E+
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39 BENNY GOODMAN & HIS ORCH Peckin’/Can’t We Be Friends Vic (scr) 25621 E 40 BENNY GOODMAN & HIS ORCH Down By The Old Mill Stream/Yours Is My Heart Alone Col 35445 EE+ 41 BENNY GOODMAN & HIS ORCH Dizzy Fingers/Tattletale Cap B 439 EE+ 42 BENNY GOODMAN SEXTET Hi ‘Ya Sophia/Baby, Have You Got A Little Love To Spare Cap 462 E 43 EDMOND HALL & HIS QUARTET WITH TEDDY WILSON Caravan/It’s Only A Shanty In Old Shanty Town Com 557 EE+ 44 IKE HATCH & HIS HARLEM STOMPERS Dinah/Some Of These Days UK RZ MR 2050 E 45 JOE HAYMES & HIS ORCH Cross-Eyed Kelly/There’s Gonna Be A Wedding In The Band Or 3017 E- rcnap 46 FLETCHER HENDERSON & HIS ORCH Sweet And Hot/I’ve Found What I Wanted In You Col 2414-D E/EE+ ($20 min) 47 FLETCHER HENDERSON & HIS ORCH Limehouse Blues/Wrappin’ It Up Dec (sb) 157 E+ ($15 min) 48 FLETCHER HENDERSON & HIS ORCH Big Chief De Sota/Stealin’ Apples Voc (blk) 3213 E/E- 49 FLETCHER HENDERSON & HIS ORCH Rhythm Of The Tambourine/It’s Wearin’ Me Down Voc (blu) 3487 E 50 FLETCHER HENDERSON & HIS ORCH Moten Stomp/Don’t Let The Rhythm Go To Your Head Voc 4180 E+ 51 KANAWA SINGERS Golden Slippers/AL HOPKINS & HIS BUCKLE BUSTERS Hear Dem Bells Br 189 EE+ 52 SPIKE HUGHES & HIS NEGRO ORCH Nocturne/Someone Stole Gabriel’s Horn UK Dec F 3563 E 53 SPIKE HUGHES & HIS NEGRO ORCH Music At Midnight/Music At Sunrise UK Dec F 3836 E 54 INK SPOTS Swing High, Swing Low/Whoa Babe Dec (sb) 1236 EE+ 55 MAHALIA JACKSON Walking To Jerusalem/What Then Apollo 289 E 56 JAY & KAI Don’t Argue/Bags’ Groove Prestige 919 E 57 UNCLE DAVE MACON The Old Maid’s Last Hope (hilarious lyrics!)/The Fox Chase Voc 14850 V 58 MILLS BROTHERS Rockin’ Chair/Sweet Sue Mel 13181 E+ 59 JELLY ROLL MORTON Pep/Fat Frances UK HMV JK 2201 E 60 MOUND CITY BLUES BLOWERS San/Red Hot! Br 2602 E 61 HARLAN LATTIMORE & HIS CONNIE’S INN ORCH Chant Of The Weed/DON REDMAN & HIS ORCH Two Time Man (B) Col 35689 EE+ 62 LUIS RUSSELL & HIS ORCH High Tension/LOUIS ARMSTRONG Knockin’ A Jug UK Par R 1064 E+ 63 LUIS RUSSELL & HIS ORCH Hokus Pokus/The Ghost Of The Freaks Mel M 13334 E- 64 JOE SULLIVAN My Little Pride And Joy/Just Strolling UK Br 02136 V+ 65 JOE SULLIVAN Andy’s Blues/Summertime Com 540 E+ (terrible pressing quality as always with this record) 66 SYNCO JAZZERS I Love You So Much/I Won’t Be Satisfied Mad 5082 EE- 67 JOE TURNER & PETE JOHNSON Goin’ Away Blues/Roll ‘Em Pete Voc 4607 E+ 68 JOE VENUTI & HIS BLUE FOUR Satan’s Holiday/Hell’s Bells And Hallelujah UK RZ MR 1452 E 69 FATS WALLER HIS RHYTHM & ORCH We Need A Little Love/The Jitterbug Waltz BB B 11518 E 70 WARING’S PENNSYLVANIANS Collegiate/Look At Those Eyes Vic 19648 E 71 PAUL WHITEMAN & HIS ORCH Ol’ Man River/Make Believe Vic 21218 E rcnap 72 unidentified electric Hawaiian guitar & acoustic guitar duet Japanese Teichiku 0263 E- (10” LPs) 73 FATS WALLER Fats At The Organ UK London AL 3521 disc: VG+ sleeve: VG+ wos 74 FATS WALLER Jivin’ With Fats UK London AL 3522 disc: VG+ sleeve: VG+ wos 75 WHOOPEE MAKERS (Ellington) Doin’ The Voom Voom/Flaming Youth Per 15240 E ($40 min) (inferior audio quality but far better performances than the Victor recordings of these titles made eight months earlier) 76 ERROLL GARNER Playing Piano Solos Vol 1 Savoy MG 15000 disc: VG (must be played with a 1 mil stylus) sleeve: VG wos 77 ERROLL GARNER Playing Piano Solos Vol 2 Savoy MG 15001 disc: VG (must be played with a 1 mil stylus) Sleeve: VG wos
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Wim Bor Levendaalseweg 13 3911 BD Rhenen The Netherlands wim.bor@planet.nl Grading is conservative. E+ is the highest grade I use. All my records are play graded. You pay actual shipping cost, no packaging or handling fee. Shipping to anywhere in the world, by surface or air, as preferred. All bids remain confidential. Your satisfaction is guaranteed and any item can be returned for a full refund within 14 days. On request I am willing to send pictures and sound clips of the records. POLYSTYRENE MASTER PRESSINGS (78 RPM) 01 Bert Ambrose and His Orchestra Do Something (issued on Decca M-31) Mx MB-204-4 E+ 02 Fred Astaire (acc. by Ray Noble) Nice Work If You Can Get It (unissued) Mx LA-1467-A E+ 03 Billy Banks and His Orchestra Yellow Dog Blues (unissued) Mx 12121-1 E+ 04 Blanche Calloway and Her Joy Boys Just A Crazy Song (unissued) Mx 68938-1 E+ 05 Cliff Edwards You're The Sweetest In My Dreams (unissued) Mx 147139-3 E+ 06 Duke Ellington and His Orchestra Ring Dem Bells (only issued as a dubbing) Mx 61011-3 E+ 07 Lloyd Finlay and His Orchestra Mamma, Won't You Come And Ma-Ma Me (unissued) Mx 32105-1 E+ 08 Jean Goldkette (with Bix Beiderbecke) I Didn't Know (unissued) Mx 31206-2 V+E+ Original stamper used to make this pressing was badly etched. This causes a swishing sound in the first half of the recording. 09 Earl Hines and His Orchestra Everybody Loves My Baby (unissued) Mx 48884-2 E+ 10 Billie Holiday and Her Orchestra I Can't Get Started (unissued) Mx 23468-2 E+ 11 Paul Howard's Quality Serenaders Burma Girl (unissued) Mx 54847-3 E+ 12 Mississippi John Hurt Big Leg Blues (unissued) Mx 401474-B E+ 13 Robert Johnson Cross Road Blues (unissued) Mx SA-2629-2 E+ 14 McKinney's Cotton Pickers Talk To Me (unissued) Mx 64605-1 E+ 15 Blind Willie McTell (Hot Shot Willie) Mama, Let Me Scoop For you (issued on Victor 23328) Mx 71605-1 E+ 16 Memphis Jug Band Whitewash Station Blues (unissued) Mx 47036-1 E+ 17 Memphis Jug Band Memphis Yo Yo Blues (issued on Victor 38558) Mx 56345-2 E+ 18 Miff Mole's Molers Navy Blues (unissued) Mx 490036-B E+ 19 Thomas Morris and His 7 Hot Babies P.D.Q. Blues (unissued) Mx 36926-2 E+ 20 Bennie Moten's Kansas City Orchestra Liza Lee (unissued) Mx 62921-2 E+ 21 Jack Pettis and His Pets Freshman Hop (unissued) Mx 48127-1 E+ 22 Leroy Smith and His Orchestra St. Louis Blues (unissued) Mx 43429-1 E+ 23 Ted Weems and His Orchestra Miss Annabelle Lee (unissued) Mx 39441-6 E+ 24 Paul Whiteman and His Orchestra It Won't Be Long Now (slower version, unissued) Mx 39577-4 E+ 25 Fess Williams' Royal Flush Orchestra Hot Mama (unissued) Mx 57198-1 E+ 26 Teddy Wilson (with Billie Holiday) My First Impression Of You (unissued) Mx 22192-3 E+ EURO JAZZ 27 Bert Ambrose and His Orchestra 28 Josephine Baker 29 The Excellos Five (Berlin, 1926) 30 Willie Lewis and His Negro Band 31 The Night Club Kings 32 Quintette Du Hot Club De France 33 Quintette Du Hot Club De France 34 Rita Reys (with The Jazz Messengers) 35 Savoy Orpheans 36 Noble Sissle and His Orchestra
Singapore Sorrows/Without You Sweetheart Breezing Along With The Breeze/Then I'll Be Happy I Miss My Swiss/In The Land Of Shadow Palm-Trees Blue Heaven/Some Of These Days (ZĂźrich, 1941) In The Moonlight/Someone Lady Be Good/Dinah (looks E+) After You've Gone/Are You In The Mood (looks E+) You'd Be So Nice To Come Home To/Taking A Chance Copenhagen/Haunting melody (waltz) Kansas City Kitty/I'm Crooning ATune About June
HMV B-5464 Odeon 196053 Polydor 20380 Elite Special 4082 HMV B-5776 Ultraphone AP-1422 HMV K-7707 Philips P-17633 HMV B-1954 HMV B-5731
CLASSIC JAZZ 37 Louis Armstrong and His Hot Five Don't Forget To Mess Around/I'm Gonna Gitcha Okeh 8343 (small red) 38 Billy Banks and His Orchestra Bugle Call Rag/Spider Crawl Kristal 21181 39 Bix Beiderbecke and His Gang Rhythm King/Louisiana (looks E+) Okeh 41173 (large black) 40 Lee Morse and Her Blue Grass Boys 'Tain't No Sin/I'm Following You Columbia 2136-D 41 Jelly-Roll Morton Grandpa's Spells/Kansas City Stomp Gennett 5218 42 Jelly-Roll Morton's Red Hot Peppers The Chant/Black Bottom Stomp Victor 20221 43 Bennie Moten's Kansas City Orchestra Justrite/Trouble In Mind (looks E+) Victor 21739 44 New Orleans Owls Dynamite/Pretty Baby (looks E+) Columbia 1045-D 45 New Orleans Rhythm Kings London Blues (with Jelly-Roll Morton)/Mad Gennett 5221 46 King Oliver's Dixie Syncopators Slow And Steady/I'm Watching The Clock (looks E+) Brunswick 4469 47 King Oliver and His Orchestra I'm Lonesome Sweetheart/I Can't Stop Loving You Victor 23029 48 Nat Shilkret/Jean Goldkette (with Bix) I love You/Proud Of A Baby Like You Victor 20469 49 Sioux City Six (with Bix, Miff Mole) I'm Glad/Flock O'Blues Gennett 5569 50 Jabbo Smith and His Rhythm Aces Lina Blues/Croonin' The Blues Brunswick 7087 51 Clarence Williams Stompers Dinah/No Interest Beka A-73894 Finally the complete set Claxtonala's of the Wolverines (as Jazz Harmonizers) in stunning condition 52 Wolverine Orchestra Oh Baby/Copenhagen (looks E+) Claxtonola 40336 53 Wolverine orchestra Riverboat Shuffle/Susie (looks E+) Claxtonola 40339 54 Wolverine Orchestra Sensation/ Lazy Daddy (rare take 9080-B) (looks E+) Claxtonola 40375
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E/EE+ E/E V+E-/V+EEE+/EE+ V+/V+EE/E E+/E+ E+/E+ EE+/EE+ E/EEEE+/EE+ EE+/EE+ E+/E+ EE+/EE+ V+/V+ EE+/EE+ E+/E+ E+/E+ V+/V+ E+/E+ V+/EE/E E-/EEE/EE+ V+/V+ E-/EE/EEE/E
OFFERS INVITED BY GEOFF BEAVER, 2, FIELDFARE ROAD, NEWPORT, ISLE OF WIGHT. PO30 5YD.
Postage extra, packing free, SSAE with any enquiries please or email - beavgf@aol.com P=No. of pages, PB=Paper back, NDJ= no dust jacket, Ex-Lib=Ex library book, JBC= Jazz Book Club edition,PS= plastic sleeve over jacket, LF= Large format, PH= photos, Disc.= Discography. 1 JOE WILLIAMS(EVERY DAY) Leslie Gorse, 208p.Da Capo.PB 2 BLUES RECORDS 1943-66 Leadbitter/Slaven. 382P Oak.1968 3 A KIND OF MADNESS(RONNIE SCOTT REMEMBERED) 55 HOT AIR, COOL MUSIC. Bruce Turner. 248P. 1984. PH.. Disc. Rebecca Scott 342P. PB. Disc. NEW. 56 BRUCE TURNER DISCOGRAPHY. Michael Clutten 4 BILLIE HOLIDAY(WISHING ON THE MOON) Donald 57 BILLIE HOLIDAY. J. White. 144P. PH. 1987. Clarke. 468P. Da Capo.2002PB. PH. 58 SWINGING SHAW. ARTIE SWAW Bio-Disc. Edmund Blandford. 5 JAZZ (TEACH YOURSELF) John Chilton. 186P. PB 1979 Castle Books 1973. 230P. .PB. 6 JAZZ RECORD GUIDE. Rolling Stone. John Swenson. 59 JAZZ-A CENTURY OF JAZZ. Roy Carr. Many PH. 256P. PB.1997. 219P. PB. Showing many L.P. & boxed set cover PH. 7 JAZZ IT'S EVOLUTION AND ESSENCE. A. Hodier PB. 60 JAZZ-LEGENDS OF STYLE. K. Shadwick. 352P. LF. PH. 2000. Evergreen.1956. Pen writing on flyleaf. 61 JAZZ MILESTONES. Ken Vail.176p.LF. PH. Diary1900-90. 1993. 8 YOUNG MAN WITH A HORN. D. Baker. JBC 1957. 286P 62 SATCHMO. G. Giddins. 240P. LF. Hard back. 1988.Many rare PH. 9 A HISTORY OF JAZZ IN BRITAIN. J .Godbolt. 302P. PB 63 JAZZ.( Teach yourself ) R.Dale. 192 P. PB. 1998. History and theory. 1984. A 1919-50 history. Paladin books. 64 HARD BOP. D.Rosenthal. 208P. PB. Oxford. 1993. Selected Disc. 10 MASTERS OF JAZZ. Arnaud /Chesnel. 248P. 1984. PH. PS 65 ASCENSION. ( JOHN COLTRANE) Eric Nisenson. 278P. Chambers 1991. 66 JAZZ. Rex Harris PB. 224P 1952. complete but tired. 11 JAZZ (AMERICAN THEME SONG)J.L.Collier.326P 1993 67 TRAD MAD. Clive Brooks. Trad.Jazz in Kent UK.176P PB. 2000.PH. 12 JAZZ CD GUIDE. M.Gayford1. 144P. PB. Collins.1993 68 THE IMPERFECT ART. Ted Gioia. 163P. PH. Reflections on Jazz. 13 JAZZ. R.Goffin.273P Musicians Press 1946 NDJ. 69 BEST OF JAZZ. ( Basin St. to Harlem.) Humph Lyttelton.PH..PB. 14 THE REAL JAZZ. H. Panassie. 284PJBC. NDJ.1967 70 THE MAKING OF JAZZ.James L. Collier. 542P. PB.PH. Some Disc. 15 COOL, HOT AND BLUE. C.Boeckman. Ex-Lib.PS. 157P. 72 EARLY JAZZ. G.Schuller. 401P. PB. PS. Analysis and notation. 16 THE NEW JAZZ BOOK. J.Berendt 314 P.PB. 1966. 4th Edit 73ALL THIS AND MANY A DOG. Jim Godbolt. 217P. PB. PH. 17 THE JAZZ TEXT. C.Nanry. PB. 1979. 276P. 74 THE SWING ERA. G. Schuller.. 919P. Analysis and notation.1989 18 DUKE ELLINGTON. J. L.Collier. PB. 1987. PH. As new. 75 DUKE . Derek Jewell. 192P, PB. PH. PS. 1997. 19 THE JAZZ LIFE. Nat. Hentoff. PB. 1964. 221P. 76 WITH BILLIE. Julia Blackburn. 354P. 2005.Various interviews 20 DUKE. D. Jewell. 1977. 192P. HB. PS. PH. Disc. 77 POPS. Terry Teachout. 475P. 2009. Ex-lib but only 1 small sticker. 21 BLUES PEOPLE. LeRoi Jones. PB. 244P.1968 78 BEYOND CATEGORY. (DUKE ELLINGTON) John E. Hasse. 22 JAZZ CLEOPATRA (JO. BAKER)P. Rose.PB. 321P. 1991PH. 1993. 480 P. many PH.. over 100 PH.. 23 JAZZMAN (RONNIE SCOTT)J. Fordham. PB. 1995. 198P. 79 SATCHMO. Louis Armstrong. 1956. 220 PH. PS. 216P. Old/clean. 24 ENCYCLOPEDIA OF JAZZ. L. Feather. 572P. 1962. LF. Over 80 SLOWING DOWN. George Melly.220P. PB. PS. Ex.Lib. Drawings. 200 PH. 2000Biographies PS. 81 A NEW HISTORY OF JAZZ. Alyn Shipton. 965P. PB.2001. 31PH. 25 ENCYCLOPEDIA OF JAZZ YEARBOOK 1957. L.Feather. 190p. 82 RECORDED JAZZ. Critical guide. 1957 Harris/Rust.256P. Old but LF. many PH. Polls etc. complete with some pen ticks. 26 I REMEMBER JAZZ. Al Rose. 257P. .PB. 1987 PH. 83 SCOTT JOPLIN Peter Gammond. 1975. 224P. PB. 58PH. Disc. 27 SATCHMO .Louis Armstrong. 191P. PB. 1961. PH. Ex-Lib. 84 THE JAZZ SCENE. Francis Newton.1959.PB. 295P. 28 LOUIS ARMSTRONG( A CULTURAL LEGACY) Queens 85 THE NEW GROVE DICTIONARY OF JAZZ. Ed.Barry Kernfield. museum of arts/ Washington uni. 248P. 1994. PB. LF. Many PH. 1995P. 1358 P . PS. LF. PH. Bibliog. Disc. Notation. 29 SATCHMO. G. Giddins. 240P. LF. PB. 1988. Many rare PH. 86 JELLY'S BLUES. Howard Reich/William Gaines.2004. 288P. PB. 30 BIRD. Robert Reisner. 256P. PB. LF. 1978. PH. Disc. The Legend. 34 PH. Compositions. Short Disc. 31 LOUIS ARMSTRONG. J. L. Collier. 383P. PS. PS. 1984. LF. 87 THE DEFINITIVE ILLUSTRATED ENCYCLOPEDIA OF JAZZ 32 LOUIS. Jones/Chilton. 256P. PH.. PS. LF. 1971. AND BLUES. ed. Julia Rolf. 2007. 448P. Glossy LF. Soft cover.. 33 LOUIS ARMSTRONG (in his own words)PB. PH. 1999. Early years to contemporary. 34 LOUIS ARMSTRONG COMPANION. J.BerrettPB299P PH.1999. 88 TOMMY DORSEY. Peter Levinson. 2005. 354P. 29PH. 35 DUKE (LIFE AND GENIUS) J. E. Hasse. 480P. 100PH.. 1993. 89 LAST CHORUS. Humphrey Lyttelton. 2008. 447P. 51PH. Diary. 36 DUKE ELLINGTON . J.L.Collier. 340P. PH.. 1987. PS. 90 JAZZ THE GOLDEN ERA. Richard Havers/Richard Evans. Hard 37 SWING,SWING,SWING.(Goodman) Ross Firestone. 522P. PH. 1993. cover LF with 20 track CD.2009. 192 glossy P. full of PH. 38 BENNY GOODMAN SWING ERA. J.L.Collier.404P. PH. PS. 1989 91 OXFORD COMPANION TO JAZZ. Bill Kirchner.2005. 852P. PB. 39 THE IMPORTANCE OF BEING ERIC DOLPHY. R,Horricks. 95P. Semi LF. Jazz roots to modern. Bibliography. PB.1989. Notation of solo's. Disc. PH. 92 JAZZ New York in the roaring twenties. Robert Nippoldt.2013. 40 MILES DAVIS. I. Carr. 267P. PB. PH. 1982. Disc. 144P 20 track CD. LF. Hard cover NDJ. Drawings not PH. 41 GOOD MORNING BLUES(COUNT BASIE) A,Murray. 399P. 93 JAZZ. A HISTORY OF AMERICAN MUSIC. Ward/Burns. 490P. 1985. PH..PS. Companion to Ken Burns JAZZ TV series. Packed with text and P 42 MISTER JELLY ROLL. A. LOMAX. JBC. 296P. NDJ. 94 GOIN' HOME. LIFE AND MUSIC OF KEN COLYER. Pointon/ 43 DUKE ELLINGTON IN PERSON. M. Ellington. 1978. 236p..PH. PS Smith. 368P. 2010. LF. PB.19 track CD. Many PH. Key recordings 44 THE JAZZ BOOK. J. Berendt. 459P. PB. PS. 1979. 95 BESSIE SMITH. Albertson/Schuller. 1975. LF. PB. 144P. 32 text 45 TREAT IT GENTLE. S. Bechet. 225P. JBC. 1962. PH. Disc. Then 112 P. of words and notation of 30 of her compositions. 46 THE ART OF JAZZ. M. Williams. 284P. Ex-lib. 1980. PS. 96 THE LITERATURE OF JAZZ. Donald Kennington 1971 Ex-lib. 47 OH,DIDN'T HE RAMBLE (LEE COLLINS) Mary Collins. 165P, PB. 142P. PS. Bibliography, film list. PH. Disc. 97 THE ESSENTIAL JAZZ RECORDS. Harrison,Fox,Thacker.1984. 48 SCOTT JOPLIN. J. Haskins. 248P. PB. PH. Ragtime to swing. Lists and reviews. 595P. PB. Some ink ticking. 49 TOO MARVELOUS FOR WORDS. Life and genius of ART TATUM 98 MUSIC MASTER JAZZ CATALOGUE. Humphries. 1990. PB. J .Lester. 240P. 1994. PH. PS. 25,000 records listed under artists name with details. 50 CELEBRATING BIRD. G.Giddins. 128P. LF. 1987. Many PH. Disc. 99 SID PHILLIPS CENTENARY. Pope/Nash. Tribute booklet. 59P. 51 ILLUSTRATED ENCYCLOPEDIA OF JAZZ. (New edition). B. Case/ PH. And CD list. S,Britt. 224P. LF. 1979. PS. Disc. PH. 100 FINALLY A GIANT BOOK. 10'' x 14'' X 2.5'' 52 PICTORIAL HISTORY OF JAZZ. Keepnews/Grauer. 282P. LF. PH. THE JAZZ LIFE. Claxton/Berendt 2005. 555P 53 CHASIN ' THE TRANE ( COLTRANE) J.C. Thomas.252P. A tour through US with text and PH. By the authors. PH. Disc. THE BOOK HAS A SLIDE IN CASE AND IS IN NEW 54 LEADER OF THE BAND- LIFE OF WOODY HERMAN. Gene Lees CONDITION. 414P. 1995. PH. Disc. I ALSO HAVE MANY DISCOGRAPHIES, JAZZ JOURNALS, STORYVILLE, JUST JAZZ, JAZZ DIRECTORY & JAZZ CATALOGUE. ANY QUESTIONS ABOUT ANY OF THIS ADVERT EMAIL ME ON:
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beavgf@aol.com
A collection of 10” LP records is offered at auction by Johan Helø, Bispeveien 50 B, 1362 Hosle, Norway. Phone +47 6714 1287. Email: jheloe@online.no Visual /aural grading using traditional standards. Records are graded first, then covers. No minimum bids, but several hard to find items here, so please bid accordingly. Most are original issues in fine condition. Submit your bids by letter or Email (don`t forget postal address). Winners only will be notified. Postage extra. Bids should be in USD, GBP, Euro or NOK. . 001 Laurindo Almeida w.Bud Shank PacJazz 13 N- - N 002 Louis Armstrong, Nice 1948 Palm Club 917 N- - N 003 Georgie Auld Quintet Roost 403 N- N004 Chet Baker PacJazz 3 N- - N 005 Chet Baker PacJazz 6 N-/E+ - N006 Chet Baker PacJazz 9 N-/E+ - N007 Chet Baker “Sings” PacJazz 11 N-/E+ - N008 Chet Baker ”Sextet” PacJazz 15 N- - N009 Chet Baker same record N-/E+ - N010 Louis Bellson “Just Jazz” Capitol H 348 N- - N 011 Louis Bellson “The Exiting” Norgran MGN14 N- - N 012 Max Bennet w.Ch.Mariano Bethlehem 1028 N- - N 013 Bunny Berigan “Plays again” HMV 1018 N- - N 014 Emmet Berry w.Guy Lafitte Columbia FP 1076 N- N 015 Art Blakey “Night at Bdland” vol.2 BlueNote 5038N-N- Lex 016 Art Blakey “Night at Bdland” vol 3 BlueNote 5039N-N-Lex 017 Art Blakey EmArcy 26030 N- N 018 Beryl Booker “Girl met a piano” EmArcy 26007 N-/E+ N019 Ruby Braff “Ball at Bethlehem” Bethlehem BCP 1034 N-N020 Bob Brookmeyer “The dual role” Prestige 214 N- - N 021 Bob Brookmeyer “Quartet” PacJazz 16 N- - N 022 Bob Brookmeyer w. Al Cohn Storyville 305 N- - N 023 Clifford Brown w. Zoot Sims PacJazz 19 N- - N 024 Dave Brubeck trio Fantasy 3-1 N- - NBlue vinyl, lower seam taped 025 Dave Brubeck trio Fantasy 3-2 N- - NGreen vinyl, lower seam taped 026 Dave Brubeck Quartet Fantasy 3-7 E+ - E+ 027 Ralph Burns “Bijuo” Period 1109 N- - N 028 Billy Butterfield Westminster 3020 N- - N029 Don Byas w.Tony Proteau orch. Vogue LD 145 N- - N 030 Conte Candoli “Sincerely, Conti” Beth BCP 1016 N- - N031 Benny Carter radio transcr Palm Club 12 N- - N 032 Benny Carter “Cosmopolite” Clef 141 DSM N- - N 033 Benny Carter “The formidable” Norgran 21 N- - N 034 Serge Chaloff/O.Pettiford “New stars” Mercer 1003 N-/E+ E+ 035 Serge Chaloff & Boots Musulli Storyville 310 N-/E+ - N036 Serge Chaloff “The fable of Mabel” Storyville 317 N- - N 037 Teddy Charles w. Bob Brookmeyer Prestige 178 N- - N038 Bob Cooper “Kenton presents” Capitol H6501 N- - N 039 Miles Davis Blue Note 5022 Lex N-N040 Miles Davis “all star sextet” Prestige 182 N- - N 041 Miles Davis “all stars” vol.1 Prestige 196 N- - N-/E+ partly split seams upper and rear edge, taped 042 Miles Davis “all stars” vol.2 Prestige 200 N- - N043 Miles Davis “Ascen pour l `echafaud” Fontana 660213TR N- - N 044 Buddy DeFranco “King of clarinet” MGM 177 N- - N 045 Lou Donaldson&Clifford Brown “New faces” BN5030 Lex N-/E+-E+ Seams neatly taped 046 Kenny Dorham Quintet Debut DLP 9 E+ N047 Kenny Drew “New faces” Blue Note 5023 UA N- - N 048 Don Elliot “The Versatile” Savoy MG 9033 E+/N- - N049 Art Farmer “Work of art” Prestige 162 E+ - NCover autographed by Farmer 050 Tal Farlow “Quartet” Blue Note 5042 UA N- - N 051 Maynard Ferguson “Hollywood party” EmArcy 26017 N-N052 Maynard Ferguson “Dimensions” EmArcy 26024 E+/E – N 053 Frank Foster “Here comes” Blue Note 5043 UA N- - N
054 Erroll Garner Dial 205 N- - N 055 Erroll Garner ”Overture to dawn” Blue Note 5016 Lex E+ E+ 056 Erroll Garner “Plays for dancing” Philips 07622 E+ - N 057 Stan Getz Muza 0329 E+ - N058 Stan Getz “Birdland days” Doodlin`NLP 1015 N- - N 059 Dizzy Gillespie “Modern trumpets” Dial 212 N-/E+ - N 060 Dizzy Gillespie “Plays” Allegro 4108 N- - N 061 Dizzy Gillespie “Concert 1953” Swing 33.310 N- - N 062 Dizzy Gillespie “Plays in Paris” Vogue LD O77 N- - N 063 Dizzy Gillespie & Charlie Christian Esoteric 4 N- - N064 Dizzy Gillespie&Stan Getz Norgran MGN 2 E+ - E+ Taped seams 065 Dizzy Gillespie&Stan Getz Norgran MGN 18 N- - E+ Taped seams 066 Jimmy Giuffre Capitol H549 N- - N 067 Bob Gordon “Meet mr. Gordon” PacJazz 12 N/E+- - N068 Dexter Gordon “New sounds” Savoy 9003 E+ - E+ Partly split seams taped 069 Dexter Gordon w.Wardell.Gray Brunswick 8646 E+ - E+ Gene Norman presents ”The Chase & the st.echase” Seams taped. 070 Urbie Green – Blue Note 5036 Lex N- - N071 Lars Gullin “Gullin`s garden” EmArcy 26044 N- - N 072 Lars Gullin “New sounds”” vol. 5 Prestige 144 N-/E+ -N 073 Lars Gullin “New sounds” vol. 7 Prestige 151 N -N 074 Lars Gullin/Bengt Hallberg Prestige 121 N- N 075 Al Haig trio Esoteric ESJ 7 N- - N076 Lionel Hampton “Quartet” Clef 142 DSM N- - N 077 Lionel Hampton “Jazz time Paris” vol.5 Vogue LD167 N- N 078 Lionel Hampton “Jazz time Paris” vol.6 Vogue LD168 N- N079 Herbie Harper “Jazz in Hollywood” Nocturne 1 N- - N 080 Herbie Harper Bethlehem 1025 N- -N 081 Woody Herman ”Swinging with” Dial 210 N- - N Actually not Woody, but his alumnis: Philips, Chaloff,, Harris a.o. Also one track w. Ch.Parker and one with Dexter Gordon. 082 Woody Herman Columbia 6092 N- - N 083 Woody Herman Capitol H 324 N- - N084 Woody Herman “Carn.Hall 1946“ vol.1 MGM 158 E+ - N085 Woody Herman ”Carn.Hall 1946” vol.2 MGM 159 N-/E+ N086 Bill Holman “Kenton presents” H6500 N- - N 087 Elmo Hope “Quintet” Blue Note 5044 UA N- - N 088 Chubby Jackson “All star band” New Jazz 105 N- - N w. McGhee, JJ and Kai, Si ms, Mulligan, Auld a.o. 089 Illinois Jacquet “Black velvet” RCA Vic 3236 N- - N 090 JJ Johnson Blue Note 5028 N-/E+ -N Lex 091 JJ Johnson Blue Note 5057 N- N- Lex 092 JJ Johnson Kai Winding “Jay & Kai” Prestige 195 N- - N093 JJ Johnson Kai Winding “Jay & Kai” Savoy 15038 N- - N 094 Wynton Kelly “New faces” Blue Note 5025 UA N- - N 095 Stan Kenton ”Artistry in rythm” Capitol LC6545 N- - N 096 Stan Kenton ”Portr. on standards” Capitol LC6697 N- - N 097 Lee Konitz “Konitz” Storyville 313 N- - N 098 Lee Konitz & Gerry Mulligan PacJazz 10 N- - N 099 Lee Konitz&Lennie Tristano Prestige 101 N-/E+ - E+ Upper and rear seams taped 100 Lee Konitz & Miles Davis Prestige 116 N-/E+ - N101 Stan Levey Bethlehem 1017 N- - N-
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102 Shelly Manne DeeGee 1003 N- N103 Shelly Manne vol. 2 Contemporary C2511 N- - N 104 Shelly Manne “The three” Contempr.. 2516 N- - N105 Shelly Manne & Russ Freeman Contemprary 2518 N- - N106 Charlie Mariano “Jazz in Boston” Prestige 130 - *) – N Looks N-, but surface sound is distinct. Bad pressing ? 107 Charlie Mariano “Sextet” Fantasy 3-10 N/E+ - N 108 DodoMarmarosa&Erroll Garner Dial 208 N- - N 109 Howard McGhee vol.2 Blue Note 5024 UA N- - N 110 Gil Melle “Quintet/Sextet” Blue Note 5020 UA N- - N 111 Charlie Mingus “Key and strings” Debut 1 E+ - N112 Charlie Mingus “Jazz collaborations” Debut 17 N- - N 113 Hank Mobley ”Quartet” Blue Note 5066 UA N- - N 114 Modern Jazz quartet Prestige 160 N- - N 115 Modern Jazz quartet Prestige 170 N- - N 116 Thelonious Monk Blue Note 5002 Lex. E+ - N117 James Moody “Modernists” Blue Note 5006 Lex N- - N 118 Brew Moore Savoy 9028 N- - N119 Gerry Mulligan “Quartet” PacJazz 1 N- - N 120 Gerry Mulligan w.Konitz PacJazz 2 N-/E+ N121 Gerry Mulligan “Quartet” PacJazz 5 N- - N122 Gerry Mulligan “Quartet” Fantasy 3-6 E+ - N123 Gerry Mulligan “Tentette” Capitol H 439 N- - N 124 Gerry Mulligan “New Sounds” Prestige 120 N-/E+ - N125 Gerry Mulligan “All stars” Prestige 141 N- - N 126 Joe Newman Vanguard 8007 N- - N127 Lennie Niehaus “The quintet” Contemporary 2513 N- - E+ Seams partly taped 128 Anthony Ortega Vantage VLP 2 E+ - N129 Hot Lips Page V-Discs/Radio transcr. Palm club 9 N- - N 130 Charlie Parker Dial 201 N-/E+ -N131 Charlie Parker Dial 203 N-/E+ - N-/E+ 132 Charlie Parker “New Sounds” vol 1 Savoy MG 9000 E+ E+ 133 Charlie Parker “Bird” vol. 3 Savoy MG 9010 N- - N With the very rare photocover 134 Charlie Parker “New sounds” vol. 4 Savoy 9011 N- - N135 Charlie Parker “Massey hall” Debut DLP2 N-/E+ N136 Charlie Parker “Massey hall” Debut DLP4 N-/E+ N137 Leo Parker “New Sounds” Savoy 9009 N- - N 138 Leo Parker “New trends” Savoy 9018 N- - N w. Gene Ammons, Howard McGhee a.o. 139 Dave Pell “Octet” Trend TL1003 N- - N 140 Oscar Peterson “This is” RCA Vic.3006 N-/E+ - N141 Oscar Pettiford Bethlehem BCP 1003 N-/E+ - NSide A plays E+, side B N142 Oscar Pettiford ”Sextet” vol.1 Swing M.33.326 N- - N143 Oscar Pettiford “Sextet” vol.2 Swing M 33.329 N- - N144 Oscar Pettiford w. Hans Koller Exlibris GC 708 N- - N Issued by the Swiss supermarket chain MIGROS 145 Flip Philips “Collates” Mercury MGC 109 N- - N 146 Nat Pierce “and the Herdsmen” Fantasy 3-14 N- - N Blue vinyl 147 Bud Powell “The amazing” Blue Note 5003 N-/E+ - N148 Bud Powell Clef 502 N- - N149 Paul Quinichette “The Vice pres.” EmArcy 26022 N- - N 150 Paul Quinichette “Sequel” EmArcy 26035 N- - N 151 Freddie Redd “Introducing” Prestige 197 N- - NUpper seam taped, otherwise fine 152 Henri Renaud “All stars” Swing 33.320 N- - N153 Henri Renaud “All stars” Swing 33.322 N- - N154 Red Rodney “New sounds” Prestige 122 N- - N 155 Shorty Rogers “Modern sounds” Capitol H294 N- - N 156 Shorty Rogers “Cool & Crazy” HMV 1030 N- - E+ 157 Frank Rosolino “Kenton presents” Capitol 6507 N- - N 158 Sal Salvador Blue Note 5035 UA N- - N 159 Bobby Scott “The compositions of” Beth. 1009 N- - N
160 Bobby Scott“The compositions of” Beth. 1029 N- - N 161 Jack Sheldon “Get out of town” Jazz West 1 E+ - E+ Side 2 sounds close to N-. Cover general wear, no split seams. 162 Horace Silver “Trio” Blue Note 5034 Lex N- N 163 Zoot Sims “Tenor sax favorites” Prestige 118 E+ - N164 Johnny Smith &Stan Getz “Jazzt NBC” Roost 413 N-/E+ N 165 Muggsy Spanier Mercury 225095 N- - N 166 Art Tatum “Piano solos” Decca 5086 N-/E+ - N167 Billy Taylor “Jazz at Storyville” Roost 406 E+ N168 Jack Teagraden “Plays and sings” Urania 1002 N- - Ntaped edges, but no split seams 169 Les Thompson “Just Jazz” RCA Vic 3102 N- - N band incl. Dexter Gordon and Wardell Gray 170 Lucky Thompson ”Pl. forThomson” Ducr.Thomson 250V024 N- N 171 Lucky Thompson Columbia FP 1083 N- - N 172 Lucky Thompson Le Club Francais 66 N-N w. Modern Jazz Group. Insert incl. 173 Sir Charles Thompson Vanguard 8006 N- - E+ 174 Sarah Vaughan ”Hot Jazz” Remington 1024 N- - N 175 Charlie Ventura Norgran MGN 8 N- - N176 Charlie Ventura “Stomping ---“ Crystalette 5000 N- - N 177 Charlie Ventura F.Y.I. EmArcy 26028 E+ - N178 George Wallington Blue Note 5045 Lex N—N179 George Wallington Prestige 158 N- - NSplit seam lower edge, taped, otherwise fine 180 George Wallington “Trio” Prestige 136 N- - N 181 George Wallington “Workshopf” Norgran MGN24 N-/E+ N182 George Wallington Savoy MG 15037 N-/E+ - NSplit seam upper edge, taped, otherwise fine 183 Ben Webster “Big tenor” EmArcy 26006 N- - N184 Claude Williamson “Kenton pres.” Cap. H6502 – N- N185 Teddy Wilson Metronome BLP 26 E+-E+ 186 Kai Winding “all stars” Roost 408 N- - N 187 Kai Winding Savoy MG 9017 N- - N Various 188 Best from the west vol 1 Blue Note 5059 Lex E+ - E+ 189 Best from the west vol 1 Blue Note 5059 UA N- - N 190 Best from the west vol 2 Blue Note 5060 UA N- - N191 Birth of Bop vol. 1 Savoy 9022 N- N w. Parker, Dexter, JJ, Getz, Milt Jackson a.o. 192 Birth of Bop vol. 2 Savoy 9023 N- N w. Dexter, Navarro, JJ. Allen Eager, Byas a.o. 193 Birth of Bop vol. 3 Savoy 9024 N- N w, JJ, Getz, Navarro, Leo Parker, Milt Jackson a.o.
194 Birth of Bop vol. 4 Savoy 9025 N- N w. Dexter, JJ Johnson, Winding, Eager a.o.
195 Hollywood Jazz Session Savoy MG 9020 N- N-*) Taped seams, otherwise fine. w. Dexter, Gray, McGhee a.o.
196 Jam Session vol. 2 Skylark 12 N-/E+ - Nw.Shorty Rogers, Sh. Manne, Giuffre a..o. Seams partly taped.
197 Jazz today “Trib to Benny Carter” Jazz today 5 N-N- w. Bertie King, Kemmy Baker a.o.. 198 Just Jazz “Gene Norman`s” vol.13 Modern 2013 E+ - N199 Just Jazz Vogue LDE 101 N- - Nw. Wardell Geay, E. Royal, B. Kessel a.o. 200 Metropolit Opera Esquire conc. vol.3 Palm Cl 14 N- - N 201 Monarch all star jazz Monarch LP202 N- - N w. W.Smith, McGhee, Lucky Th., Vido Musso a.o. 202 Swedish Jazz Philips GP.10950R N- - N South African issue w. Swedish jazzgreats from the 50`s. 203 The third Herdmen blow in Paris Vogue LD 204 N- - N w. Cy Touff, Bill Perkins, Ralph Burns a.o. 204 The young at bop EmArcy 26001 N- - N w. Ventura, Chaloff, Rodney, Haig a.o.
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Jim Prohaska, 1479 Rockway Avenue, Lakewood, Ohio 44107 USA -- Phone: (216)521-7966
e-mail: jamespjazz@aol.com (PLEASE include postal address!) Offers invited. Standard grading and abbreviations. Satisfaction guaranteed. Packing, handling, and shipping are extra. Insurance is additional -- please indicate if desired. Please DOUBLE CHECK your bid numbers. Thanks!! AUCTION CLOSES: March 24, 2019 Minimum bid on 78's is $ 3.00, LP’s is $6.00 Blues 1. Kokomo Arnold – De 7540; Bad Luck Bls/My Well Is Dry V+ to E-
55. Alice Moore – De(sb) 7293; New Blue Black And Evil Bls/Just A Good Gal Treated Wrong E+ sm sol
3. Barrel House Annie – white label shellac test (11”); Ain’t Gonna Give It Away (issued tk 2) E many lams, lite sound 4. Lucille Bogan – Br 7145; Whiskey Selling Woman/My Georgia Grind E5. Lucille Bogan (as Bessie Jackson) - Mel 60463; You Got To Die Some Day/ Lonesome Midnight Bls E+ 6. Dobby Bragg – SD 108; Fire Detective Bls/Single Tree Bls EE+ some label damage 7. Clara Burston – Para 12881; Weak And Nervous Bls/ Georgia Man Bls V/potential sm rim flk that sounds for 6 grvs V 8. Trixie Butler – Bb(buff) 6392; Take It Easy Greasy/Just A Good Woman w/The Bls Esol/E 9. Bobby Cadillac and Coley Jones – Col 14505; Listen Everybody/Easin’ In E+
57. Kid Prince Moore – De 7475; Single Man Bls/Bear Meat Bls EE+ 58. Jimmy Oden (as Big Bloke) – Var 6051; That’s All I Think/Sam Tarpley (as Big Bloke); Everybody Likes That Thing E+ 59. St. Louis Jimmy – Bb 8889; Monkey Face Bls/Going Down Slow E/V+ 60. St. Louis Jimmy – Bb 34-0727; Strange Woman Bls/One More Break E+ wol 61. Joe Pullum – Bb(buff) 5898; Rack It Back And Tell It Right/ Joe Pullum-Robert Cooper; Blues With Class E 1 ½” int hr crk nap 62. Elzadie Robinson – Para 12509; Whiskey Bls/Back Door Bls V+ 63. Elzadie Robinson – Para 12676; Mad Blues/Pleading Misery Bls VV+ 64. Elzadie Robinson – Para 12689; Wicked Daddy/Its Too Late Now V++ 65. Ruby Smith – Bb 7864; ‘Lectric Chair Bls/Hard Up Bls E 1” hr crk 66. Jimmy Strange – De(sb) 7284; Yas Yas Yas No. 2/ Stella Johnson w/Dot Scott’s Rhythm Boys; Mama Don’t Want You No More E 67. Streamline Mae – Ok 06045; Streamline Bls/Romance In The Dark E+ 68. Roosevelt Sykes – De 7843; Doin’ The Sally Long/Low As a Toad EE+ 69. Montana Taylor – Cir 1008; Indiana Avenue Stomp/In The Bottom E 70. Montana Taylor – Cir 1009; I Can’t Sleep/Low Down Bugle EE+ 71. Montana Taylor – Cir 1010; ‘Fo’ Day Blues/Sweet Sue E 72. Johnny Temple – De(sb) 7244; New Vicksburg Bls/Louise Louise Bls E-/V+ 73. Texas Slim – King 4283; Stomp Boogie/Black Man Bls E/E74. Texas Slim – King 4315; Devil’s Jump/The Numbers E 75. Lovin’ Sam (Theard) w/Burns Campbell O. – Bb 7916; That’s Chicago’s South Side/ Walkin’ Back Home V++ 76. Henry Thomas – Bb(buff) 5343; My Sweet Candy/She’s Got What I Want VV+ 77. Black Spider Dumplin’ (J.D. Twitty) – Bb(buff) 6972; John D. Blues/ Little Bill; You Can’t Love Me And Somebody Else Too VV+/V++ 78. Little Walter & His Jukes – Checker 770; Tell Me Mama/Off The Wall V++/lbl tear V++ 79. Little Walter & His Jukes – Checker 817; I Got To Go/Roller Coaster V+ to E80. Lorraine Walton – Voc 03989; If You’re A Viper/Waiting Bls E81. Baby Boy Warren & His Buddy – Staff 707; Don’t Want No Skinny Woman/ Lonesome Cabin Bls V+ lite scr/V++ 1” hr crk 82. Washboard Sam – Bb 7291; Washboard’s Barrel House Song/ Where Were You Last Night E/sol V+ ½” hr crk 83. Washboard Sam – MW 7588; Save It For Me/Jumpin’ Rooster V+ 84. Washboard Sam – Bb 7552; My Woman’s A Sender/Barbeque EE85. Washboard Sam – Bb 8358; Block And tackle/So Early In The Morning V+/V86. Peetie Wheatstraw – De 7894; Don’t Put Yourself On The Spot/Pawn Broker Bls V++ 87. Georgia White – De 48001; U Done Lost Ur Good Thing/UR Worries Ain’t Like Mine E+ 88. Georgia White – De(sb) 7122; Honey Dripper Bls/Freddie Bls EE+ 89. Georgia White – De(sb) 7277; Walking The Street/You Don’t Know My Mind E+
2. Barrel House Annie – Voc 03542; Ain’t Gonna Give It Away/Must Get Mine In Front V+/V++ 56. Alice Moore – De(sb) 7327; Midnight Creepers/Tired Of Me Bls E+ sol
10. Leroy Carr & Scrapper Blackwell – Voc 1423; Getting’ All Wet/Leroy Carr; Just Worryin’ Bls V++
11. Dr. Clayton – Vi 20-1995; I Need My Baby/Hold That Train Conducer E+ 12. James Cole (as Big Boy Ben) – Var 6031; Mistreated The Only Friend You Had/Lena Matlock (as Big Boy Ben); Mama Keep Your Yes Ma’am Clean E+ sol 13. Blind Darby – Voc 02988; Pokino Bls/Meat And Bread Bls VV+ 14. Blind Blues Darby – De(sb) 7328; Heart Trouble/The Girl I Left Behind EE+ sm sol 15. Carl Davis w/Dallas Jamboree Band – Voc 03132; Flying Crow Bls/It May Be My Last Night VV+ sm rim flk nap/lbl scrs V 16. Walter Davis – Bb 9027; Don’t You Wan tTo Go/Goodbye EE17. Bumble Bee Slim – Bb(buff) 6521; Everybody’s Fishin’/Milton Sparks; Ina Bls VV+ 18. Bumble Bee Slim – Voc 03221; When I Get My Money/Dumb Trick Bls VV+/V 19. Bumble Bee Slim – Voc 03328; Hard Rocks In My Bed/No More Biscuit Rolling Here V++ ½” int hr crk nap/V- scrs, sol 20. Bumble Bee Slim & Peetie Wheatstraw – De(sb) No Good Woman/Bumble Bee Slim; Meet Me In The Bottom E/lbl wear V 21. Bumble Bee Slim – Voc 03446; Feather Bed Bls/Fast Life Bls E+ 22. Bumble Bee Slim – Voc 03698; You Sure Look Good To Me/Just Yesterday V 23. Bernice Edwards – vinyl test; Bantam Rooster Bls (FW-1163-1)(issued) E+ 24. Alfred Fields – Ok 06020; ’29 Blues/Quit Your Jivin’ E+ 25. Blind Boy Fuller – Voc 04762; Jitterbug Rag/Too Many Women Bls V/VV26. Blind Boy Fuller – Col 37230; Step It Up And Go/Little Woman You’re So Sweet E+ 27. Blind Boy Fuller – Col 37777; Truckin’ My Blues Away/Babe You Got To Do Better E+ 28. Cecil Gant – Gilt-Edge 500; Cecil Boogie No. 2/Put Another Chair At The Table E29. Lee Green – Voc 1422; Way I Feel Bls/All My Money Gone Bls V+/sm rim flk nap V+ 30. George Hannah – Para 12788; Gutter Man Bls/Wobblin’ In The Mud V++/lite lbl wear V++
31. Mary Harris – De 7804; No Christmas Bls/Happy New Year Bls E32. Curtis Henry – Bb(buff) 6888; The Worried Bls/I Love My Baby E33. Tony Hollins – Ok 06523; Traveling Man Bls/Tease Me Over Bls E+
34. Tony Hollins – De 48288; Wine-O-Woman/Crawlin’ King Snake V+ hr crk to lbl taped at rim
35. Peg Leg Howell – Col 14456; Walkin’ Bls/Turtle Dove Bls EE+ 36. Frank James – Var 6062; Mistreated Bls/Forsaken Bls E+ wol 37. Lonnie Johnson – De 7509; Mr. Johnson Swing/I Ain’t Gonna Be Your Fool E38. Mary Johnson – Br 7160; Death Cell Bls/Friendless Gal Bls VV+ lbl wear & tear/V+ 39. Mary Mack – Bb 8131; I Vouch For My Man/Stingaree Man V+ 40. Lena Matlock – Var 6031; Mama Keep Your Yes Ma’am Clean/James Cole; Mistreated The Only Friend You Had E 41. Jimmy McCracklin – Globe 1404; Baby Don’t You Want To Go/Highway 10 E-
90. Georgia White – De(sb) 7323; Daddy Let Me Lay It On You/When Love Comes Down E-/ E+
91. Georgia White – De(sb) 7357; Moonshine Bls/Biscuit Roller VV+ lbl wear 92. Georgia White – De 7477; ‘Tain’t Nobody’s Business If I Do/Too Much Trouble V+ 93. Georgia White – De 7521; Trouble In Mind Swing/Holding My Own E+ 94. Johnny Williams - Prize 704; Miss Rosie Mae/Highway Blues EE+
95. Lester Williams – Macy’s 5006; Dowling Street Hop/Don’t Treat Me So Low Down E+
96. Sonny Boy Williams – De 7888; Shake It But Don’t Break It/Worried Life Bls V++
42. Charles MacFadden – Para 13076; Groceries On My Shelf No. 2/Yellow Woman Bls E 97. Sonny Boy Williams – De 7898; I’ll Bring Home The Bacon…/Wee Wee Hours E+/
43. “Specks” Charlie McFadden – De(sb) 7317; People People/Groceries On My Shelf E44. Brownie McGhee – Ok 05785; Picking My Tomatoes/Blind Boy Fuller; Night Rambling Woman E+/V 45. Brownie McGhee – Ok 05933; Me & My Dog Bls/Blind Boy Fuller & Sonny Terry; Bus Rider Bls EE+
46. Brownie McGhee – Alert 403; Brownie’s Guitar Boogie/Worried Life Bls E+ 47. Billie McKenzie – Voc 03385; Romeo And Juliet/That Man On The WPA E+
EE+ Section II – Jazz, etc. These first 2 items are Brazilian singers with accompaniment – probably the 50’s? 98. Luiz Gonzaga – Vi(Brazil) 80-0643; Quase Maluco (Xamego)/Vem Morena (Balao) E+ 99. (Ms.) Hebe Camargo – Odeon(Brazil) 13029; Quem Foi Que Disse (Samba)/Oh! Jose (Samba) E+
101. Texas Alexander – Ok 8658; ‘Frisco Train Bls/Work Ox Bls V+ lbl tears 102. Louis Armstrong Hot 7 – Ok(lrg red lbl, lrg ring) 8496; Keyhole Bls/ Melancholy Bls V++ rim flk nap/V++ 49. Memphis Minnie (as Texas Tessie) – Bb(buff) 6429; You Wrecked My Happy Home/ 103. Louis Armstrong Hot 5 – Ok(lrg red lbl, sm ring) 8597; Fireworks/ Trixie Butler; You Got The Right Key E/E+ West End Bls V+/sm lbl tear V+ 50. Memphis Minnie – Voc 03581; Haunted Bls/Black Cat Bls V++/E 104. Louis Armstrong Hot 5 – Ok(blk lbl) 8631; Skip The Gutter/Knee Drops E-/V++ 51. Memphis Minnie – Voc 04797; Low Down Man Bls/Bad Outside Friends E sol 105. Louis Armstrong Hot 5 – Ok(blk lbl) 8641; Two Deuces/Squeeze Me V 52. Art McKay – De(sb) 7364; She Squeezed My Lemon/Somebody’s Been Ridin’ My 106. Louis Armstrong O. – Ok 41501; Them There Eyes/Little Joe EBlack Gal E- lbl wear 107. Louis Armstrong O. – Col 2574; Chinatown My Chinatown/Stardust (-1) E53. Alice Moore – De(sb) 7109; Just Sitting Here Wondering/Death Valley Bls V+ lite scuffs & scrs/V+ 108. Louis Armstrong O. – Bb(gl) 10237; Don’t Play Me Cheap/Some Sweet Day E+ 54. Alice Moore – De(sb) 7190; Glass Cutter Bls/Telephone Bls VV48. Willie Mae (McKenzie) – Voc 03404; Get Business On Your Mind/I’d Rather Drink Muddy Water E/V
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178. Billie Holiday – De 24972; God Bless The Child/This Is Heaven To Me E+ 110. Blue Lu Barker – De 7648; You Ain’t Had No Bls/Marked Woman E+ 179. Hot Air Men – Col 2092; Harlem Madness/Navy Bls E-/E 111. Bix Beiderbecke Gang – Ok 41001; Since My Best Gal Turned Me Down/Sorry EE- 180. Alberta Hunter – Black Swan 2008; How Long Sweet Daddy/Bring Back The Joys 112. Mike Bernard – Col A1427; 1915 Rag/Maori E E113. Clyde Bernhardt w/Leonard Feather’s Blue 6 – Musicraft 506; Blues Behind Bars/Blues w/o Booze E+ 181. Alberta Hunter – Black Swan 2019; Some Day Sweetheart/He’s Darn Good Man E/ 114. Chu Berry Band – Com 516; 46 West 52/Sittin’ In E+ EE+ 115. Chu Berry Stompy Stevedores – Col 37571; Maelstrom/Chuberry Jam E+ 182. Alberta Hunter – Para 12017; Someone Else Will Take Your Place (-1)/ 116. Barney Bigard Sextet – B&W 13; Blues For Art’s Sake/Sweet Marijuana Brown E+ Chirping The Bls (-1) V++ 2” hr crk wol 183. Alberta Hunter w/Elkins-Payne Jubilee Qt. – Para 12092; Old Fashioned Love/ 117. Barney Bigard Trio – Sig 28116; Tea For Two/Moonglow E+ If The Rest Of The World… V+ 118. Jack Bland Rhythmakers – Col 35882; Mean Old Bedbug Bls (-2)/Yellow Dog Bls (-2) E+ sm lbl 184. Illinois Jacquet All Stars – Apollo 756; Bottoms Up/Ghost Of a Chance E+ tear 185. Bunk Johnson Superior Band – Jazz Man 10; Bunk’s Bls/Storyville Bls E+ 119. Rube Bloom – Ok 40988; Mine – All Mine/Losing You V++ slt warp 186. James P. Johnson – Vi 19123; Bleeding Hearted Bls/You Can’t Do…. V+ to E109. (Buster) Bailey Swing Group – Juke Box 506; Pine Top’s Boogie Woogie/Eccentric Rag E/EE-
120. Rube Bloom Bayou Boys – Col 2218; There’s A Wah Wah Girl…/On Revival Day (-3) VV+ lbl scrs
187. Maggie Jones – HRS Dividend; Good Time Flat Bls/Bertha Chippie Hill; Pratt City Bls E+
188. Richard M. Jones 3 Jazz Wizards – Ok 9260; Spanish Shawl/29th & Dearborn E-/V++ 122. Tim Brymn Black Devil O. – Ok 4310; Wang Wang Bls/Sirene Of The Southern Sea V++ 189. Kansas City 6 – Com 555; Jo Jo/I Got Rhythm E+ 191. Andy Kirk O. – De 4436; Unlucky Bls/Ride On Ride On E+ 123. Joe Bushkin – Com 532; Serenade In Thirds/I Can’t Get Started E 192. Carl Kress – De 23138; Helena/Sutton Mutton E+ 124. Harry Carney Big 8 – HRS 1020; Candy Cane/Minor Mirage E+ 125. Harry Carney Big 8 – HRS 1021; Jamaica Rumble/Shadowy Sands E+ rim flk nap 193. Ed Lang – Par R2646; Rainbow Dreams/Jeanine E+ 194. Lazy Levee Loungers – Col 2243; Shout Sister Shout/If I Could Be With You EE+/E 126. Benny Carter All Star O. – Ok 6001; Joe Turner Bls/Beale St. Bls E+ 195. Wingy Mannone O. – Bb 6816; Formal Night In Harlem/Sweet Lorraine E+ 127. Charleston Chasers – Col 2133; Cinderella Brown/Sing You Sinners E128. Chicago Rhythm Kings- Br 4001; I Found a New Baby/There’ll Be Some Changes Made 197. Sara Martin – Ok 8045; Mama’s Got The Bls/Last Go Round Bls V+ 198. Sara Martin – Ok 8060; Keep’s On Rainin’/Michigan Water Bls V lbl wear V++ 129. Lillie Delk Christian – Ok 8475; Ain’t She Sweet/It All Depends On U V+ to E- sm rim flk 199. Sara Martin – Ok 8085; New Orleans Hop Scot Bls/Uncle Sam Bls Enap 200. Sara Martin – Ok 8104; I’ve Got To Go…/Roamin’ Bls 130. Eddie Condon Band – Com 535; Pretty Doll/Oh Sister Ain’t That Hot EE+ 201. Sara Martin & Clarence Williams – Ok 8108; I’m Cert’ny Gonna See ‘Bout That/Squabblin’ Bls V 132. Cotton Pickers – Br 2292; Hot Lips/State St. Bls EE202. McKinney’s CP – Bb 7695; Save It Pretty Mama/I Found A New Baby E+ sm sol 133. Cotton Pickers – Br 2382; Loose Feet/Runnin’ Wild EE203. Jay McShann Sextet – Premier 29010; Garfield Ave. Boogie/Jay McShann Trio; Hootie Boogie EE134. Cotton Pickers – Br 2766; Jimtown Bls/Prince Of Wails V+ 204. McVea-Bailey Inc. – Rhythm 502; Rainy Day Bls/Jack McVea O.; I’ll Be True E+ 135. Cotton Pickers – Br 2818; Jacksonville Gal/Mishawaka Bls E205. Memphis Jazzers (as White Star Sync) – Piccadilly 494; In Harlem’s Araby/no int. E ¾” hr 136. Ida Cox – Para 12044; Graveyard Dream Bls (-2)/Weary Way Bls (-1) V++/V+ 121. Brown University Band – Vi 21017; Brown University Songs/Pt. 2 V+
137. Ida Cox – Para 12085; Worried Mama Bls (-1)/Mama Doo Shee Bls (-1) V sm rim flk nap crk 206. Johnny Miller N.O. Frolickers – Col 1546; Dipper Mouth Bls/Panama V++/sm lam nap V++ 138. Ida Cox – Para 12488; Gypsy Glass Bls/’Fore Day Creep V+
207. Miff Mole Molers – Ok 41445; Shim-Me-Sha-Wabble/After You’ve Gone E208. Miff Mole Molers – Col 35687; Feelin’ No Pain/Imagination E+ 209. MCBB – Voc 2957; She’s A Latin From Manhattan/What’s The Reason E+ 210. Red Nichols 5 Pennies – Br 3626; Feelin’ No Pain (-35)/Ida (-32) V+ lbl scrs 211. Red Nichols 5 Pennies – Br 3989; Original Dixieland One Step/Imagination E212. Red Nichols 5 Pennies – Br 4373; Indiana/Dinah E 213. Red Nichols 5 Pennies – Br 4778; Rose Of Washington Square/Who Cares V+ 214. Red Nichols 5 Pennies – Br 6149; How Come You Do Me/Moan U Moaners V+ to E147. Harry The Hipster Gibson – Musicraft 292; Get Your Juices At Deuces/the Hipster Bls E+ 215. Red Nichols O. – Vri 595; O Solo Mio/Humoresque V+ 148. Sally Gooding w/3 Peppers – Voc 4169; It Must Be Love/Clarence Williams Trio; Liza E/ 216. Red Nichols O. – Bb 10408; Wail Of The Winds/Davenport Bls E+ 217. Jimmy Noone O. – De 18095; New Orleans Hop Scop Bls/Keystone Bls E+ E+ 218. Red Norvo – Br 6906; Dance Of The Octopus/In A Mist E+ 149. Benny Goodman Sextet – Col(gl) 35810; Wholly Cats/Royals Garden Bls E 219. King Oliver Creole JB – Ge 5133; Just Gone/Canal Street Bls V+/slt rough start 151. Goofus 5 – Ok 40767; Farewell Bls/Sister Kate V++ 152. Sonny Greer Memphis Men – Voc 3012; Beggars Bls/Saturday Night Function E sol VV+ 154. Adelaide Hall w/Lew Leslie’s Blackbirds O. – Br 4031; Baby/I Must Have That Man 220. King Oliver Creole Jazz Band – UHCA 70; Froggie Moore/Mandy Lee Bls E+ 221. King Oliver O. – Voc 1059; Dead Man Bls/Someday Sweetheart V+ one loud passage V+ E222. Nick La Rocca ODJB – Vi(sc) 25460; Ostrich Walk/Toddlin’ Bls EE-/E 155. Ed Hall Sextet – Com 550; Coquette/The Man I Love E+ 223. OM5 – Para 20192; 4:00 Blues (-1)/Haunting Bls (-2) V+ 156. Lionel Hampton O. – Vi(gl) 26371; When Lights Are Low/Hot Mallets V+ to E157. Lionel Hampton O. – Vi(gl) 26476; Haven’t Named It Yet/I’m On My Way From You 224. OM5 – Voc 14461; That Barking Dog Woof Woof/Stop Your Kidding V++ 225. OM5 – Col 37; She Wouldn’t Do/More V+ to EE+ 226. OM5 – Vi 19170; Tin Roof Bls/I’ve Got A Song For Sale EE+ 158. Lionel Hampton O. – Vi(gl) 26793; Pig Foot Sonata/Just For Laffs E+ 227. Jack Pettis Pets – Vi 21793; Bog Of Bls/Freshman Hop E+ 159. Lucille Hegamin Blue Flame Sync. – Para 20108; He May Be Your Man (-1)/ 228. Ben Pollack O. – Br 7764; Jimtown Bls/Song Of The Islands EE+ I’ve Got The Wonder Where…. Blues (-1) V++ sm lbl scr 229. QHCF – De 23077; Why Shouldn’t I/Lambeth Walk E+ 160. Lucille Hegamin Blue Flame Sync. – Para 20108; He May Be Your Man (-2)/ 230. Ma Rainey – Para 12082; Walking Bls/Barrel House Bls VV+ I’ve Got The Wonder Where…. Blues (-3) V+ to E231. Ma Rainey – Para 12526; Slow Driving Moan/Gone Daddy Bls V+ 1” hr crk 161. Fletcher Henderson O. – Col A3995; Dicty Bls/Do Doodle Oom V+ 232. Reilley-Farley Onyx Club Boys – De 619; I Never Knew/South V+ 162. Fletcher Henderson O. – Voc 14654; Do Doodle Oom/Dicty Bls V+ to E233. Django Reinhardt Band – Dial 754; Swing 49/Blues Barbizon E+ 163. Rosa Henderson – Vi 19124; Midnight Bls/Lizzie Miles; Cotton Belt Bls EE234. Willard Robison Deep River O. – Col 1818; Head Low/Peace Of Mind E- sm lbl tear 164. Rosa Henderson w/Henderson’s Jazz 5 – Br 2589; I’m A Good Gal/ 235. Adrian Tap Room Gang – Vi 25072; Got A Need For You/Weather Man E- sm lbl Papa Will Be Gone E/lite scuffs nap EEtears 165. Bertha Chippie Hill – Ok 8420; Pratt City Bls/Pleadin’ For The Bls VV+ 166. Bertha Chippie Hill – Ok 8473; Sport Model Mama/Do Dirty Bls V+ sm lam nap/V+ 237. Boyd Senter O. – Vi 21912; Shine/Doin’ You Good E238. Bessie Smith – Col A3844; Gulf Coast Bls/Downhearted Bls V+ 167. Bertha Chippie Hill – Voc 1406; Pratt City Bls/I Ain’t Gonna Do It No More V++ 239. Bessie Smith – Col 14018; Moonshine Bls/Boweavil Bls V+ to E168. Bertha Chippie Hill – Cir 1003; How Long Bls (w/Baby Dodds Stompers)/ 240. Bessie Smith – Col 14023; Hateful Bls/Frankie Bls V+ Trouble In Mind (w/Lovie Austin Bls Sere.) E+ 241. Bessie Smith – Col 14031; Louisiana Low Down Bls/Mountain Top Bls E169. Bertha Chippie Hill – Cir 1004; Careless Love (w/Lovie Austin Bls Sere.)/ 242. Bessie Smith – Col 14032; Work House Bls/House Rent Bls V++ Charleston Bls (w/Baby Dodds Stompers) E+ 243. Bessie Smith – Col 14037; Rainy Weather Bls/Salt Water Bls V+ 170. Earl Hines O. – Vi 38042; Everybody Loves My Baby/Chicago Rhythm EE+ 244. Willie The Lion Smith – De 2269; Morning Air/Passionette E171. Billie Holiday – De 23483; No More/You Better Go Now E+ 245. Spirits Of Rhythm – B&W 23; She Ain’t No Saint/Scattin’ The Blues E+ 172. Billie Holiday – De 23565; Don’t Explain/What Is This Thing Called Love E+ 246. Jess Stacy – Com 506; Ramblin’/Complainin’ E+ 173. Billie Holiday – De 23676; No Good Man/Good Morning Heartache E+ 247. Rex Stewart Big 4 – HRS 1003; Django’s Djump/Low Cotton E+ 174. Billie Holiday – De 23853; There Is No Greater Love/Solitude E+ 248. Rex Stewart Big 4 – HRS 1004; Solid Rock/Night Wind E+ 175. Billie Holiday – De 24638; My Man/Porgy E+ 249. Ray Stokes Trio – B&W 11; Stokin’ The Boogie/Preachin’ The Blues E+ 176. Billie Holiday – De 24726; Ain’t Nobody’s Business If I Do/Baby Get Lost E+ 250. Art Tatum – De 8550; Indiana/St. Louis Bls EE+ sol/E+ 177. Billie Holiday – De 24796; You’re My thrill/Crazy He Calls Me E+ 251. Hersal Thomas – Ok 8227; Suitcase Bls/Hersal Bls V+/V++ 139. Ida Cox – Ok 6405; I Can’t Quit That Man/Last Mile Bls E+ 140. deParis Bros. O. – Com 552; I’ve Found A New Baby/Black and Blue E+ 141. Johnny Dodds O. – De 18094; Red Onion Bls/Gravier St. Bls E+ 142. Jack Dupree & Mr. Bear – King 4812; Walkin’ The Blues/Mr. Bear; Daybreak Rock E+ 143. Duke Ellington O. – Vi 23022; Jungle Nights In Harlem/Old Man Bls V+ to E144. Bud Freeman O. – Bb(gl) 10370; I’ve Found A New Baby/Easy To Get E+ 145. Bud Freeman Trio – Com(gl) 504; My Honey’s Lovin’ Arms/I Don’t Believe It E+ 146. Slim Gaillard Qt. – Melodisc 1012; Laguna/Boogin’ At Berg’s E+
!60
252. Three Blues Chasers – Ok 8595; Nothin’ But Blues/Lame Duck Bls V++ 253. Three Deuces – Com 539; Jig Walk/About Face E+ 254. Frankie Trumbauer O. – Ok 40879; There’s A Cradle In Caroline/Blue River EE255. Frankie Trumbauer O. – Ok 41019; Our Bungalow Of Dreams/Lila E+ 256. Frankie Trumbauer O. – HMV BD 158; Plantation Moods/Troubled E+ sm lbl tear
325. St. Paul Church Choir of L.A. – Cap 57-70002; Didn’t It Rain/He’s A Friend Of Mine E 326. Sister Rosetta Tharpe – De 8672; Singing In My Soul/I Claim Jesus First E 327. Sister Rosetta Tharpe w/Sam Price Trio – De 11002; Don’t Take Everybody To Be Your Friend/When I Move To The Sky E+ 257. Frankie Trumbauer O. – Var 8256; Sugar Foot Stomp/Ghost Of Chance EE+ sm lbl tears 329. Sister Rosetta Tharpe & Marie Knight – De(dj) 28509; I’m Bound For Higher 258. Big Joe Turner w/Willie The Lion Smith – De 7827; Jumpin’ Down Bls/Careless Love E+ Grounds/There Is A Highway To Heaven E+ 259. Big Joe Turner – De 7856; Somebody’s Got To Go/Ice Man E+ 330. Sister Rosetta Tharpe – De 29255; Go Ahead/This Old House E+ 260. Joe Venuti Blue 4 – Ok 40947; Four String Joe/Penn Beach Bls V+ to E332. Sister Rosetta Tharpe – De 48010; There Is Something Within Me/Stand By Me E261. Sippie Wallace – Ok 8205; Morning Dove Bls/Every Dog Has His Day V+ rough start/store sol 333. Sister Rosetta Tharpe w/Sam Price Trio – De 48013; Jesus Is Here Today/Jonah E V+ 334. Sister Rosetta Tharpe w/Sam Price Trio – De 48025; When I Move To The Sky/Don’t 262. Ethel Waters – Black Swan 2010; Oh Daddy/Down Home Bls V+ Take Everybody To Be Your Friend E+ 263. Ethel Waters – Black Swan (black lbl) 2021; There’ll Be Some Changes Made (-1)/ 335. Sister Rosetta Tharpe w/Sam Price Trio – De 48043; This Train/End Of My Journey EE+ One Man Nan (-1) E337. Sister Rosetta Tharpe-Marie Knight-Sam Price Trio – De 48054; Didn’t It Rain/Stretch Out EE264. Ethel Waters – Black Swan (orange, black & white lbl) 2021; There’ll Be Some 338. Sister Rosetta Tharpe-Marie Knight-Sam Price Trio – De 48070; Precious Memories/Beams Of Heaven E Changes Made (-1)/One Man Nan (-1) V++/sm lbl tears V++ 339. Sister Rosetta Tharpe w/Sam Price Trio – De 48083; Teach Me To Be Right/Lay Down Ur Soul 265. Ethel Waters – Col 14146; You’ll Want Me Back/Sugar V+ E+ 267. Ethel Waters – Bb 10038; Frankie And Johnny/You’re Mine V++ 340. Sister Rosetta Tharpe w/Sam Price Trio – De 48106; Move This Wicked Race/Down By River Side E 268. Dickie Wells O. – Vi 26220; Bugle Call Rag/BTDATDBS E+ 341. Sister Rosetta Tharpe w/Rosette Gospel Singers – De(dj) 48136; He Arose From 269. George Wettling Trio – B&W 7; Everybody Loves My Baby/Some Of These Days E+ The Grave/Were You There When They Crucified My Lord E+ 271. Clarence Williams Blue 5 – HJCA 87; Kansas City Man Bls/Wild Cat Bls E+ 343. Sister Rosetta Tharpe w/Anita Kerr Singers – De 48279; Peace In Valley/Near The Cross V+/E 272. Clarence Williams Blue 5 – Ok 8181; Everybody Loves My Baby/Of All The Wrongs V+/ V++ 273. Clarence Williams Blue 5 – Ok 40260; Mandy Make Up Ur Mind/Just A Little Black Bird VV+
344. Trumpeteers – Score 5005; Freedom/When I’ve Done My Best EJazz & Dance 345. All Star Band – Vi(gl) 26144; The Blues/Blue Lou E wol 274. Clarence Williams Jazz Kings – Col 14287; Dreaming Hours Away/Close Fit Bls 346. Ovie Alston O. – Voc 4448; Ja-Da/Junk Man’s Serenade E347. Ambassadors – Voc 14674; Foolish Child/That Old Gang Of Mine EEE 348. Louis Armstrong Hot 7 – Ok 8482(lrg red lbl); Willie The Weeper/Alligator Crawl V++ 275. Clarence Williams O. – QRS 7005; New Down Home Bls/ 349. Gene Austin O. – Per 15521; If I Didn’t Have You/In A Dream ESqueeze Me rough start, some loud passages/V rough start 350. Bailey’s Lucky 7 – Ge 5078; Everything’s K.O.. (-B)/Carolina Mammy (-_) E- lbl 276. Clarence Williams Blue 5 – Bb 11368; Thriller Bls/Uncle Sammy Here I Am E+ fades 277. Fess Williams O. (as Bud Jackson) – Br 3351; Messin’ Around/Heebie Jeebies E 351. Bailey’s Lucky 7 – Ge 5354; Mindin’ My Business (-A)/If You’ll Come Back (-A) VV+ 278. Teddy Wilson Qt. – Dig 202; Just A Mood/Pt. 2 E+ 356. Roy Carroll O. – Har 1395; You Were My Salvation/Home E 279. John Wittwer Trio – Exner 2; Come Back Sweet Papa/Tiger Rag E+ 357. Buddy Clark – Ok 6469; I Hate You Darling/Everything I Love E 280. Wolverines – Br 3332; Crazy Quilt/You’re Burning Me Up E358. Orq. Clevelanders – Br 40931; Nenita/Rodolfo Hoyos O.; Lovely Chilean Maid E281. George Zack – Com 566; Lazy River/Snowball E+
366. Bernie Cummins O. – Vi 22408; Telling It To The Daisies/Nat Shilkret O.; Whippoorwill E+
Two Turkish recordings
367. Dorsey Bros. O. – De(sb) 196; The Moon Was Yellow/How Can You Face Me EE-/E 368. Dorsey Bros. O. – De(sb) 208; Heat Wave/Stop Look And Listen EE+ 369. Dorsey Bros. O. – De(sb) 258; Earful Of Music/Your Head On My Shoulder E
282. Kemani Memdouh Bey (violin solo) – Col 40027-F; Tchifte Telli Taksimi/Ouchack Taksim V++
283. Zourna (“Turkish Instrumental”) – Col 32009-F; Zeibek Navassi/Tchifte Telli V++
370. Dorsey Bros. O. – De(sb) 559; You Are My Lucky Star/On A Sunday Afternoon E-/E sol 284. Roy Acuff Smokey Mt. Boys – Ok 05638; Mule Skinner Bls/Streamlined Cannon Ball E/E+ 371. Tommy Dorsey O. – Vi(sc) 25172; One Umbrella For Two/It’s Written In The Stars E sol 372. Tommy Dorsey O. – Vi(sc) 25292; Will I Ever Know/It’s You I’m Talkin’ About EE+ 285. Bar-X Cowboys – Bb 33-0506; Jammin’ On The Steel Guitar/Why Do I Dream E-
Blues, Country, Western Swing
sol
286. Big Bill Memphis 5 – Voc 04760; Mary Blues/Just Got To Hold You Tight VV+ lbl scrs
373. Tommy Dorsey O. – Vi(sc) 25352; San Francisco/U Gotta Eat Ur Spinach Baby E- sol/E+
300. Leadbelly – Musicraft 225; Poor Howard + Green Corn/Fannin Street E+
374. Tommy Dorsey O. – Vi(sc) 25496; Jamboree/Maple Leaf Rag EE+ 375. Tommy Dorsey O. – Vi(sc) 25513; On A Little Bamboo Bridge/How Could You E+ sol 376. Tommy Dorsey O. – Vi(sc) 25544; Beginner’s Luck/They All Laughed E 377. Tommy Dorsey O. – Vi(sc) 25581; Good Mornin’/Mountain Music E+ 378. Tommy Dorsey O. – Vi(sc) 25600; Humoresque/Goin’ Home E+ 379. Tommy Dorsey O. – Vi(gl) 25848; I Hadn’t Anyone Till U/Bunny Berigan O.; Azure E+ 380. Tommy Dorsey O. – Vi(gl) Washboard Bls/Lightly And Politely E+ 381. Tommy Dorsey O. – Vi(gl) 26185; Panama/Blue Moon EE+ sol
301. Leon’s Lone Star Cowboys – De(sb) 5377; In Little Red Barn/Who Walks In When I Walk Out EE-
382. Tommy Dorsey CB 7 – Vi(gl) 25676; If The Man In The Moon Were A Coon/Josephine E+
287. Cliff Bruner Texas Wanderers – De 5638; My Bonnie Lies Over The Ocean/Yearning E-
288. Cliff Bruner’s Boys – De 5725; I’m Tired Of You/Truck Driver’s Bls E+ 289. Cliff Carlisle – De(sb) 5378 (Gennett masters); High Steppin’ Mama/Alone And Lonesome V+/ G+
290. Dirty Red – Aladdin 194; Mother Fuyer/Home Last Night E+ 294. Hi-Flyers – Ok 06183; Reno Street Bls/Blonde-Headed Woman V+ 297. Buell Kazee & Sookie Hobbs – Br 210; Red Wing/Snow Deer V++ 298. Leadbelly – Cap 40038; Grasshoppers In My Pillow/Sweet Mary Bls E
299. Leadbelly – Musicraft 224; Frankie And Albert, Pt. 1/Ain’t Goin’ Down… + Go Down Moses E+
302. Light Crust Doughboys – Ok 06161; Can’t Ease My Evil Mind/Slufoot On The Levee 383. Eddy Duchin O. – Col 2625; Can’t We Talk It Over/Snuggled On Your Shoulder V+ to EE+ 384. Eddy Duchin O. – Col 2626; Soft Lights And Sweet Music/By The Fireside V+ to E-
305. Riley Puckett – Bb 8596; Get Out Get Under The Moon/When I’m Back In Tennessee E-/ 393. Willie Eckstein – Ok 40041; Broken Hearted Melody/Where the Niagara Flows V+ pdig/ V+ V+ 394. Seger Ellis O. – De(sb) 1322; A Pretty Girl Is Like A Melody/I know That You Know E+ sol 306. Riley Puckett – Bb 8989; Where The Shy Little Violets Grow/Railroad Boomer E-
395. Seger Ellis O. – Ok 5721; Happy Travelin’/Cuddle Up A Little Closer E sol/V+ 396. Seger Ellis O. – Ok 6051; Jitterbug’s Jump/Mellow Stuff E+
307. Riley Puckett – Bb 33-0500; In A Little Garden/Old Fashioned Locket V++/V+ 308. Ollie Shepard – Ok 06409; Army Camp Bls/Hard Times Is On Me V++ 310. Roosevelt Sykes – Ok 6709; Training Camp Bls/Sugar Babe Bls E+ 311. W. Virginia Collegiate Institute Glee Club – Br 3498; Ezekiel Saw De Wheel/ Walk In Jerusalem Just Like John E 313. Westerners – Mel 70751; Raggin’ The Blues/Play Me That Single Time Jazz E/E-
397. Redd Evans Billy Boys – Voc 4920; Red River Valley/Carry Me Back To Lone Prairie E
398. W.C. Fields – Variety 1216/1217; The Day I Drank A Glass Of Water/Pt. 2 EE+ 405. Golden Gate O. – Per 14219; Melancholy/Don Parker O.; The Only Girl E
423. Sleepy Hall Melody Boys – Vi(C) 216516; Goodbye Broadway Hello Montreal/no int. V+
424. Sleepy Hall O. – Mel 12292; Fate/BTDATDBS E-/V++ 425. Chas. Hamp – Col 1816; Pretty Little Thing/This Is Heaven E+
314. Bob Wills Texas Playboys – Ok 06530; Corrine Corrina/Goodnight Little Sweetheart E+
Gospel
317. Sister Vera Copeland – De 48077; I Am Going Back To Jesus/I Know It Was The Blood E+ 318. Dixie-Aires – Exclusive 98; Friends Let Me Tell U About Jesus/Got A Home In That Rock E
427. Johnny Hamp O. – Vi 22999; Cabin In The Cotton/By A Rippling Stream EE- sol, slightly graiiny
319. Golden Gate Qt. – Col 30136; Hush/Do Unto Others E320. Jubalaires – Cap(dj) 1779; Living A Lie/As Summer Turns To Fall E+ 321. Jubalaires – Cap(dj) 1888; I’ve Done My Work/David And Goliath E+ 322. St. Paul Church Choir of L.A. – Cap 40076; What Could I Do/Walking With My Jesus E 323. St. Paul Church Choir of L.A. – Cap 40136; How Many Times/Hide My Soul E324. St. Paul Church Choir of L.A. – Cap 3-40140; Jesus Is Mine/The Lord’s Prayer V++/ E
431. Lionel Hampton O. – Vi(gl) 26254; Shufflin’ At The Hollywood/It Don’t Mean A Thing E+ sol
428. Lionel Hampton O. – Vi(gl) 26017; Ring Dem Bells/Muskat Ramble E+ 429. Lionel Hampton O. – Vi(gl) 26209; Sweethearts On Parade/High Society E+ 430. Lionel Hampton O. – Vi(gl) 26233; Wizzin’ The Wizz/Denison Swing E+
432. Lionel Hampton O. – Vi(gl) 26296; Big Wig In Wigwam/Stand By 4 Further Announcements E+
433. Lionel Hampton O. – Vi(gl) 26362; Ain’t Cha Comin’ Home/12th Street Rag E 434. Lionel Hampton O. – Vi(gl) 26393; One Sweet Letter From You/Early Session Hop E+
435. Lionel Hampton O. – Vi(gl) 26476; Haven’t Named It Yet/I’m On My Way From U E+ sol
436. Lionel Hampton O. – Vi(gl) 26604; Till Tom Special/Shades Of Jade E+ wol
!61
437. Lionel Hampton O. – Vi(gl) 26696; Dough-Ra-Me/Ghost Of A Chance E 438. Lionel Hampton O. – Vi(gl) 26793; Pig Foot Sonata/Just For Laffs E+ wol 439. Lionel Hampton O. – Vi(gl) 27316; I Nearly Lost My Mind/Altitude E+ 440. Lionel Hampton O. – Vi(gl) 27409; Three-Quarter Boogie/Give Me Some Skin E+ lite lbl wear 441. Diamond Lil Hardaway Gems of Rhythm – De(sb) 7193; U Know I Know/Back In The Country E+
546. California Ramblers – 1925 (Edisons) SS 548. The Chocolate Dandies – 1928-33; Swing 8448 (cutout) N-
549. Buddy Clark – A Singer’s Singer (The Memorable Radio Years, 1935-49); Star-Tone 218 N-
550. Eddie Condon – Jazz Concert All Stars (AFRS, 1945)(Pee Wee, Butterfield, Caceres, Stacy, Spanier, Wiley, etc.); Jazum 65 N442. Joe Haymes O. – Cq 8570; Truckin’/Dick Messner O.; Oregon Trail E 551. Coon-Sanders O. – Radio’s Aces (1925-32); RCA LPV-511 N443. Fletcher Henderson O. (as Lenox D.O.) – Per 14394; Me Neenyah/no int. V++ 552. Al Cooper’s Savoy Sultans – Jumpin’ At The Savoy (1938-41); MCA-1345 N444. Woody Herman O. – De 3889; Night Watchman/Hey Doc E+ 553. Bob Crosby O. – 1946 (Transcriptions & airchecks); First Time 1517 SS 445. High Hatters – Vi 22337; Only Love Is Real/Nat Shilkret O.; Woman In the Shoe E+ 554. Johnny Dodds – The Immortal (Paramounts, 1925-27); Milestone 2002 E+ 446. The Honey Boys – Per 12217; Brown Eyes Why Are You Blue/Normandy E 555. Johnny Dodds – Chicago Mess Around (Paramounts, 1926-29); Milestone 2011 N451. Dots Johnson – Stinson 711; Don’t Monkey With A Donkey/No Note Bls E 556. Johnny Dodds – Spirit of New Orleans (Brunswicks & Vocalions, 1926-27); MCA-1228 N452. Isham Jones’ Juniors – De(sb) 834; Fan It/Nola E+ 557. Johnny Dodds – 1926-1928 Victors; RCA LPV-558 (cutout) lite corner taping, 1” top seam split N453. Max Kaminsky Jazz Band – Com 560; Eccentric/Guess Who’s In Town E+ 558. Dorsey Brothers – Vol. 2, 1928-30; TOM 15 N454. Max Kaminsky Jazz Band – Com 595; Love Nest/Everybody Loves My Baby E+ 559. Dorsey Brothers – 1935 Transcriptions; Circle 20 E+ 455. Irving Kaufman (as Harry Smith) – Rom 750; Is It A Sin/Sid Garry; Sonny Boy E 560. Tommy Dorsey O. – Swing Out, 1936-39; Bandstand 7116 SS 463. Little Ramblers – Bb(buff) 6220; I’m Shooting High/Music Goes Round and Round 561. Tommy Dorsey O. – feat. Bunny Berigan (America Dances Broadcast, 5/28/40); Fanfare 104 NV+ 562. Roy Eldridge O. – Little Jazz Big Band, 1944-46; Sounds of Swing 108 N464. Vincent Lopez O. – Ok 4772; Runnin’ Wild/Down In Maryland E 563. Fred Elizalde O. – 1927-29; TOM 30 N465. Vincent Lopez O. – Ok 4946; Sittin’ In A Corner/Covered Wagon Days V++ 467. Nick Lucas Quintet – Cavalier 826; Lady Be Good/Till The End Of Forever E+ sol 564. Duke Ellington O. – 1927-30 Okehs; Swaggie 1231 N565. Duke Ellington O. – Vol. 2; 1927-30 Okehs; Swaggie 1234 N468. Mammy Jinny – Ban 1233; When You Walked Out…/Billy West; Oh How She Lied 566. Duke Ellington O. – Duke Ellington At The Movies. Soundtracks from “Black And Tan E+ Fantasy” (1929), “Check And Double Check” (1930), “Bundle Of Blues” (1933), 469. Wingy Mannone O. – Bb 7198; I Ain’t Got Nobody/Jazz Me Bls E+ “Symphony In Black” (1934); Privateer 2 N470. Wingy Mannone O. – Bb 7395; My Mariuccia Take A Steam Boat/In The Land Of Yamo Yamo E+ 472. Red McKenzie – De(sb) 243; What’s The Use Of Getting Use To You/It’s All Forgotten Now E+
474. Mendello’s 5 Gees Gees (as Dixie JB) – Or 1363; High Hattin’ Hattie/ Yankee 10 O.; It Goes Like This E+ 475. Metronome All Stars – Vi(gl) 27314; Bugle Call Rag/1:00 Jump E+ 476. Miff Mole Band – Com 620; I Must Have That Man/Beale St. Bls E+ 478. Red Nichols 5 Pennies – Br(E) 1233; Honolulu Bls/Oh Peter E479. Nifty Three – Col 1591; Dog-Gone/Anything Your Heart Desires E+ pot rim flk nap 480. Ray Noble O. – Vi(sc) 25141; Blues In My Heart/By The Fireside EE+ 481. Red Norvo – Br(E) 01568; Hole In The Wall/Knockin’ On Wood E+
567. Duke Ellington O. – 1932 Band in Stereo + 1940 airchecks; Everybody’s 3005 w/Booklet N-
568. Duke Ellington O. – 1932-38 (Brunswicks); Swingfan 1001 N569. Duke Ellington O. – At The Cotton Club (1937-38 Brunswicks); Tax 8001 N570. Duke Ellington O. – The Transcription Years (1941-45); Tax 8037 N-
571. Duke Ellington O. – The Un-Heard And Seldom Heard Ellington, Vol. 2 (1933-41); Blu-Disc 1003 N-
572. Duke Ellington O. – The Studio Series, Vol. 6 (1930-58)(unissued performances and takes); Up-To-Date 2007 N573. Ruth Etting – Love Me Or Leave Me; Columbia ML 5050 SS 482. Red Norvo O. – Br 8171; A Cigarette & A Silhouette/After Dinner Speech E+ sm lbl tears 574. Alice Faye – In Hollywood (1934-37); Columbia CL 3068 SS 483. Red Norvo O. – Voc 4818; Yours For a Song/I Can Read Between The Lines EE+ 575. Alice Faye – Silver Screen Star Series, 1934-43); Curtain Calls 100/3 N576. Alice Faye – The Songs of Harry Warren (1940-43); Citadel 6004 N490. Sidney Phillips O. – Vri 654; Comin’ Thru The Rye/Annie Laurie EE+/E 577. Jimmy Grier Cocoanut Grove O. – 1932 Broadcasts; Take Two 113 N493. Ben Pollack O. – Re 10055; There’s A Wah Wah Girl…(3)/Dubin’s Dandies; Myrtle 578. Al Haig Trio – Jazz Will-O’-The-Wisp (1954); Everest 293 NV 580. Erskine Hawkins O. – Swingin’ In Harlem (Vocalion titles, 1936-38; Tax 8014 N497. Louis Prima Band – De 1618; Rosalie/Yes There Ain’t No Moonlight EE+ sol 581. Fletcher Henderson O. – The Dixie Stompers, 1925-26; Parlophone 7109 N498. Ramona & Her Men of Music – Var 8080; Can I Help It/Stop It’s Wonderful E582. Fletcher Henderson O. – Hocus Pocus (Victors, 1927-36); Bluebird 9904 SS 499. Floyd Ray O. – De 2337; Comin’ On With The Bls/3:00 In The Morning E+ 500. Leo Reisman O. – Vi 22746; Without That Gal/When The Moon Comes Over The Mt. EE- 583. Fletcher Henderson O. – The Crown King of Swing (Crown titles, 1931); Savoy 1152 503. Rhythm Wreckers – Voc 3670; Red Headed Music Maker/Blue Yodel No. 3 EE-/E- N584. Jon Hendricks – Evolution Of The Blues Song; Columbia(dj) CL 1583 E+ top seam 506. Dick Robertson O. – Ch 40077; Moon Over Miami/Cling To Me EE+ taped, bottom seam split, woc 507. Dick Robertson O. – De(sb) 1209; Too Marvelous For Words/Little Old Lady E+ 585. Hotsy Totsy Gang – With Benny Goodman, 1928-30; Sunbeam 113 SS 508. Dick Robertson O. – De(sb) 1407; Carolina Town/Ebb Tide E+ lbl scrs 509. Willard Robison O. – Per 14813; Just Like A Butterfly/D. Onivas O.; Take Me Along 586. Hudson-DeLange O. – 1936-39; Bandstand 7105 SS 587. Isham Jones O. – The Great; RCA LPV-504 NE588. Hal Kemp O. – 1934 Broadcasts, Vol. 1; Hindsight 143 N510. Willard Robison O. – Per 14875; My Blue Heaven/Diane (w) E 511. Willard Robison O. – Per 14944; Ol’ Man River/Southern Serenaders; Shepherd of the Hills E- 589. Hal Kemp O. – 1934 Broadcasts, Vol. 2; Hindsight 161 N512. Adrian Rollini O. - Cq 8220; By A Waterfall/Will Osborne O.; Bless Your Heart V+ to 590. John Kirby Sextet – The Biggest Little Band In The Land (1941-44); Classic Jazz 22 (2 LP’s) SS 591. Sam Lanin O. – 1928-30; TOM 28 NE516. Dave Rubinoff – Br 3963; Stringing Along/Last Night I Dreamed You Kissed Me E+ 592. Sam Lanin O. – Vol. 2, 1924-25; TOM 34 N517. Pee Wee Russell Hot 4 – Com 627; Keepin’ Out Of Mischief Now/Rose Of Washington Square 593. Gertrude Lawrence – The Kurt Weill Classics; RCA LPV-503 N594. Uncle Dave Macon – RBF 51 w/Booklet N- cover wear, wol, bottom seam split E+ 518. Sacaras Royal Havana O. – De 3377; Elube Chango/The Breeze And I E+ 595. Lizzie Miles – Hot Songs My Mothe rTaught Me; Cook1183 E+ 522. Ben Selvin O. – Col 2487; Just One More Chance/To The Future V+ to E596. Emmett Miller – And His Georgia Crackers; TOM 1 N524. State Street Ramblers – Ch 40086; Tiger Moon/Careless Love E+ 600. Bennie Moten O. – 1929-30; RCA(G) LPM 10023 N525. John Sylvester O. – Per 14535; I Would Rather Be Alone In The South/no int. E-/V+ 601. Red Nichols – Victor recordings, 1924-30; RCA(Fr) 43179 N526. “T” Toll’s Swingtown 5 – Par R2267; Christopher Columbus/Farewell Bls E+ 602. Jimmie Noone – Vocalions 1928-31; I Grande Del Jazz 68 N527. Pinky Tomlin – Br 7594; You Can Depend On Me/Changing My Ambitions V+/V++ 603. Red Norvo All Stars – 1933-38; Epic 22010 SS 528. Arthur Tracy – Br 6579; Reflections On The Water/My Gypsy Rhapsody E 604. King Oliver – New York Sessions, 1929-30; Bluebird 9903 SS 531. Ray Ventura Collegians – Pathe PA1706; Le Nez De Cleopatre/Y A Des Jours 605. Danny Polo Swing Stars – 1937-39; TOM 41 NOu Toutes Femmes Sont Jolies V++ 606. Ma Rainey – Blues The World Forgot, 1924-28; Biograph 12001 SS 532. Waring’s Pa. – Vi 21508; Farewell Bls/Stack ‘O Lee Bls E+ hr crk under lbl nap 607. Ben Selvin O. – Feat. Benny Goodman, Vol. 1 (1929-31); Sunbeam 108 N533. Ted Weems O. – De 921; Five Piece Band/Fooled By The Moon E+ sol 534. Lew White O. – Master 110; Was It Rain/Seventh Heaven E+ lbl scrs 608. Ben Selvin O. – Feat. Benny Goodman, Vol. 2 (1931); Sunbeam 109 N537. Yerkes O. – Voc 14278; Goodbye Shanghai/Ty-Tee E609. Jabbo Smith – The Ace of Rhythm, 1929; MCA 1347 NLP’s (SS = Still Sealed) 610. Kate Smith – 1926-31; Sunbeam MFC-13 N539. Henry Red Allen & Coleman Hawkins – 1933; Smithsonian P15470 N611. Debroy Somers Band – 1927-32; Joy 282 N540. Louis Armstrong – Rare Items, 1935-1944; Decca DL 79225 N612. Muggsy Spanier – Pee Wee Russell Ragtimers, Vol. 1; Stinson 30 N541. Mildred Bailey with Paul Baron O (feat. Teddy Wilson, Red Norvo, Roy Eldridge) – 613. Muggsy Spanier – Pee Wee Russell Ragtimers, Vol. 2; Stinson 31 NCBS Radio Shows, 1944; Hindsight 133 N614. Muggsy Spanier – w/Miff, McGarity, Pee Wee, Schroeder, Kress, etc. (1945); Storyville 671206 N542. Sidney Bechet – Unique Sidney (w/Noble Sissle O, Clarence Williams Blue 5, 615. Ralph Sutton – Piano Solos (Switzerland, 1975); Sackville 2012 NGet Happy Band, etc.); CBS(Fr) 63093 N543. Sidney Bechet – Blackstick, 1931-38 (Noble Sissle O. + Trixie Smith); MCA-1330 N- 616. Frankie Trumbauer O. – 1931-32; TOM 26 N544. Bix Beiderbecke – The Alternate Bix (on Victor), 1926-28; RCA(Fr) FXM1-7092 N- 617. Sophie Tucker – Some Of These Days (1923-30); Pelican 133 N618. Tommy Tucker Californians – 1933 Transcriptions; Circle 124 N545. Earl Burtnett O. – 1926-34; Take Two 204 N-
!62
619. Venuti-Lang – 1927-28; TOM 8 N620. Joe Venuti – Joe In Chicago, 1978; Flying Fish 077 N621. Fats Waller – First Recordings (1922-29); Blue Ace 3602 N622. Fats Waller – And The Blues (w/Sara Martin, Alberta Hunter, Hazel Meyers, Caroline Johnson, Mamie Harris); RI-Disc 3 N624. Fats Waller – Vol. 1; 1935 Transcriptions + 1939 solo; RCA(Fr) 730.659 N625. Fats Waller – Vol. 2; 1935 & 1939 Transcriptions; RCA(Fr) 730.660 N626. Fats Waller – With Morris’s Hot Babies, 1927; RCA(Fr) 741.062 N627. Fats Waller – 1929 solos with Alternates; RCA(Fr) 741.086 N628. Fats Waller – Complete Recordings, 1/5/35 to 6/24/35; RCA(Fr) 741133 N629. Fats Waller – Complete Recordings, 8/2/35 to 11/29/35; RCA(Fr) FPM1-7001 SS 630. Fats Waller – Complete Recordings, 11/29/35 to 2/1/36; RCA(Fr) FPM1-7008 SS
677. Ted Daffan’s Texans – Ok 6719; Bluest Blues/Look Who’s Talkin’ E+
631. Lee Wiley – The Many Moods Of Miss Wiley (live concert recordings); ; Memories Lightest 403 N-
687. Putney Dandridge O. – Voc 3399; With Plenty of Money And You/ I’m In A Dancing Mood EE+ sm rim flk nap, sm hole in lbl
678. Putney Dandridge O. – Voc 3006; Cheek To Cheek/Isn’t This A Lovely Day V+ sm lbl tears
679. Putney Dandridge O. – Voc 3122; No Other One/A Little Bit Independent V++ 680. Putney Dandridge O. – Voc 3123; You Hit The Spot/You Took My Breath Away E681. Putney Dandridge O. – Voc 3252; It’s A Sin To Tell A Lie/All My Life E 682. Putney Dandridge O. – Voc 3269; Ol’ Man River/Why Was I Born EE+
683. Putney Dandridge O. – Voc 3287; Mary Had A Little Lamb/A Star Fell Out Of Heaven E+/ E 684. Putney Dandridge O. – Voc 3291; Here Comes Your Pappy/If We Never Meet Again E-/E+ 685. Putney Dandridge O. – Voc 3315; It’s The Gypsy In Me/When A Lady Meets Gentleman E+ 686. Putney Dandridge O. – Voc 3352; High Hat Piccolo & A Cane/Skeleton In The Closet E sol
632. Clarence Williams – Vol. 2 (Okehs, 1924-30); Swaggie 1282 N-
688. George Dawson’s Chocolateers – Paradise 110; Dizzy Dazzy/Lonnie Johnson; Tomorrow Night 633. Clarence Williams O. + Barrelhouse 5 – Paramounts & QRS titles, 1927-29, Biograph 12006 SS E+ 634. Clarence Williams – 1937 Transcriptions – Private Pressing un-numbered N689. Bert Dolan O. – Per 14869; Underneath The Wabash Moon/Lanin O.; Only A Sun Shower V+ 635. Jimmy Yancey – The Immortal, 1940-43; Oldie Blues 2802 Nwol
Compilations (arranged by label) 636. New York to Chicago – 1923-28 (Perry Bradford, Clarence Williams, Ollie Powers, Pickett-Parham, Parham’s “45”; Biograph 12007 SS 637 Honky Tonk Piano – Gennett & Paramount, 1927-32, Cow Cow, Meade Lux, Will Ezell, Wesley Wallace, Jabo Williams etc.; CJM 88503 SS
690. Ike (Cliff Edwards) – Harmograph 1014; Alabamy Bound/D. Onivas O.; Ginger E+
660. Bailey’s Lucky 7 – Ge 5016; Way Down Yonder In New Orleans (-_)/Georgia Cabin Door (-A) V+
732. Fletcher Henderson O. – Re 9684; Where Dreamy Wabash Flows/Lanin O.; Maytime V++
691. Ike (Cliff Edwards) – Harmograph 1016; Why Couldn’t It Be Poor Little Me/D. Onivas O.; Henriette E+
692. Duke Ellington O. (as Washingtonians) – Har 601; Stack O’ Lee Bls/ Arkansas Travelers; Red Head Bls E- pdig/E- some lite scrs 693. Duke Ellington O. – Col 35683; Swing Low (-A)/Ducky Wucky (-A) E+ 638. Chicago In The 20’s – J.C. Cobb, KC Tin Roof Stompers, Harry Dial, KC Stompers; CC 47 694. Duke Ellington O. – Col 35427; Mood Indigo/Solitude E+ N695. Duke Ellington O. – Brunswick 11” vinyl test; If You Were In My 639. New Orleans Legends – Bunk Johnson + Kid Ory (1946-50 Columbias); CBS(Fr) 88144 (2 LP’s) Place (mx M-770-1)(unissued take) EE+ N696. Embassy D.O. – Crown 3363; Three Kisses/I’ll Never Be The Same E640. The Jazz Arrangers (Henderson, Duke, Redman, Sauter, etc., 1928-40); Columbia 45143 697. Roy Evans – Col 1380; Weary Yodelin’ Blues/Pt. 2 E+ N699. Jerry Freeman O. – Mel 61217; I’m At The Mercy Of Love/Copper Colored Gal E641. Kings & Queens of Ivory (The Lion, Pete Johnson, Mary Williams, Clarence Profit, 700. Al Gentile O. (as Bobby Jones’ New Yorkers) – Ch 15177; Blowin’ The Blues Away/ Ammons, Cleo Brown, etc.), 1935-40; MCA1329 NCarolina Rolling Stones; Who Are You Vamping Tonight V+/sol V+ 642. Collector’s Items – 1922-30 (Harvey Brooks Quality 4, KC 5, Thomas Morris, 701. Georgia Wshbrd Stompers – De(sb) 7094; Livin’ In Great Big Way/UR An Angel V+ to ECalifornia Poppies, 5 Musical Blackbirds); Historical 11 SS 702. Georgians – Col A3825; Aggravatin’ Papa/Loose Feet V+ to E- wol 644. Rare Transcriptions (Reese & Abbott, BG, TD, Tram, Nichols, Glen Gray, Bob 704. GGO – Har 704; ‘Cause I Feel Low Down/Ready For The River V++ sm rim flk nap/V+ lbl fade Crosby, Ozzie, etc.); Jazum 1 N705. GGO – Har 938; Am I Blue/Bar Harbor O.,; Let Me Have..(w) V+ 645. Cosmopolitan Blues – A Study In Hot Dance Music, Sydney (Australia), 1929-33: 706. GGO – Har 959; I’d Do Anything For You/Maybe Who Knows E- sm lbl tear Lyric 3305 N- 1” rear seam split 707. Nat Gonella Georgians – Par F442; Ol’ Man River/I’m Gonna Clap My Hands E 646. Hodge Podge of Off-Beat Jazz (Billy Hays, Slim Lamar, Willrich, Phil Baxter, 708. Nat Gonella Georgians – Par F623; I’ll Swing U 1000 Love Songs/Swinging Those Lies E Tremaine, Snooks, Moten, Cecil Scott, 709. Nat Gonella Georgians – Par F1506; Well All Right/Shoot Likker To Me John Boy V+ to EFess, Mosby. Parham, etc., 1927-31; MFC-1 N710. Benny Goodman O. – Col 35839; Moonglow/Why Couldn’t It Be Poor Little Me E+ 647. Best of The English Jazz Bands (Lido D.O., Bert Firman, Rhythmic 8, Harry Hudson, 711. Jane Gray – Har 357; I’ve Never Seen a Straight Banana/Hello Cutie E+ Elizalde, New Mayfair D.O., Ambrose, 6 Swingers, etc., 191927-37; MFC-2 N- 712. Fred Hall Jazz Band – Ban 6264; Missouri Squabble (-2)/Campus Boys; I’m Wild 649. When Malindy Sings – Jazz vocalists, 1938-61 (Betty Carter, Chris Conner, Ella, V+ Billie, Abby Lincoln, Rushing, Joe Turner, Sarah Vaughn, Dinah Washington, Leo Watson; 716. Lionel Hampton O. – HMV B8639; The Mood That I’m In/Sunny Side Of The Street New World 295 NE+ 650. That Jug Band Sound – 1927-39 (Jack Kelly, Tommy Bradley, Memphis Jug Band, 717. Lionel Hampton O. – HMV B9063; Dinah/Singin’ The Bls E+ Gus Cannon, Sheiks, Jed Davenport, etc.); OJL 19 SS 718. Lionel Hampton O. – HMV B9088; Ain’t Cha Comin’ Home/12th St. Rag E+ 651. Swing Classics – Berigan, Freeman, Stacy + Joe Sullivan solos, 1933-35; Prestige 7646 SS 719. Annette Hanshaw (as Gay Ellis) – Har 706; I Must Have That Man/ICGYABL V++ 652. Early Black Swing (on Victor) – 1927-34; Duke, Missourians, Charlie Johnson, Hines, 720. Annette Hanshaw (as Gay Ellis) – Har 785; You’re Cream In My Coffee/My Inspiration is U V+ Red Allen, Moten, Henderson, etc.; Bluebird 9583 SS 722. Harlem Hamfats – De(sb) 7182; Lake Providence Bls/Oh Red E- lbl wear/V+ 653. Red Nichols & Miff Mole – with RW Kahn, Red & Miff Stompers, Red & His Big Ten, 725. Coleman Hawkins – Par R2007; Lullaby/Lady Be Good E+ Red Nichols Stompers; Saville 146 SS 726. Harry Hayes Band – HMV B9397; Sequence/My Love E+ 654. Rare Jazz Of The Twenties (Bix, Jimmy Wade, Marlow Hardy, Jimmy Blythe, 727. Harry Hayes Band – HMV B9404; Needlenose/Five Flat Flurry E+ Bubber, Tram, Cliff Jackson, etc.; TOM 5 (cover fade) N728. Joe Haymes O. – Per 16072; Goblin Market/Squeeze Me V+ lite lbl scrs 655. College Jazz Bands – Purple Pirate O., Carl Webster, Fred Gardner, Barbary Coast O.; TOM 11 729. Joe Haymes O. – Or 61105; Papa Tree Top Tall/Organ Grinders Swing E N730. Horace Heidt O. – Vi(C) 21957; Wedding Of The Painted Doll/I’m Ka-razy For U 656. Sunny Clapp & His Band O’ Sunshine + Blue Steele O. – TOM 55 SS EE+ SECTION IV – Back to 78’s 731. Fletcher Henderson O. (as Bwy Melody Masters) – National 12250; Papa Better 657. Arkansas Travelers – Har 332; Boneyard Shuffle/Washboard Bls V++ Watch Your Step/no int. N- lite pressing marks nap 661. Ted Bartell O. – Har 966; Red Hair And Freckles/Jerry Mason O.; Liza E662. Bill Boyd Cowboy Ramblers – Bb 7788; Blues When It Rains/Boyd’s Tin Roof Bls V++ 663. Broadway Broadcasters – Cam 8227; South Bound/Sam Lanin O.; Sweet Sue V++ 664. Milton Brown Brownies – De(sb) 5200; Goofus/Mexicali Rose E-
733. Fletcher Henderson O. (as Southampton Soc. O.) – Per 14395; Poplar Street Bls/ 12th Street Bls V+ to E-
734. Fletcher Henderson O. (as Dixie Stompers) – Diva 2451; St. Louis Bls/Variety Stomp V+
735. Fletcher Henderson O. – Col(E) 4560; Livery Stable Bls/PDQ Blues E 736. Fletcher Henderson O. – Para 14012; Off To Buffalo/Swamp Bls E+ wax blemish nap 665. Milton Brown Brownies – De(sb) 5382; Memphis Bls/Carry Me Lone Prairie E+ lbl scrs/E+ 737. Fletcher Henderson O. – Col 35840; Comin’ And Going/Hot And Anxious E+ 666. Cliff Bruner’s Boys – De 5725; I’m Tired Of You/Truck Driver’s Bls EE-/V+ sol 738. Horace Henderson O. – Ok 5900; Ain’t Misbehavin’/Smooth Sailin’ E+ 668. Earl Burnett O. – Br 4104; Happy/Sally Of My Dreams V++ 739. Horace Henderson O. – Ok 5953; U Don’t Mean Me No Good/I’ll Always Be In Love w/U 669. Burton & Morman (as Harlem Trio) – Herwin 93012; Fuzzy Wuzzy/ E+ St. Louis Bls G rim bite 2 grvs, ½” crk/G storage marks nap, label wear both sides 740. High Hatters – Vi 22218; Hoosier Hop/I’m Following You E+ lbl fades 670. Russ Carlson O. – Crown 3367; Thou Shalt Not/Three On A Match V+ 741. Bertha Chippie Hill – Ok 8312; Trouble In Mind/Georgia Man V+ 671. Caroliners – Cam 1145; Go Wash An Elephant/50 Million Frenchmen… V+ 742. Teddy Hill O. – Bb(buff) 6897; Would U Like To Buy a Dream/Love Bug Will Bite U E 672. Celestin’s Original Tuxedo O. – Regal 1201; Marie Laveau/Maryland My Maryland 743. Teddy Hill O. – Bb(buff) 6908; Harlem Twister/Big Boy Blue E+ E+ 744. Bob Howard O. – De(sb) 439; Stay Out Of Love/I’ll Never Change E+ 673. Charleston Chasers – Col 446; Red Hot Henry Brown/Loud Speakin’ Papa E745. Bob Howard O. – De(sb) 504; Lulu’s Back In Town (-A)/If The Moon Turns Green E+ 674. Clicquot Club Eskimos – Col 795; Some Day/Hello Bluebird E+ 746. Bob Howard O. – De(sb) 504; Lulu’s Back In Town (-B)/If The Moon Turns Green 675. Coon-Sanders O. – Vi 21305; Slue-Foot/The Wail V++ VV+ 676. Billy Cotton Band – Col(blue wax) 2783; Super Tiger Rag/Joe Venuti O.; Isn’t It Heavenly 747. Bob Howard O. – De(sb) 524; I’m Painting Town Red/I Never Saw A Better Night E+ E-
!63
748. Bob Howard O. – De(sb) 1293; You’re Precious To Me/Fan My Brow E+ 749. Armand Hug O. – New Orleans 501; You’ve Cooked UR Goose w/Me/Reminiscin’ E+ 752. Isham Jones O. – Vi 24098; And I Still Care/Music Music Everywhere V+/V++
816. Joe Venuti Blue 4 – Reg Zono MR1452; Satan’s Holiday/Hells Bells & Hallelujah E+ 817. Joe Venuti Blue 4 – Reg Zono MR1508; Tea Time/Joe Venuti; Romantic Joie E+
E-
820. Tudie Wells – Per 12085; Uncle Sam Bls/Baby’s Got The Blues E+
753. Teddy Joyce O. – Har 1009; Collegiate Sam/Gotta Feelin’ For U V+ sm rim flk nap, lbl scrs
818. Fats Waller Rhythm – HMV JF13; Then I’ll Be Tired Of You/Have A Little Dream On Me E+ 754. Tempo King O. – Bb(buff) 6560; Alabama BBQ/That’s What You Mean To Me V+ sol 819. Fats Waller Rhythm – HMV JF14; Let’s Pretend There’s A Moon/How Can You Face Me 755. Tempo King O. – Bb(buff) 6575; High Hat Piccolo & Cane/UR Giving Me Song & A Dance V+ to E+
756. Tempo King O. – Bb(buff) 6637; Thru The Courtesy Of Love/To Mary With Love V+ 757. Tempo King O. – Voc 3653; Riding On The Old Ferris Wheel/Alligator Crawl V+ wol 758. Brian Lawrence Qt. – Panachord 25661; Tiger Rag/Singin’ In The Rain E759. George Lewis – AM 531; A Closer Walk With Thee/Burgundy St. Bls E+ 760. Little Ramblers – Col 628; Here Comes Malinda/Could I, Certainly I Could V+ lbl scrs 761. Vincent Lopez O. – Ban 0569; ‘Tain’t No Sin/Dubin’s Dandies; In Harlem’s Araby V+ + 762. Louisiana Rhythm Kings – Br 4706; Lady Be Good/I Have To Have You E+ 763. Louisiana Rhythm Kings – Br(E) 03324; Meanest Kind O’ Bls/Lady Be Good E+
821. Paul Whiteman Orq. – Regal(Spain) RS903; That’s My Weakness Now/Sidewalks Of NY E sm rim flk nap
822. Whoopee Makers – Per 15217; It’s So Good/12thh Street Rag E+ 823. Clarence Williams Blue 5 – Col 35957; Mandy Make Up UR Mind/I’m Little Blackbird E+ 824. Clarence Williams O. – Jazz Collector 32; New Down Home Rag/Squeeze Me E+ sol 825. Lena Wilson – Col 14618; What’s Your Price/My Man O’ War V+ 826. Lena Wilson – VT 7064; Baby It Upsets Me So/I’m A Stationary Mama V+ to E- sm rim flk nap, a few sm lams nap, sm sol 827. WMCA Broadcasters – Har 460; When Day Is Done/Dawn Of Tomorrow (w) E764. Abe Lyman O. – Br(G) A8543; Lucky Me Lovable U/Love Ain’t Nothin’ But The Bls E- lbl scr, sol 765. Kid Shots’ N.O. Band – AM 529; When U & I Were Young Maggie/Uptown Bump E+ 828. Arthur Young Qt. – Par R2151; Blind Man’s Bluff/Ain’t Misbehavin’ EE 829. Alabama Jug Band – De(sb) 7041; Jazz It Bls/Somebody Stole My Gal E 766. Kid Shots’ N.O. Band – AM 530; Dumaine St. Drag/In Gloryland E+ 769. Paul Mares O. – Col 35880; Land Of Dreams/Nagasaki E+
830. Harold Arlen – Vi 24467; Let’s Fall In Love/This Is Only The Beginning E- lite lbl wear
770. Al Mayer O. (as Dave Duncan O.) – Ch 15660; Come On Baby/I Faw Down Go Boom V++/V+
831. Bix Beiderbecke Orq – Odeon(Arg) 295118; Perdoname (Sorry)/ En El Baile Dei Jazz (At The Jazz Band Ball) E lite pressing creases nap 832. Jimmy Bertrand Washboard Wizards – HJCA 41; 47th St. Stomp/Idle Hour Special E+
771. Dick McDonough O. – Mel 70204; BTDATDBS/Dardanella E772. Dick McDonough & Carl Kress O. – Mel 70614; All God’s Chillun Got Rhythm/ Henry Dankers O.; Formal Night In Harlem E773. McGee Brothers – Voc 5169; Salt Lake City Bls/Hannah Won’t You Open The Door V rough start/V slight rough start 774. Rosy McHargue’s Ragtimers – Turntable 1; Singin’ The Bls + Davenport Bls/ Till We Meet Again + Sweet Georgia Brown E+ 775. Rosy McHargue’s Ragtimers – Turntable 4 (in original sleeve); Palesteena + Jazzin’ The Blues Away/Basin St. Bls + Rosy’s Hangover E+ 776. Memphis Jazzers – VD 71749; Stomp Along/Universal Syncopators; That’s U Baby E+ 777. Jelly Roll Morton’s Incomparables – Ge 3259; Mr. Jelly Lord/ Fess Williams O.; Wimmen Ahh! EE778. Jelly Roll Morton RHP – BB(buff) 5109; Kansas City Stomps/Georgia Swing V+ 779. Red Nichols 5 Pennies - Br(E) 01803Back Beats (-21)/Bugle Call Rag (-18) E+
833. Rube Bloom Bayou Boys – Col 2103; Man From South/St. James Infirmary V+= lite lbl wear
834. Boswell Sisters – Br 6231; I Thank You Mr. Moon/Nothing Is Sweeter Than You E 835. Boswell Sisters – Br 6360; We Just Couldn’t Say Goodbye/Old Yazoo V+ to E- lite lbl wear
836. Boswell Sisters – Br 6625; Swanee Mammy/Putting It On V+ 837. Boswell Sisters – Br 6798; I Hate Myself/You Oughta Be In Pictures E838. Boswell Sisters – Br 6929; Why Don’t You Practice/Don’t Let Your Love Go Wrong E 839. Buffalodians – Col 665; Here Comes Emaline/Deep Henderson E+ 840. Buffalodians – Col 723; Would-Ja?/She’s Still My Baby E+ 841. Hoagy Carmichael O. – Vi 23013; Georgia/One Night In Havana E+ 780. Red & Miff’s Stompers – Vi 21397; Slippin’ Around/Coon-Sanders O.; Hallucinations E+ 842. Celestin’s Original Tuxedo Jazz O. – Col 636; My Josephine/Station Calls E wol 843. Chicago Footwarmers – Ok 8613; Brown Bottom Bess/Lady Love V+/sm lbl scr V++ 781. Red Nichols 5 Pennies – Turntable 5 (in original sleeve); Dallas Bls + That’s A Plenty/ 844. Comedian Harmonists – Electrola(G) EG1647; Puppenhochzeit/Musketier-Marsch Jazz Band Ball + Man With The Horn E+ E+ 782. King Oliver – Tempo 29; Workingman’s Bls/Zulu’s Ball E+ 845. Comedian Harmonists – Electrola(G) EG2032; Liebling Mein Herz Lasst Dich 783. Original Creole Stompers – AM 532; B-Flat Bls/BWYPCH E+ Grossen/ 784. OM5 – Col 502; Jacksonville Gal/Tain’t Cold V++ Ein Freund Ein Guter Freund E+ 785. Knocky Parker Trio – Texstar 200; Maple Leaf Rag/Supersonic Sonia E+ 846. Comedian Harmonists – Electrola(G) EG2033; Wochenend Und Sonnenschein 786. Art Payne O. (as South Shore Melody Boys) – Ch 15037; U Can’t Make A (Happy Days are Here Again)/Veronika Der Lenz Ist Da E+ Woman Change Her Mind/Interstate Blue Jackets; Camel Walk V++ 847. Comedian Harmonists – Electrola(G) EG2125; Ich Traum Von Einer Marchennacht/ 787. Clarence Profit – Col 35378; I Didn’t Know What Time It Was/Body And Soul E+ Traume Die Nur Um Diene Liebe Sich Dreh’n EE- sol 788. Rhythm Wreckers – Voc 3670; Red-Headed Music Maker/Blue Yodel No. 3 E+ 848. Comedian Harmonists – Electrola(G) EG 2149; Heut’ Fahn’ Ich Mit Der In Die 789. Fred Rich O. – Col 2324; Wasting My Love On You/Cavaliers; Wedding Bells Are Ringing For Sally EENatur/Bei Der Feuerwehr E+ 790. Fred Rich O. – Col 2534; I’m Just A Dancing Sweetheart/Kiss Me Goodnight (w) E+ 791. Fred Rich O. (as Paul Ash Gang) – VT 2234; I Got Rhythm/Frank Auburn O.; It’s A Great Life V+ 849. Comedian Harmonists – Electrola(G) EG2642; Eins Zwei Drei Vier/Maskenball Im Gansestall E+ sol 792. Dick Robertson O. – Var 8026; Some Of These Days/Alexander’s Ragtime Band E+ 850. Comedian Harmonists – Electrola(G) EG2744; Bie Dorfmusik/Jetzt Trinken Wir Noch Eins E+ sm sol
793. Adrian Rollini O. – Per 15805; Dream On/If I Had Somebody To Love E794. Harry Roy O. – Par F1375; Alexander’s Got A Swing Band Now/Sha-Sha E+ 795. Harry Roy O. – Odeon(G) O-11915; Tiger Rag/Canadian Capers E-/E 796. Harry Roy O. – Odeon OF5040; Red Pepper/Mammy Bong V++ sol 797. Roy Smeck – Ban 32519; Tiger Rag/Nifty Pickin’ V++ 798. Eddie Stone O. – Per 70703; Satan Takes A Holiday/Study In Brown E+ 800. Joe Sullivan – Sunset 10053; 24 Hours At Booths/The Bass Romps Away E+ 801. Roosevelt Sykes – De 7747; Ups And Downs Bls/Yellow Yam Bls V+ sol 802. Tampa Blue Jazz Band – Ok 4773; Loose Feet/4:00 Blues V+
851. Comedian Harmonists – Electrola(G) EG2848; Ohne Dich (Stormy Weather)/Tag Und Nacht (Night And Day) E+/rim flk 8 grvs E+ 852. Comedian Harmonists – Electrola(G) EG2874; Ein Neuer Fruhling Wird In Die Heimit Kommen/Eine Kleihe Fruhlingsweise E+ 853. Comedian Harmonists – Electrola(G) EG2875; So Ein KussKommt Von Allein/ Das Wirtshaus An Der Lahn E+ 854. Comedy Harmonists – HMV(Aust) B4252; In A Cool Dell/A Boy Saw A Rosebush E+ 855. Comedy Harmonists – HMV B8716; Perpetuum Mobile/The Blue Danube E+
803. Jack Teagarden O. – Teagarden Presents 114; Muskrat Ramble/Way Down Yonder In N.O. EE+
804. Charles Thompson – AM528; Lingering Bls/Delmar Rag E+ 805. Totem Lodge O. – Bb(buff) 5527; I Only Have Eyes For U/Try To See It My Way V++ 806. Frankie Trumbauer O. – Par R2644; Raisin’ The Roof/High Up On A Hill Top E+ 807. Albert Turk’s Princess D.O. – Supertone 1455; Shine/Spain E+ ½” hr crk 808. Al Turk O. – Ok 40648; Animal Crackers/Lloyd Turner Villa Venice O.; Blue Bonnet You Make Me Feel Blue E+ 809. Varsity 8 – Cam 782; Fallin’ Down/By Brdcstrs; I’m Knee Deep In Daisies V+
856. Comedy Harmonists – HMV B8779; The Village Band/Now We’ll Drink Just One More E+ sol
857. “Comedian Harmonists – Irgendwo Auf Der Welt” – Complete Discography (test in German) by Andreas Schmauder, 1999 858. Joe Davis – Voc 15531; I’m Only Another To You/I’m Longing For My Old Gal Sal V+ wol 859. Walter Davison’s Louisville Loons – Col 989; South Wind/The Whisper Song E+ rim flk nap
860. Bill Davison Six – Cir 1032; Why Was I Born/Just A Gigolo E+ 861. Baby Dodds Trio – Cir 1001; Wolverine Bls/Baby Dodds; Drum Improvisation No. 1 810. Varsity 8 – Cam 824; I’m Gonna Hang Around My Sugar/Bob Haring O.; Roll ‘Em Girls E- E+ 811. Joe Venuti Blue 4 – Voc 3011; Sweet Sue/Blue Room EE+ 862. Baby Dodds Trio – Cir 1002; Albert’s Bls/Don Ewell; Manhattan Stomp E 812. Joe Venuti O. (as All Star Rhythm Boys) – Har 1346; Pardon Me Pretty Baby/Little Buttercup V+ 864. Dorsey Bros. O. – Br 7542; I Can’t Make A Man/She’s Funny That Way E+ +/E865. Johnny Dunn Jazz Hounds – Col A3729; 4:00 Blues/Hawaiian Bls V+ 813. Venuti-Lang O. – De(E) F5883; Someday Sweetheart/Beale St. Bls EE+ 866. Frank Froeba Swing Band – Col 3152; It All Begins And Ends With You/ 814. Venuti-Lang All Star O. – UHCA 106; Farewell Bls/Someday Sweetheart E+ Whatcha Gonna Do When There Ain’t No Swing E+ 815. Venuti-Lang All Star O. – UHCA 108; Beale St. Bls/After You’ve Gone E+
!64
867. Rev. J.M. Gates & Cong. – Black Patti 8016; I’m Going To Heaven If It Takes My 911. Van Phillips Band – Col(E) CB6; I’m Like A Sailor/High And Low E- sm lbl tear Life/I Know I Got Religion V+ 912. Oscar Rabin Band – Rex(E) 9671; An Apple For The Teacher/A Man & His Dream E 868. Georgia Strutters- Har 231; Georgia Grind/Everybody Mess Aroun’ E/some lite lams nap 913. Red Hotters – Ok 40523; Roll ‘Em Girls/He Told Me To Go V++ E 914. Rhythm Maniacs – De(E) F1695; The Wind In The Willows/With A Song In My Heart 869. Georgia Washboard Stompers – Bb(buff) 5092; Nobody’s Sweetheart/Bug-A-Boo E E 870. Nat Gonella O.– Odeon 31735; Georgia’s Gorgeous Girl/I’m Gonna Wash My Hands Of U 915. Rhythmic Eight – Zono 5757; Living A Life Of Dreams/Oh Donna Clara E E+ 916. Dan Ritchie O. – Per 15404; What Good Am I Without You (v-Helen Rowland)/ 871. Marlow Hardy Alabamians – Col 2034; Georgia Pines/Song Of Bayou EE- lite lbl Cliff Roberts O.; And Then Your Lips Met Mine E+ scrs 917. Willard Robison – Pathe(E) 11254; Lonely Aches In The West/Mary Lou E+ 872. Fletcher Henderson O. – Voc(gl) 2710; Sensation/Fidgety Feet E+ 918. Willard Robison – Pathe(MARBLED) 32201; Deep River Bls/Birth Of The Bls E+ 873. Fletcher Henderson O. – Col 2576; My Gal Sal/My Pretty Girl V++ 874. Fletcher Henderson O. – Voc 3485; Slumming On Park Ave./What Will I Tell My Heart E-/ 920. Willard Robison O. – Col 1818; Head Low/Peace Of Mind V+ 921. Willard Robison O. – Col 1948; Beale Street Bls/Harlem Bls E+ V+ 922. Willard Robison – Vi 21651; Tain’t So Honey Tain’t So/Deep River Bls EE875. Fletcher Henderson O. – Voc 3487; Rhythm Of The Tambourine/It’s Wearing Me Down EE+ 923. Helen Rowland (as Helene Daniels) w/Nat Brusiloff O. – Master 140; Where Is The 876. Henny Hendrickson O. – Vi 22749; Buffalo Rhythm/On The Beach With You Sun/Old Plantation E/lbl tear E EE+ 924. Dr. Sausage 5 Pork Chops – De 7736; Doctor Sausage’s Bls/Wham V+ lbl wear, wol, rim flks nap 877. Hitch’s Happy Harmonists – Ge 3066; Bone Yard Shuffle/Riverboat Shuffle V 925. Ben Selvin O. – Col 2463; Now You’re In My Arms/Poor Kid E 878. Mabel Hollis (“The 100 lb. Blue Singer”) – Sunset 1163; Give Me Today/ 926. Boyd Senter O. – Vi 21912; Shine/Doin’ You Good E+ Round About Way To Heaven E 879. Ina Ray Hutton Melodears – Br(E) 01986; Wild Party/Which Doctor EE+ sm sol 927. Seven Hot Air Men – Col 1850; Low Down Rhythm/Gotta Feelin’ For You V+ 928. Ollie Shepard KY Boys – De(sb) 7384; If It Ain’t Love/It’s Low Down Dirty Shame E880. Ina Ray Hutton Melodears – Vi 24692; And I Still Do/ 929. State St. Ramblers (as Chicago Stompers) – De 7424; Wild Man Stomp/Stomp Your Stuff How’s About Tomorrow Night V+ sol E+ 881. Ina Ray Hutton O. – Ok 5852; 5:00 Whistle/Make Me Know It E 930. State Street Swingers – Voc 03319; Whippin’ That Jelly/Oh Red V lbl wear 882. Ina Ray Hutton O. – Ok 6335; What’s The Good Of Moonlight/At Last EE+ 931. Lew Stone Band – De(sb) 826; It’s Love Again/Slipping Through My Fingers E+ 883. Ina Ray Hutton O. – Ok 6380; Nobody’s Sweetheart/ 932. Jasper Taylor’s State St. Boys – Cent 3026; Stomp Time Bls/It Must Be The Bls E+ Back In Your Own Back Yard E- pot rim flk nap/E933. Tennessee Tooters – Voc 15068; Milneberg Joys/What-Cha-Cll “Em Bls VV+ wol, rim flks nap 884. Ina Ray Hutton O. – Elite 5007; Madelaine/A Sinner Kissed An Angel E 934. Walter Thomas Jump Cats – Ge 8126; Blues On The Bayou/Jumpin’ With Judy E 885. Ina Ray Hutton O. – Elite 5008; You Made Me Love You/Everything I lOve V+ 935. Skeets Tolbert Band – De 8506; Sugar Boogie/I’ll Make It Worth Your While E+ 886. Jack Hylton O. – HMV B5693; I’m Doing What I’m Doing For Love/Through E 936. Vagabonds (as Dixie Boys) – Claxtonola 40373; Dreary Weather/ 887. Jack Hylton O. – HMV B5963; I Don’t Want To Dream/Oh Donna Clara E I Want To Be Happy E/slightly grainy E 888. Slim And His Hot Boys – Vi 38044; That’s A Plenty/Mississippi Stomp V 937. Fats Waller – vinyl test; Waiting At The End Of The Road (mx BE 55375-1) E+ 889. Percival Mackey Kit-Cat Band – Regal(E) MR446; You Forgot Your Gloves/Sweet And Lovely E+
938. Fats Waller Rhythm (no vocals) – Vi 25571; I’ve Got New Lease On Love/Sweet Heartache E+ sol 939. Washboard Rhythm Kings – Bb(buff) 6150; Blues In My Heart/Georgia On My Mind
890. Mason-Dixon O. – Col 1861; What A Day/Alabammy Snow V++/V+
891. Jimmy McHugh’s Bostonians – Har 823; Let’s Sit And talk About You/In A Great Big Way EE-
E
892. Bubber Miley’s Mileage Makers – Vi 38146; Black Maria/ Chinnin’ And Chattin’ With May V++/spider crk under lbl nap V++ 893. Thomas Morris Past Jazz Masters – Ok 4867; When That Jazz Band Starts To Play/ Lonesome Journey Bls V+ 894. Thomas Morris 7 Hot Babies – Vi 20179; Ham Gravy/Jackass Bls E895. Jelly Roll Morton RHP – Vi 20405; Original Jelly Roll Bls/Someday Sweetheart V++ 896. Jelly Roll Morton RHP – Vi 21658; Shreveport/Shoe Shiner’s Drag V+ 897. Jelly Roll Morton RHP – BRS 12; Dr. Jazz/Original Jelly Roll Bls E+ 898. Bennie Moten O. – Vi 21199; Pass Out Lightly/Ding-Dong Bls E 899. Bennie Moten O. – Vi 21693; Get Low Down Bls/Kansas City Breakdown V+ to E900. Bennie Moten O. – Vi 38037; It’s Hard To Laugh Or Smile/Tough Breaks EE+ 901. Napoleon’s Emperors – Vi 38057; Mean To Me/My Kinda Love E+ 902. New Orleans Blackbirds – Vi 38026; Baby/Honolulu Bls E903. New Orleans Blackbirds – Vi 38027; Red Head/Playing The Bls E904. New Orleans Owls – Col 489; Stomp Off Let’s Go/Oh Me Oh My V+ sol, lite lbl wear 905. NORK (as Friar’s Soc.) – Ge 4967; Discontented Bls/Bugle Call Bls V+ 906. New Orleans Rhythm Kings – Ge 5105; That’s A Plenty (-A)/Tin Roof Bls (-A) V++ 907. New Orleans Wanderers – Col 698; Perdido St. Bls/Gate Mouth V++ 908. OM5 (as Frisco Syncopators) – Triangle 11359; My Papa Doesn’t Two Time No Time (-1)/Sioux City Sue (-2) E909. Paramounteers – Publix 1058-P; My Love Parade/Dream Lover (w) E 910. Pavilion Players – EBW 4659; Gotta Get A Girl/Hallelujah E
940. Washboard Serenaders – Bb(buff) 6633; Kazoo Moan/Washboards Get Together E+ wol
941. Steve Washington O. – Voc(gl) 2609; Blue River/Love Me E/EE942. Lee Wiley w/Dorsey Bros. O. – vinyl test; Let’s Call It A Day (mx B 13254-A (unissued) E+
945. Scott Wood Six Swingers – Col(E) FB1472; Way Down Yonder In New Orleans/Nightfall E+ 946. Scott Wood Six Swingers – Col(Jap) J2842; Satan Takes A Holiday/Whoa Babe E lbl tear
947. Bob Zurke O. – Vi 26526; Tom-Cat On The Keys/Everybody Step E+
78 RPM AUCTIONS Over 100 Quarterly auctions since 1972 featuring 1900-1930s Jazz, Blues, Personality, Dance Bands, Classical, Opera, Country, Ethnic and Cylinders. Over 2000 records offered on each auction with no minimum bids. You are missing out on a lot of fun if not on our mailing list. Dave Reiss, PO Box 2109, Seaford, New York 11783, USA. Fax 1-516-798-2618 Email: DNReiss@verizon.net !65
DEVOTEES OF CLASSIC JAZZ 1900 - 1955 & more
SINCE 1963
Dr.Jazz promotes Classic Jazz in a very broad sense by publishing a high quality magazine, releasing exclusive music cds and a highly frequented website. Dr. Jazz also organises the Dr. Jazz Days, two well-attended events a year.
Doctor Jazz presents: Duke Ellington - Heading for Newport Unissued Ann Arbor, MI, Concert July, 2nd 1956 Heading for Newport Five days before the legendary Newport Festival, Duke Ellington performed at Ann Arbor, Michigan with his band. The sound and the sound balance of this concert is excellent and has even been improved by master audio restorer Harry Coster. This concert shows that despite some critics who had declared the band dead, the opposite was true and that the legendary Ellington band was ready for Newport. The Newport warhorse Diminuendo and Crecendo in Blue with Paul Gonsalves soloing the band back in business had yet to come 5 days later, but the second part of Take the A Train on this cd shows that Gonsalves was ready to break loose if necessary. But apart from this you can enjoy on this cd one of the greatest bands in the history of jazz in a very relaxed concert. Ellington was in top shape with some witty, humorous announcements and the orchestra sounds even better than on the Newport concert. Liner notes have been written by senior journalist of Jazz Journal Steve Voce. A must have ! DJ018 Duke Ellington – Heading for Newport Ordering : www.doctorjazz.nl/shop (or by mail: doctorjazz@online.nl also possible to order: www.ebay.com). *excl. postage Tijdschrift voor Classic Jazz & More nr 243 56e jaargang
Tijdschrift voor Classic Jazz & More nr 241
winter 2018
Tijdschrift voor Classic Jazz & More nr 238
56e jaargang zomer 2018
55e jaargang
Randy Weston
herfst 2017
Tijdschrift voor Classic Jazz & More nr 242
Afrikaan Breda Jazzfestival uit Brooklyn
56e jaargang herfst 2018
Doctor Jazzdag 106 Joep Peeters Gidon Nunes Vaz Highway QC’s Mark Cantor Benny Bailey Adrian Rollini op Kristal Nieuwe Dr. Jazz cd
Revue Nègre
Anita O'Day Jezebel of Jazz Bernard Berkhout
€ 7,00
Bourbon Street 1986 € 7,00
€ 8,95
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Aretha Franklin Clarence Fountain 1929-2018 Joep Peeters Dave Bartholomew Joep Peeters Harm Mobach Optreden in New Orleans Ellington cd Dr. Jazz 41 cd recensies Fapy Lafertin
Lou Rawls Max Collie Alice in Dixieland De deejay
Central Avenue, LA
Mills Blue Rhythm Band 2 41 cd recensies
DR. JAZZ Magazine
€ 7,00
Bobby Hackett tussen muziek en muzak. adv.drjazz2018_165x245.indd 1
18-04-18 11:30
Our Dr. Jazz Magazine offers you four times a year over 80 pages with everything from in-depth jazz research to interesting culumns and reviews of the latest books, videos, dvds and cds. Illustrated with many rare photographs. Internationally relevant articles are in English, others in Dutch. See our website for copies and subscriptions. https://bit.ly/2P2LdTE
www.doctorjazz.nl is our website with over 1.000 daily views. Here you’ll find a shop for our own cd series, a very comprehensive index of artists, bands, orchestras, LPs, cds etc. as well as a lot of jazz links and so on and so on. Absolutely worth a visit. The next Doctor Jazz Day will be on April 6th.
VJM’s Wants Section The tradition continues... the original and proven method for finding those elusive discs, tapes, CDs, literature etc. Up to six lines free to subscribers for at least 3 issues. Let VJM do your junking for you! Can we remind users of the Wants Section to check that their listing is both up to date and still relevant your co-operation in this is appreciated. FESS WILLIAMS GENNETT 3336 IN E- or better condition. also Cantrell & Williams G&Ts, Zonophones, Nicoles (latter as Ed. Cantrell) or cylinders - Has ANYBODY got them? Ask your nonjazz collecting friends as well! Bennie Moten, OKeh 8184, 8194 in E- or better, Louisiana Five on 6” Emerson and Lyric 4233, Roy Spangler ‘Cannon Ball Rag’ on Rex/Keenophone, Pete Hampton, many discs and cylinders, Gene Greene English Pathes - still a few, Frisco J.B. Ed 50440, 50950, 51081, Sophie Tucker cylinders (a few), Aeolians (any in E- or better). Your price or really good trades offered for any of the above. Let me know what photographs (originals, not copies) of early black bands/performers you have! MARK BERRESFORD (See Inside Front Page for Contact Details).
Shoemakers on Cameo/Pathe/Perfect etc. Louis Lillienfield on Edison, Billy James on Banner 8004,5,5. CD or Cassette transfers also acceptable. Malcolm Walton, 14 Clifton Road, Whitstable, CT5 1DQ, ENGAND. Email: malcolmwalton@talktalk.net CLASSICS CDS Wanted: Tommy Dorsey 878,955,995,1035, 1078, 1117, 1278); Benny Goodman (1131, 1236) Mildred Bailey (1279); Gene Krupa (1143) JOHN HERX 812 Ch. de la Nature, Denholm, QUE J8N 9B1 CANADA
WANTED: ‘Missing Records’ to complete albums - Dial 1022 Charlie Parker/Dexter Gordon; Capitol 10012 Capitol Jazz Men; Asch 3573 John Kirby Orch. Condition is not important unless WANTS UPDATE: All ‘difficult’ but a good price would be unplayable. LARS WALTER, Halsingegatan 31, 113 31 forthcoming for clean copies - Charlie Johnson; Vic 20557, Stockholm, SWEDEN. 20563, Tiny Parham; Vic 23410, 23426, V-38126 (or BB Email: lars.h.walter@gmail.com 5146/6570), Missourians; V-38120, Edna Winston; Vic 20654, King Oliver; VJR 27, Ma Rainey; Jazz Doc 015. RICHARD JAZZ/BLUES MAGAZINES: Many thanks to those people who RAINS , 73 Teignmouth Road, Teignmouth, Devon, TQ14 8UN, have already helped me out. I’m endeavouring to find the ENGLAND. Tel. (01626) 776760 following:- Dobell’s News (any copies), Jefferson blues mag 1-5, 10 & 41 (Sweden), Little Sandy Review (any copies), CDs WANTED: Collectors Classics CCCD6 (Jimmie Noone Record Changer (1942, 5 issues). LES ONG, 13 Kent Drive, Collection, Vol. 1-1928); King Jazz KJ121/122 (Armstrong/ T e d d i n g t o n , T W 1 1 0 P D , E N G L A N D . E m a i l : Clarence Williams, Vols. 1/2). PAUL SHAPIRO, PO Box 22126, lesong@blueyonder.co.uk Juneau, AK 99802, USA. Email: pbshapiro71@gmail.com WANTED: Pricilla Stewart, Paramount 12224. E or better! Hank Williams, MGM 12077, E+. Cash or trade? Phil Hawkins, 55 TOP PRICES PAID for 1920s-1930s San Francisco dance band Guadlajara Drive, Sonoma, Ca 95476-7341. Tel: 707 509 9621. & jazz 78s on Flexo, Titan, MacGregor & Ingram / MacGregor Email: philhawkins@earthlink.net & Sollie, Phonograph Recording Company, etc. Also looking for 1930s British dance bands on Octacros, Hudson and Teledisk, WANTED: Hotchkiss School Jazz Band, Dance Band, Choir, or Wisconsin territory bands on the US Broadway label (catalogue any musical group with "Hotchkiss" on 78rpm personal labels. numbers 1300 and higher), and Columbia ‘Personal Record’ Need for School project. Any information on them would also 78s by the Princeton Triangle Club Dance Band / Equinox be appreciated, but would like to buy the records. Also, would O r c h e s t r a . H E N R Y PA R S O N S , ( 5 1 0 ) 3 8 8 - 1 2 8 2 , like to buy copy of Jimmy Dorsey's 7 minute "Bugle Call Rag" ambassadonian@gmail.com Reader's Digest CD 056C. Fred Ollison, P.O. Box 36384, Grosse Pointe Farms, MI 46236, USA. Email: fothree@aol.com. STORYVILLE mag n° 68 – 69. Babs Gonzales Ok 7079 – Ap 469 – Crazy 1002 & 1003 – London 575 & 578 – End 1008 – WANTED: Your broken 78s! If you have any really rare jazz, Prest 45-204 – AJ 906 – Tina 004 – Exp 001 – 004 - 010 blues or country 78's that are broken in 2, 3 or even 4 pieces, LEON TERJANIAN 14, rue de l’Elmerforst 67200 Strasbourg, but don't know what to do with them (and have not touched FRANCE – email: leon.terjanian@sfr.fr them in years), then here is your chance to get some money for them! I will buy your cracked or broken gems. Let me know EMILIO CACERES: Tus Ojos Lindos / Adios, Mi Chaparrita on what you have, and I will make you an offer. William Victor 32245 or Bluebird B-2505; Amor y Misterio / The Last Desjardins, 807 Meech Lake Rd, Chelsea, Quebec, J9B 1H9, Round Up on Victor 32206 or Bluebird B-2230. These issues Canada. only. Decent condition. ANTHONY BARNETT, 14 Mount Email: willdesjardins@gmail.com Street, Lewes, East Sussex BN7 1HL ENGLAND. email: ab@abar.net £100 PAID for a video or dvd of “Stan Kenton on Parade” (a Canadian TV Show). Other Stan Kenton TV and Radio shows WANTED: ORIGINAL MEMPHIS FIVE EMERSON 10741 31st required, especially Kenton on the 1957 Nat King Cole TV Street Blues. Your price, or really excellent trades offered. Show. ROY HOLMES, 18 Rutland Drive, Morden, Surrey, SM4 RALPH WONDRASCHEK, Kaiserstr. 54, 69115 Heidelberg, 5 Q H , E N G L A N D. Te l . ( 0 2 0 8 ) 6 4 8 8 8 5 8 . E m a i l : GERMANY. Email: rwondraschek@yahoo.de 450RCD@gmail.com F R E D E L I Z A L D E - Wa n t e d o n N e o v o x c a s s e t t e s 923/925/927/929/933. Your price paid - within reason! BILL PEARSON, 15 Beech Avenue, Melksham, Wilts, SN12 6JP, ENGLAND. Email: bill.pearson@gmail.com
EDISON BLUE AMBEROL Dance Band/Jazz cylinders wanted 4857, 4880, 5025, 5084, 5097, 5162, 5210, 5360, 5373, 5374, 5402, 5464. I have several rare Jazz/Dance Blue Amberol duplicates for trade, or cash paid. DAVE LOMAX, 12 Amersham Close, Davyhulme, Manchester, M41 7WH, WANTED: Pre-war Cajun records, especially Blind Uncle ENGLAND Gaspard and Amédé (sometimes spelled Amadé, Amédée or Amadie) Ardoin. Please state condition and price. Or, I have WILLIE LEWIS ‘Avalon’ elite Special, Zurich 1941. Good price many jazz records to trade for Cajun. PHILIP FUKUDA, P.O. paid for E- or better copy, or a trade from my Jazz/Swing/Dance Box 190071, San Francisco, CA 94119-0071, U.S.A. 78 collection. Please state your wants. JOHN HALLBERG Email: 78rpm@sbcglobal.net. PRISING, Loftv. 17, 142 35 Skogas, SWEDEN. WANTED FOR IRVING PESKIN PROJECT: Carl Fenton's New Yorkers on Gennett, George Hall and Klein’s Serenading
!67
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Have you seen
Memory Lane the acclaimed quarterly magazine for lovers of 1920s, 1930s and 1940s music? Although the emphasis is on British dance bands and vocalists of the 1930s and 1940s, Memory Lane also covers the American bands, jazz, variety, etc. Al Bowlly - Britain’s favourite vocalist is regularly featured. Memory Lane is quality printed, fully illustrated and nicely presented with articles, CD reviews, Readers Letters, discographical features and the advertisements that you will want to read. A “must” for 78 RPM collectors. Memory Lane also issues CDs mainly of British dance bands and vocalists, DVDs, runs guided walks in central London identifying the locations where the bands used to play, etc. and hosts nostalgic events in London.
Initial annual subscription only £10 (UK) or £15 (overseas) for readers of VJM. (Normal price £15 - UK, £20 - overseas.) Please send cheque payable to “Memory Lane” to
Memory Lane, P O Box 1939, Leigh-on-Sea, SS9 3UH, England. Or visit our web site - www.memorylane.org.uk where you can pay on-line. E-mail: editor@memorylane.org.uk
The CITY of LONDON PHONOGRAPH & GRAMOPHONE SOCIETY
For everyone interested in historic phonographs, gramophones, records, and accessories The world’s oldest society for collectors and researchers in this field, founded in 1919 Our full-colour journal, FOR THE RECORD, is published four times a year and covers cylinder and disc records, the artists who made them, the machines they were (and still are!) played on, and news of the Society’s activities. FOR THE RECORD is a vital resource for anyone interested in the history of recorded sound. Other CLPGS publications include discographies and the ‘Reference Series’ of booklets, many of which preserve the content of talks given at Society meetings in London and the regions. Events vary from group meetings in members’ homes to the annual ‘PHONO’ weekend and the summer ‘PHONOFAIR’, where members can buy and sell just about anything relevant to the subject. For further details (and a membership application form) please visit the website: www.clpgs.org.uk Or contact the Membership Secretary: Tim Wood-Woolley, 28 Park Terrace, Westcliff-on-Sea, Essex, SS0 7PH E-mail: clpgsmembership@blueyonder.co.uk Subscription rates: £20 (UK & Europe) (Students £15); Rest of the World £24 (airmail), £21 (surface)
The City of London Phonograph & Gramophone Society Ltd. Company Registration No. 3124250; Registered Charity No. 1057538
The reviews are in... for
‘s new NORK 2-CD set!
While most reissue sets tout theirs is the “most improved sound” ever, this one delivers this and much much more. By all means get this collection. It’s essential. — Russ Shor (read the full review in this issue of VJM)
What a spectacular job! I’ve been listening to these recordings for 50 years and when I listened to your CD for the first time it was as if I’d never heard them before. First class all the way. — John in the USA Quite a treasure trove of previously oft-smothered nuance. — Barry in Australia Wow! the sound quality is simply amazing, such fantastic music. Keep ‘em coming. Many thanks again. — Matthew in Ireland Quite simply, words cannot do justice to what has been achieved, namely a clarity of sound that I can only describe as luminescent. The front line has always stood out, but never more so than now, whilst each constituent element of the rhythm section is clearly delineated. — Barry in France I am hearing things on this set I have not heard before. The whole production is outstanding. — Martin in the UK You’ve never heard the NORK... until now. One of the most amazing audio restorations I’ve ever heard. — Joe in the USA
NEW ORLEANS RHYTHM KINGS Complete Recordings: 1922-1925 Rivermont BSW-1170
• All 42 master and alternative takes on 2 CDs, newly transferred by Off The Record’s Doug Benson from choice copies of the original 78s and meticulously pitch-corrected for the clearest, truest sound you’ve ever heard! • Exciting, history-making performances by Leon Roppolo, Paul Mares, Jelly Roll Morton, George Brunies, and others • 40-page full-color booklet with dozens of rare photos and an extensive essay by Sue Fischer telling — for the first time from original sources — the detailed, fascinating story of the NORK • Engaging commentary on each of the recordings by 2-time Grammy nominee David Sager
TO ORDER Method 1: Order online at the Rivermont website: www.rivermontrecords.com Method 2: Send cheque or money order payable to “Rivermont Records” to: Rivermont Records, P. O. Box 3081, Lynchburg, VA 24503 USA In U.S.A.: US $30 each postpaid / In Canada: US $35 each postpaid Outside North America: US $40 each postpaid (Prices may vary slightly online)