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THE ORIGINAL JAZZ & BLUES RECORD TRADING MAGAZINE, FOUNDED IN 1953
No: 184
SUMMER 2019
In This Issue... Ted Lewis - An Interview... Picnic at Piping Rock... Reviews, Ramblings, and a Jamboree of Jazz & Blues 78s!
Ted Lewis (3rd from right) with parents Benjamin and Paulina Friedman, plus members of The Greenwich Village Follies’ cast, Chicago, June 1920. Photo courtesy of The Ted Lewis Museum.
Going back to the very beginning of your career, who was “Cricket”? Cricket Smith was his name. He had a band that he and several other Negro barbers had put together. Not that all of the players were barbers. They were black musicians who happened, some of them, to be barbers. (Contrary to some reports this was not the trumpeter William Crickett [his baptismal name] Smith (1881-1947). Cricket Smith’s other claim to fame is that he was the father of jazz violinist Hezekiah ‘Stuff’ Smith, and gave him his first violin lessons Ed).
have, say, eight bars of half-notes and quarter notes, and a rest here and there. But since these fellows couldn’t read music, they held onto a note if they wanted to, or added what you call “grace notes” here and there, which made their playing swing.
In interviews I’ve read, you have given a lot of credit to “Cricket” and his influence on your playing style. How would you describe what you learned from him? Syncopation. I learned that from [Cricket Smith’s] band. What they played was totally different from what we thought of as a “band,” which was a marching band, a military band, in those days. Very oom-pah-pah. The black band players were playing in a syncopated style.
What was the name of his store? The name? You mean my father’s name, or the name of the store?
How did you come to know Cricket Smith? I used to sweep out his shop. I was good at sweeping out stores. My father had a dry-goods store, and one of my “jobs” was to sweep the inside of our store, and sweep the walkway outside it.
Both, if you please. My father’s name was Ben, or Benny as he was called, Benjamin Friedman. Benjamin and Friedman—they were my parents. The store was Friedman’s Bazaar. It was on West Main Street in Circleville. It was about, maybe, seven or Were they trained musicians, any of them? eight blocks from the house I grew up in. It was a two-story They didn’t read music. They played by ear, and they would home, or three-story if you count the attic, which we also play a melody to suit themselves. The sheet music might !6
used, on West Mound Street in Circleville, at 158 West Well, we were playing a concert in the park, and one of the Mound. pieces was the “Poet and Peasant Overture.” Being German, Oscar Ameringer liked the Suppé overtures, especially “Poet How many were in your immediate family? and Peasant” and the “Light Cavalry” one. They were I’m the second oldest of five kids; my brother Edgar was the popular back then. Our band had played [“Poet and first, then me, then my brother Milt (or Milton), Leon, and Peasant”] so many times that frankly, I was sick of it. Max. We also had a clerk at my father’s shop living with us, and at times we also had a laundress living with us. In the middle, and again toward the end of the overture, there’s a passage in ¾ time and the woodwinds, especially You began in a municipal band in your hometown, am I the clarinets, are more prominent in those parts. The brass right? section “rules the roost” in the opening of the overture, then It was what used to be called a “cadet band,” and it was the strings and brass, then the woodwinds. Anyway, I think I formed by a German bandmaster. In Circleville, in fact in the played the first [section] the way it’s written. But in the big Ohio cities, it was the Germans who were usually the second [section], I stood up and “noodled” my way all the bandmasters. And were the teachers, too. way through that passage. I was all over the place, improvising in the upper register. Well, as soon as that concert was over, I got fired! Did Ameringer re-hire you after he calmed down? No, and it wasn’t long after that when I went to Columbus and started playing there. Later on, after I got well known in New York, he apologized to me about ten times. What took you to Columbus from Circleville? Well, my father wanted me to go to college, to learn how to run a business and maybe become part of the family business. So he paid my tuition to go to a business college in Columbus. Was that Bliss College? I think it was called Columbus Business College back then, but it’s still going, I think. I was only there one term, one semester, and it wasn’t for me. The classes mere mostly in the morning, and I’m not a morning type of fellow. Showbusiness folks are night-time folks, you know. So I didn’t stay in [business] college. But if I do say so myself, I’ve done pretty well in business. Not the kind my father had in mind, but in show business. Do you recall where you lived in Columbus? A boarding house on East Town Street, about two blocks from Town and High Street. I think it’s still there. Do you recall the name of the store you worked in? Yes, Goldsmith’s Music Store, on South High Street near where the Capitol building is. At that time, it was a very large operation. They sold all kinds of musical instruments, and phonographs, and player pianos, and they also sold and That would have been Oscar Ameringer who formed and led demonstrated sheet music for customers. I did odd jobs there —sweeping up, and raising and lowering the awnings, and that band? Yes, Oscar Ameringer. He called himself “Professor” doing deliveries, mainly. I did learn how to adjust keys and Ameringer. Just like I call myself “Professor Lewis” when I do springs on the clarinet, and how to shave reeds, and how to put in pads. But I was just an errand boy. “Medicine Man for the Blues.” May I ask you about your religious upbringing? Although I’m a goy, I study with two rabbis at Ohio State, one Orthodox, Rabbi Marvin Fox, and one Reformed—the great man Rabbi [Jerome D.] Folkman, who has made this interview possible for me. Not being Jewish, I don’t know if there are strict lines that separate Orthodox, Conservative, and Reformed Judaism, but if you had to characterize your family when you were growing up in Circleville, in which tradition would you place your family? First of all, in Circleville there were only, I think, five I’ve heard a version of it, but I’d much rather hear it from families including ours that were Jewish. My father came Ted Lewis personally! !7 Was he the Oscar Ameringer who became a prominent Socialist, and either founded or wrote for labor-union newspapers? Yes, indeed. He came to Circleville from Cincinnati, and I think he lived in Columbus for a while, too. He was very friendly with John L. Lewis, the mine-worker leader. Oscar was our bandmaster in Circleville. And he kicked me out of that band. Do you know that story?
Was that your first band, meaning the first one that was called the “Ted Lewis Band?” No, my first band was a little before that. I had put together a band in 1915, just five pieces, two clarinets, two cornets, and a Sousaphone. We played shows at Coney Island. We also played a few dates at the Brighton Beach Pavilion. When you formed that first band and were playing at Coney Island, were you playing in the style we hear on your first Columbia recordings? No. We were playing songs that were suited to that type of a small band. We weren’t improvising. We were playing “straight.” When would you say that you first began playing jazz, then? Well, the group that popularize jazz was the Original Dixieland Jazz Band. Nick LaRocca was the one who made that group what it was. When they got the gig at Reisenweber’s in New York, and then when Victor picked them up and started promoting their records, that’s when jazz really took off. Now, I had been playing in that style before the Original Dixieland Jazz Band. I was with a band called Earl Fuller’s Novelty Orchestra. When and how did you become associated with the Earl Fuller band? It was either at the end of 1915 or early in 1916 (It was the Earl Fuller, 1917. Mark Berresford Collection
from what you’d call a Conservative background today. There was no temple in Circleville, and the Jewish families that lived there, if they got together much at all for religious purposes, got together in one of their homes. Honestly, I don’t remember much of anything about what it meant to be Jewish until I came to Columbus and saw the beautiful synagogues there. I’m sure you know the name Lazarus, the department-store family. The patriarch was Simon Lazarus, and he and several other wealthy Jewish families donated the money and headed the fund drives for those wonderful temples in the East end. As for me, to be honest I’m not [an] observant Jew. Adah and I were married by a rabbi after [our] civil ceremony because we wanted a mitzvah, a blessing, for our mariage. But being on the road like I’ve been throughout my career, I couldn’t follow the dietary laws and say all the prayers you’re supposed to say before and after meals, and at sunrise and sunset and throughout the day. But I’m Jewish and I’m proud of it, and I really like this temple [Temple Israel] where my brother belongs. And everybody here loves Rabbi Folkman. I bet he’s a good professor. Indeed he is—and please tell him I said so, although he’s not going to give my any bonus points for a compliment! Staying with the subject of Columbus and your time there, did you play any of the vaudeville houses in Columbus? Much later, yes, but not at the time I’m talking about. At Goldsmith’s, I met a man named Gus Sun, who had a vaudeville circuit that played the East Coast. He hired me, and it was through him that I got to New York. I was hired by a band that played at Rector’s, which was a very posh restaurant in Manhattan.
spring of 1917 - Ed). Earl heard my little five-piece “nut band,” as I called it, and he liked my style, so he offered me a job. It wasn’t until I got to know him that I found out he was an Ohioan, too. He was from Warren, Ohio. Did Earl Fuller just lead the band, or did he play in it too? Earl was a pianist, what we used to call a “novelty pianist” in the style of Zez Confrey and Felix Arndt. Do you know those names? Yes, “Kitten on the Keys” and “Nola” and so many other piano pieces that I wish I could play! Are you a musician too? No, sir, except in a very liberal use of the word “musician.” I play clarinet at a little bar on High Street, a block north of the [Ohio State University] campus. The owner is a ragtime pianist, and three nights a week I am his clarinetist. But I hesitate to say that I am a clarinetist in the presence of the great Ted Lewis! !8
If the money and the tips are helping you get your doctor’s were willing to take a chance on sticking with me, so they degree, it doesn’t matter how well you play. came along. I’ll remember that, sir. Going back to your days with Earl Fuller, were the Fuller band and the Original Dixieland band the major jazz bands in Manhattan around the time that the U.S. entered World War One? No, there were others in and around New York that were novelty bands, although what they were playing was our [New York] version of New Orleans jazz. Ben Selvin was there, and he had a novelty band, and Gus Haenschen had a banjo orchestra that he’d brought from St. Louis. The Warings, Fred and Tom, had a banjo orchestra, and there was the Original New Orleans Jazz Band too. So there were several, and all of them were copying the Original Dixieland Jazz Band—not the “live” band, but their Victor records. Victor really promoted those records.
Did you and Earl Fuller become competitors, then? Not really. He was winding down, tired of the grind. When I was with him, the band had done several trial recordings for Victor, but very few of them were released. We had better luck with Columbia, and that’s how I got into Columbia and why I stayed with them after I had my own band. Columbia, you know, was the David to Victor’s Goliath. Columbia would try new things that Victor was reluctant to do.
Victor, as I said, promoted the Original Dixieland records pretty well, but that wasn’t what the [Victor] management wanted in 1917 and 1918. Their biggest selling band was the [Joseph C.] Smith band, which was a “society” outfit. Now that changed when they got [Paul] Whiteman, but that was after the Original Dixieland fellows had run their course. You left Earl Fuller’s band, as we were talking about earlier, Earl, you see, wanted to be like Joseph C. Smith and be a to form your own band. Was that a mutual decision? society band. And that was exactly what I didn’t want to be. Well, yes and no. He was older, and doing three shows a night, every night but Monday, was wearing thin for him. Did you and Earl Fuller stay in contact after you became And to be honest about it, I had an act pretty much planned famous on your own? out, and I needed my own band to do my act the way I had Just incidentally. Earl went into radio when it became big. conceived of it. I was full of pep and eager to get started, and He stayed in radio, pretty much in the Midwest. Somewhere I talked to several of the guys in the [Fuller] band, and they around World War Two, I think, he was the musical director
Colour advertisement from the August 1923 Columbia New Records Supplement. Mark Berresford Collection.
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at too fast a tempo and delivered it too loudly. Then there was the “Pirates” scene, which was corny and probably should have been cut. (Ted is confusing his appearance in ‘Is Everybody Happy’ with the Warner Brothers revue film made at the same time, ‘The Show of Shows’, in which he appears alongside Noah Beery, in which he and his band perform “The Pirate Song” and “Lady Luck” - Ed). There was a ballad that they worked in called “Wouldn’t It Be Wonderful?” which was a good tune overall.
standpoint. She was her own manager and her own publicist —and that was unheard of in big-time vaudeville. Her song “I Don’t Care” was her big hit, and it was the peak of her act. Now, she would tease the audience by saying, “Are ya happy now?” Then she’d say it again: “Are ya happy now?” Then she would say, “I don’t care”—and she would then sing “I Don’t Care.” I thought that was very effective, and the more I thought about it I came up with “Is everybody happy now?” After a while, I dropped the “now” and just used “Is everybody happy?”
Now, I did a lot of playing in that movie, and I have to say that I was probably at my best on the clarinet in that film. You know, it was a two-reeler and there weren’t any retakes, so everything had to be done right the first time. I played pretty well in that movie, and I played a lot more than I did in any later films I was in.
Your first movie, as we talked about, was “Is Everybody Happy?” Among the other films you appeared in during the 1930s was “Manhattan Merry-Go-Round” in 1937. That was essentially a revue made into a film, am I correct? That’s right. It was a collection of acts of all kinds—I think even Gene Autry was in one of the scenes—and it was pretty The title of the film, “Is Everybody Happy?,” is the tag line typical of movies of the Depression period. I think my old that belongs to the one and only Ted Lewis. How and when friend Jimmy [James] Gleason was in every one of them! did you “invent” that line? Have you ever heard the name Eva Tanguay? Let me ask you about a later film in which you played and sang: “Hold That Ghost,” the 1941 Abbott and Costello Eva Tanguay, the “I Don’t Care Girl”? movie. You were in it, and so were the Andrews Sisters. That’s her, yes. Back when I was starting out in New York, How did that come about? Eva Tanguay was one of the top stars in vaudeville. She was a saucy little thing, and she was very shrewd from a business
Ted Lewis and his Band in the 1931 Paramount short ‘The Happiness Remedy’. Musicians L-R: Dave Klein, Red Nichols, Russ Morgan, Ted Lewis, Jack Teagarden, Toney Girardi, Jack Scharf or Rudy Van Gelder, Harry Barth. Mark Berresford Collection.
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The reason is pretty simple: the “ghost” plot couldn’t carry picking names, Guy Lombardo or Shep Fields or Kay Kyser or the film on its own, so the producers had to insert other acts Wayne King. Those fellows got where they were by sticking to make it a standard length movie. to a formula, and it’s not a formula that leaves much room for a “hot” soloist. Welk doesn’t pay anybody either—he pays Were the scenes with you and the Andrews Sisters filmed scale, or just a little over scale. He’s lucky to have Pete with Abbott and Costello present? In other words, was it Fountain because Pete draws people who wouldn’t watch done in continuity? Welk. No, no. Our parts were filmed separately and then inserted into the film. In fact, I don’t remember much of anything Welk’s show is really a musical variety show, sort of a cross about Bud and Lou during the shooting of that film. between the “Hit Parade” and a vaudeville bill—a pop song by the whole band, then an Irish tenor, and the Lennon Were they getting along off-camera or were they having the Sisters, and a violinist, then the kid with the electric guitar, troubles that caused them to split up a bit later? and then Pete Fountain. For a New Orleans jazzman, that’s I really don’t know because I wasn’t around them. I had not much of an opportunity to play. So we’ll see how long heard that Lou Costello wanted to be paid more than Bud that lasts with Pete. because he claimed it was his character that was getting all the laughs. But that’s never how comedy teams worked. The I have asked you about Jimmy Lytell and Benny Goodman, straight man, in their case Bud Abbott, was always paid more and there are several additional musicians and singers whom because the straight man sets up the joke that the other you either worked with or had in your bands different times, comedian delivers. With every comedy team that had a and I’d like to ask you about them. Let me begin with Red straight man, the straight man was always paid more. Nichols. Of course, he was known mainly for his recordings as “Red You have been so generous with your time this afternoon, Nichols and His Five Pennies.” I don’t remember ever having and I don’t want to take any more advantage of it than you Red in any of my bands, but he was a good cornet and have allowed me to. But I would like to end this interview trumpet player. I can’t say that he was a great one because he on the same topic we began, which is the clarinet. I can’t wasn’t. And he wasn’t “original” either—he took a lot of his think of a well-known clarinetist of the 1930’s and 1940’s phrasing from Bix Beiderbecke. Anybody who knew Red who didn’t play in one of your bands. In fact, I can’t think of well will tell you that. (Although Red Nichols never recorded any big-band member who didn’t play in one of your bands! with Ted Lewis, he - and Jack Teagarden - appear in the 1931 If you won’t mind giving me your thoughts about these short ‘The Happiness Remedy’ - Ed) clarinetists, I’ll really appreciate it. Let me begin with the two best-known ones, Benny Goodman and Artie Shaw. You hired both of them for your studio sessions, am I correct? Yes, both of them played with me at different times when they were studio players. I had Benny play my some of my solos in my Columbia [electrical] records. Both are great players, but if you’re asking me which one I consider the best, it’s Shaw. I haven’t heard high-register playing like Shaw’s since Al Nunez. I’m not taking anything away from Benny, who’s a terrific improviser. But Shaw was tops in my book. I just wish he hadn’t walked away from it when he did. Four other names, if I may: Johnny Dodds, Jimmy Lytell, Pee Wee Russell, and Lawrence Welk’s discovery, Pete Fountain. Johnny Dodds was the real thing, one hell of a clarinetist! You know, he replaced Al Nunez when Al had some medical [dental] problems. To me, he wasn’t anywhere near the player that Al Nunez was. You know, Pee Wee [Russell], who was probably the closest thing to the old New Orleans players, said that Al Nunez was the greatest jazz clarinetist who ever lived. That tells you a lot about both of them, because if they held one of those old “carving contests” like they had in New Orleans, Pee Wee could outplay just about anybody you’d put up next to him. You mentioned Jimmy Lytell, who’s a favorite of mine. Jim can play anything you put in front of him—a hell of a studio clarinetist—and he can improvise with the best of them. And Jim is an Albert [system] player. Did you know that? Of course, that makes him special to me because he didn’t switch like the others did. Now, about Pete Fountain, there’s no question that he’s a first-rate clarinetist. I don’t see how he can last with Welk, any more than he could have years ago with, and I’m just !17
How about the Dorsey brothers? Your opinions of Tommy and Jimmy Dorsey? Tommy Dorsey was the finest trombonist, period. And I don’t mean the kind of playing he did in his big band—“Marie,” “Song of India,” and such—but as a jazzman. In the old days, as I mentioned before, they used to have what they called “carving contests” in New Orleans to see who could outplay whom. That’s how Louis Armstrong got famous in his early days. Well, if there was a carving contest for the trombone, Tommy Dorsey would have blown away anybody who came up against him. Jimmy was the more versatile of the two, since he played both the sax and the clarinet. He was one of the few who was equally good on both instruments. I thought that on the clarinet, when he was playing jazz, he was up there with Benny Goodman. Where would you place Sidney Bechet as a clarinetist? That’s hard to do because Sidney Bechet could play almost every instrument! Do you know that record he made by what they now call “over-dubbing,” where he played every instrument and became his own “orchestra”? He spent a lot of his career in France and other parts of Europe, but he belongs up on a cloud with Satchmo and Duke Ellington.
“September Song”—“When I was a young man courting the girls”—which I did on that Unique LP. You ended Side Two with “Me and My Shadow,” but in a very novel way: you sang “The Cop on the Beat” and then used it as a ségué into “Me and My Shadow.” You liked that, did you? Well, I had done that in personal appearances, but never on a recording until I made that LP. I made transition from the phrase “the cop on the beat … the man up in the moon … and me … me and my shadow, strolling down the avenue.” I’m glad you liked it. On your “Million Memories” LP, you included a song by Gus Edwards and you prefaced it by talking about how famous he and his songs once were, and all the stars he created in his “newsboys” act. The song you chose was his “If I Were a Millionaire.” What led you to choose it as opposed, say, to “Goodbye, Little Girl, Goodbye” or one of his other betterknown hits? I chose it because the sentiments he and Will D. Cobb put into “If I Were a Millionaire” are ones that everyone who has ever gone to school and wished they didn’t have to can dream about: “I’d buy up every schoolhouse in the nation / And I’d write upon the blackboards big and clear / Instead of one there would be two vacations / Each vacation six months twice a year/ I’d never let you go if it was rainin’ / And I’d make you stay at home if it was fair / I would buy you soda fountains / And build you ice cream mountains / If I were a millionaire!” I tell you, there isn’t a man or woman in this great country of ours who didn’t feel that way about school at least once in a while when they were kids.
Something I have wanted to ask you is about your movements on the stage, and how fluid and flexible your movements are. I hope you don’t mind me saying this, but you’re so flexible and every part of you seems so fluid when you move—your legs, your arms, even your fingers—that a man half your age probably couldn’t match. How do you do On a talk show recently, Artie Shaw and Beverly Sills were that? asked how they manage criticism, whether from music critics or gossip columnists like Dorothy Kilgallen. In so Well, part of it is the luck of the draw, I’m sure, because I many words, they said you must have, or else you must don’t have arthritis or any of those diseases that affect many develop, thick skin and then consider the source. You have people my age. I think a lot of it has to do with the mind— had a few critics during your long career, and one of them with mental attitude—and how you feel about your age. I seems to be Eddie Condon. As you may have heard, he said don’t think of age at all. Probably the best answer I can give in his recent book that “Ted Lewis could really make the you is that I work all the time, so I’m constantly onstage and clarinet talk, and when it did, it said, ‘Please put me back in constantly doing the kinds of movements you’re talking my case.’” about. When I can’t do that anymore, that’s when I’ll retire. If he really wrote that, if those were his own words and not his ghostwriter’s, he can’t take any credit for being original. Your most recent recordings have been the LPs you’ve made That line has been around as far back as I can remember, and on the RKO Unique label. The first one, if I have my it applies to any instrument that comes in a case, whether it’s information right, was “Me and My Shadow,” which you a violin or a trombone or a clarinet. But, look, he’s trying to followed with “A Million Memories.” Did you make those make some money to pay the rent, so he thinks he has to put Unique LPs in California or New York? down other people in the business. It doesn’t bother me not They were all made here in New York, at a studio on East only because it’s not original, but because you have to 45th Street. I really enjoyed making those LPs because they consider the source. Eddie Condon is no Eddie Lang. Eddie let me pick whatever songs I wanted, and I had my pick of Condon plays a four-string guitar. A four-string guitar? arrangers to get them just the way I wanted each song to be Please! That’s nothing but an oversized ukulele. And maybe I heard. shouldn’t have given Eddie all the work I gave him! The “Me and My Shadow” LP has many of the songs that have always been associated with you—“When My Baby Smiles at Me,” “Medicine Man for the Blues,” “Wear a Hat with a Silver Lining,” and of course the title-song of the album—but it also contains several that you do wonderfully even though they’re associated with other performers. I’m thinking of “September Song,” for example. As you probably know, that was written for Walter Huston, who was not a singer. He sort of “talked” the lyrics, which made it a natural song for me. And I love the verse of
I can’t thank you enough for the time you have given me for this interview. I’m a proud Ted Lewis fan, and will never forget how kind you were to me ten years ago when I asked for your autograph. And I assure you that I’ll never forget how generous you have been to me today. Thank you again and again and again. _________________________________________ This interview was conducted in 1968 at Temple Israel, in Columbus, Ohio, courtesy of Rabbi Jerome D. Folkman.
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Picnic at Piping Rock
nor from Connecticut. There never seems to have been an Edgewater Inn at Greenwich, Conn., though, being close to the ocean, Old Greenwich town does boast an Edgewater Drive. It is also theoretically possible that one member of the group might have passed through there at some point, given that trumpeter Sylvester Ahola hailed from Gloucester, Mass., Decrypting vintage label copy is something of a black art, a couple of hundred miles up the coast. given the imaginative mendacity of record companies and the fascinating typing errors of their secretaries. The alleged One label toponym that has always intrigued me is Piping "Coqfus Five" on French Odeon doesn't represent a huge Rock — as in "Smith Ballew's Piping Rock orchestra", which intellectual challenge, but one still needs more than recorded briefly for Columbia in 1931. Rust's JR discography deductive reasoning to identify "Chuck Nelson" on has no time for them, despite a romping version of I Love Champion, or wade through the various alter-egos of the Louisa, with torrid solos from Pete Pumiglio, et al. However, "Denza Dance Band" on U.K. Columbia. Fortunately, at millennial snowflakes should beware of Howard Dietz's record fairs one no longer needs a backpack bursting cheerfully inappropriate lyrics, which scandalously confide, "I with Sutton's Pseudonyms and both volumes of Rust: these love a great big bosom". Indeed, the whole thing seems to be days it's all in the phone.
By Anthony Baldwin
Still, typos and pseudonyms apart, what about all those real or imaginary hotels and nightclubs mentioned on records, where bands may or may not have played — the label toponyms? Did Hal Kemp ever entertain at any supposed "Carolina Club", as per his Okeh releases? (probably not). Is Arthur Sims' "Creole Roof" on Okeh a reference to the same Milwaukee venue as Devine's "Wisconsin Roof" on Paramount? (apparently, yes). Did the 1929-30 Ambrose orchestra actually record in situ "at the May Fair Hotel, London", as suggested on their Decca label copy? — Unlikely, as all their known Decca sides at this period were made, variously, at Chelsea's Chenil Galleries, Battersea Town Hall or the Liverpool Victoria Hall, Southampton Row. However, Ambrose's Saturday night BBC broadcasts were indeed fed by landline from the May Fair. Some toponymous information, such as the impressively detailed "Connecticut Collegians from the Edgewater Inn, Greenwich, Connecticut" on Worldecho, is entirely fictitious at every level. As they were essentially studio sharks on a Clerkenwell Road recording date in central London, the gentlemen of this orchestra were clearly neither collegians 19
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We’re pleased to offer some fantastic items from the collection of the well known connoisseur and record shop owner Morris Hunting. Over 70-plus years Morris amassed a great collection, notable not only for the quality of the records, but for the superb condition of most of the items. There’s lots more to follow!
SECTION ONE: BLUES, GOSPEL AND R&B INCLUDING ITEMS WITH JAZZ ACCOMPANIMENT.
001 SCRAPPER BLACKWELL & DOT RICE. Texas Stomp. 1/s Shellac Decca Master Test Pressing of mx C90090-A E+ 002 BIG BILL BROONZY. The Moppin’ Blues/ House Rent Stomp. Vogue V2076 E+ Paris 1951 sides 003 WALTER DAVIS. Road-Man Blues. 1/sided vinyl Victor Master Test Pressing of mx 67580-1 E+ Great side in fabulous sound! 004 Early This Morning/Your Time Is Comin’. (Staff) BB B8002 VV+ plays better. Fine sides! 005 (TEXAS) WILL DAY. Sunrise Blues/ Central Avenue Blues. Col 14318-D E++ Super fine copy (A1 stampers) of this New Orleans 1928 Blues rarity - you won’t find a better copy - guaranteed! 006 MERCY DEE. Dark Muddy Bottom/ Get To Gettin’ Specialty 481 E+ 007 BLIND BOY FULLER. Baby Quit Your Low Down Ways/ U’ve Got Something There. Col 37684 E+ 008 Little Woman U’re So Sweet/ Step It Up and Go. Col 37280 E+ 009 BOB GADDY. Operator/ I Love My Baby. Old Town 1031 EE- plays EE+, shallow nrs both sides nap 010 GRANT & WILSON. Keep Your Hands Off My Mojo/ Do Your Duty. Vox 03121 E/E+ Great Risqué sides! 011 WYNONIE HARRIS. Drinkin’ Wine Spo-Dee-O-Dee/ She Just Won’t Sell No More. King 4292 E 012 ROSA HENDERSON + F. HENDERSON’S JAZZ FIVE. Papa Will Be Gone/ I’m A Good Gal. Br 2589 E- Great sides with red hot backing! 013 EDNA HICKS & HENDERSON’S HOT 4. Just Thinkin’/ (w/ Porter Grainger organ). Tain’t A Doggone Thing But Blues. Ajax 17006 V+ good player 014 JOHN LEE HOOKER. Taxi Driver/ You Receive NMe. Modern 958 E+ Orig Sleeve. Great!! 015 LYNN HOPE QUINTET. Tenderly/ Song of the Wanderer. Chess 851 E 016 LIGHTNING HOPKINS. Mercy/ What Can It Be. Gold Star 616 E+ Great Texas Blues guitar sides! 017 ROSETTA HOWARD & HARLEM HAMFATS. You’ve Got To Go When Wagon Comes/ Harlem Jambouree. Dec 7447 E 018 ALBERTA HUNTER (Acc. poss. by Eubie Blake’s Orch). Downhearted Blues/ Gonna Have U - Ain’t Gonna Leave U. Pm 12005 V++ 019 FRANKIE HALF PINT JAXON. Turn Over/ You Can’t Tell. Dec 7806 E020 JAZZ GILLUM. Whiskey Head Buddies/ You Can’t Trust Them. BB 34-0741 E- plays better 021 Hand Reader Blues/ You Should Give Some Away. Vic 20-2964 E+ 022 The Devil Blues/ What A Gal. Vic 20-3118 E 023 JOSHUA JOHNSON (Fine K.C. pianist). Pile Driver Boogie/ Battin’ The Boogie. Cap 1180 E couple of nrs nap 024 LONNIE JOHNSON. (Guitar solo). 6/88 Glide. 1/s styrene Master Test Pressing of OK mx 81587-B N- Unissued on 78! 025 MARGARET JOHNSON & CLARENCE WILLIAMS BLUE 5 (Bechet!). E Flat Blues/ If I Let You Get Away With It. OK 8107 E- Fine playing copy of this 1923 Bechet classic! !28
026 MARGARET JOHNSON & BLACK & BLUE TRIO. My Man’s Done Me Dirty/ Folks in New York City… Vic 20178 E+ Great 1926 sides! 027 MAGGIE JONES & HENDERSON’S HOT 6. Cheatin’ On Me/ Mamma Won’t U Come & Mamma Me. Col 14074-D E few lt scrs nap Fine Acc! 028 MARIE KNIGHT & ERIE GLADNEY. I’ll Fly Away/ On The Battlefield. Dec 48253 E+ 029 LITTLE WILLIE LITTLEFIELD. Little Willie’s Boogie/ My Best Wishes. Eddie’s 102 E+ Uncommon Texas Blues! 030 ALEX MOORE. Blue Bloomer Blues/ Come Back Baby. (SB) Dec 7288 V++ Fine sides! 031 OSCAR’S CHICAGO SWINGERS. Try Some of That/ My Gal’s Been Foolin’ Me. (SB) Dec 7201 E032 PEETIE’S BOY (Robert Lee McCoy). Friar’s Point Blues/ Never Leave Me. Dec 7819 EE+ Fine copy of great Guitar Blues! 033 PILGRIM TRAVELERS. Angels Tell Mother/ I’ll Trust His Hand. Spec 812 E+ 034 Long Ago/ Please Watch Over Me. Spec 818 E+ 035 PROGRESSIVE FOUR. I Ain’t Ready to Die/ Old Time Religion. Savoy 4006E+ Orig Sleeve 036 MA RAINEY & HER GEORGIA BAND. Seeking Blues/ w. JIMME BLYTHE pno. Mountain Jack Blues. Pm 12352 E, slightly pimply surface typical of this period of Paramount but plays fine. Great sides and rare! 037 IKE ROGERS & HIS BIDDLE STREET BOYS. Malt Can Blues/ HENRY BROWN. Stomp ‘Em Down to The Bricks. (Lightning) Br 7086 V+ ef s1 to grooves but misses start of music. Marvellous music! 038 ROOSEVELT SCOTT (Jesse Colman pno). Dark Road Bl/ Down In The Gutter. Voc 05550 EE+ 039 BESSIE SMITH (Acc. LOUIS ARMSTRONG!). Reckless Bl/ Sobbin Hearted Bl. Col 14056-D E+ Classic sides in superb condition! 040 & HER BAND. Muddy Water (Rare take 2)/ After You’ve Gone. Col 14197-D EE+ Fine sides! 041 Nobody Knows You When You’re Down & Out/ Take It Right Back. Col 14451-D E Fine copy of essential Bessie item! 042 (Eddie Lang & Clarence Williams acc). I’m Wild About That Thing/ You’ve Got To Give Me Some. Col 14427-D E+ Lovely copy! 043 (James P. Johnson pno). You Don’t Understand/ Don’t Cry Baby. Col 14487-D E 044 CLARA SMITH. I’m Gonna Tear Your Playhouse Down/ You Don’t Know My Mind. Col 14013-D E+ Gorgeous! 045 ELIZABETH SMITH. Gwine To Have Bad Luck For 7 Years/ No Sooner. Vic 20297 E Great Thomas Morris group acc. s1! 046 VICTORIA SPIVEY & CLARENCE WILLIAMS BLUE 5. My Handy Man. 1/s styrene Master Test Pressing of OK mx 40114-B N- King Oliver tpt! 047 (Acc. Lonnie Johnson gtr). Idle Hour Blues/ Steady Grind. (Big Red) OK 8464 E- plays E 048 (w/ Lonnie Johnson acc.). Dope Head Blues/ Blood Thirsty Blues. (Big Red) OK 8531 E+ superb copy! 049 ROOSEVELT SYKES (The Honey Dripper). Love Lease Bl/ Let Me Hang Your Stocking in My Xmas Tree. Dec 7381 E 050 Night Time Is Right Time No. 2/ Mistake In Life. Dec 7438 E/E051 TAMPA RED. She Loves Just Right/ I Want To Swing. BB B8715 E+ 052 Anna Lou Blues/ Don’t You Lie To Me. BBB8654 E 053 EVA TAYLOR. You Don’t Understand/ What Makes Me Love You So. Vic V38575 E Rare and very fine sides! 054 JOHNNIE TEMPLE. The Sun Goes Down in Blood/ Up Today and Down Tomorrow. Dec 7632 E 055 OZIE WARE & HOT FIVE. Santa Claus Bring My Man Back To Me/ I Done Caught You Blues. Vic 21777 E Memorable 1928 sides with a Duke Ellington small group backing - uncommon too! 056 WASHBOARD SAM. I’m a Prowling Groundhog/ Don’t Tear My Clothes. Mel 6-10-55 E- needs a very large (0.004”) stylus to get best results 057 Soap and Water Bl/ You Can’t Make The Grade. Vic 20-2440 E+ 058 ETHEL WATERS & JOE SMITH’S JAZZ MASTERS. Jazzin Babies Blues/Kind Lovin Bl. BS 14117 V+ Great sides! 059 BUKKA WHITE. Aberdeen Mississippi Blues/ Sleepy Man Blues. OK 05743 E Delta Guitar blues! 060 Pinebluff Arkansas/ Shake Em Down. Col 30139 E+ Great Guitar blues! 061 JOSHUA WHITE. Little Brother Blues/ Black and Evil Blues. Per 0219 V+ Great 1932 sides! 062 JOE WILLIAMS. Vitamin A/ Somebody’s Been Worrying. BB 34-0739 E063 RALPH WILLIS. Salty Dog/ Old Home Blues. Prestige 919 E+ 064 OSCAR WOODS. Southern Girl Blues/ Evil Hearted Woman Bl. Dec 7904 E- Fine sides by Shreveport slide guitarist!
SECTION TWO: BRITISH & EUROPEAN JAZZ AND HOT DANCE - SOME RARE & UNUSUAL DISCS!
065 AMBROSE & HIS ORCHESTRA. Me and The Man In The Moon/ If I Had You. HMV B5605 E+ Fine hot s1! 066 I’ll Be Getting Along/ If I Had Talking Picture of U. White label Review Copy of Dec M109 E- Hot solos s1, Ahola, Polo! 067 Painting The Clouds with Sunshine/Tip Toe Thru Tulips. (Magenta) Dec M110 V+ hot s1! 068 LOUIS BACON & HIS ORCH. Panama/ Shine. Swing SW185 E+ Uncommon Paris 1939 sides! 069 CLAUDE BAMPTON & HIS BANDITS. Ring Dem Bells/ April Morning. (SB) Dec 1016 Rare issue of London 1935 sides - British band plays Ellington on US issue! 070 BROCKSI’S QUINTET (Freddy Brocksieper). Take The A Train/ Cynthia’s In Love. (Ger) Br 82337 E lt rubs nap. 071 PHILIP BUCHEL W/ SPIKE HUGHES 3 BLIND MICE. Happy Feet/ You Know What I’ll Do. Dec F1856 V+ Fine 1930 sides w/ Norman Payne! 072 UNA MAE CARLISLE & HER JAM BAND. I’m Crazy ‘Bout My Baby/ I Would Do Anything 4 U. (Swing) VoE S199 E+ 1st session, London 1938, Rare and Unissued in USA! 073 BENNY CARTER & HIS ORCH. My Buddy/ Lazy Afternoon. (Swing) VoE S118 E+ The Hague, 1937, uncommon! 074 BILL COLEMAN & HIS ORCH. (Django, Big Boy Goudie). I Ain’t Got Nobody/ Baby WYPCH. Swing SW14 EE+ 075 ALIX COMBELLE & HIS SWING BAND (Django, Philippe Brun etc). Nerves & Fever. 1/s vinyl Master Test Pressing of Swing mx OSW101-1 E+ Unissued on 78! 076 BILLY COTTON’S LONDON SAVANNAH BAND. Ida Sweet as Apple Cider / n.i. Picc 214 EE- few v. lt scrs nap. Orig Sleeve. Hot 1928 side! 077 BILLY COTTON & HIS BAND. Puttin’ On The Ritz/Crying For The Carolines. ReE MR51 E/EE- hot and rare! 078 Egyptian Ella/ I Lost My Gal From Memphis. CoE CB258 E Rare, Gonella tpt! 079 JIMMY DORSEY w/ SPIKE HUGHES 3 BLIND MICE. Tiger Rag/ St. Louis Bl. DE F1878 E-/E London 1930! 080 I’m Just Wild About Harry/ After U’ve Gone. DeE F1876 E+ Fine copy of London 1930 classics! 081 ANDRE EKYAN (SAX) & DJANGO REINHARDT. Tiger Rag/ Pennies From Heaven. Swing SW4 E+ Superb copy on rare ‘Outlined’ Swing label - only used on 1st pressings of the earliest sides! 082 FRED ELIZALDE & HIS MUSIC. You Can’t Have My Sugar For Tea/ Calling Me Home. BrE 157 E Fabulous Chelsea Quealey tpt + Davis, Rollini etc! S1 later became ‘Dancing The Devil Away’. 083 How Long Has This Been Going On/ Tea Time. BrE 169 E+ More great Quealey/Davis - fine copy! 084 Nobody’s Sweetheart/ Singapore Sorrows. PaE R1201 E+ Fabulous laminated pressing copy of one of the hottest British records of the 1920s - Rollini, Davis, Quealey, Davis and more! !29
200 CALIFORNIA RAMBLERS. The Pay-Off/ JAN GARBER & HIS ORCH. Tin Ear. Col 1642-D E- Two excellent sides! 201 How Do I Rate With U/U Took My Breath Away. (Buff) BB B6173 E- Dolly Dawn vocal s2 202 BLANCHE CALLOWAY & HER JOY BOYS. It Looks Like Susie/ Without That Gal! Vic 22733 E+ Great sides! 203 JOE CANDULLO EVERGLADES ORCH. Nervous Charlie Stomp/ Black Bottom. Re 8109 E- 2 sm digs s1, tix 204 I Wonder What’s Become of Joe/ Black Bottom. Imp 1685 E205 HOAGY CARMICHAEL & HIS ORCH. Mighty River. 1-sided vinyl Victor Master Test Pressing of mx 73351-1 E+ 206 One Morning In May/ DON BESTOR & HIS ORCH. Armful of Trouble. Vic 24505 E 207 WINGY CARPENTER & HIS WINGIES. Preachin’ Trumpet Blues/ BOB POPE & HIS BAND. That’s All I Ask of You. Dec 8519 E Interesting to see Bob Pope’s Band in Decca’s ‘Sepia Series’! 208 CASA LOMA ORCH. Happy Days Are Here Again/ JACK ALBIN O. A Bench in the Park. PaE E4605 E+ Uncommon issue! 209 CELESTIN’S TUXEDO JAZZ ORCH. Station Calls/ My Josephine. Col 636-D E/E+ N.O. Jazz Classics! 210 Papa’s Got The Jim Jams/ Dear Almanzoer. Col 14220-D V+ plays much better. Edmond ‘Doc’ Souchon’s own copy of this N.O. rarity personal stickers on labels! 211 CHICAGO HOTTENTOTS (R.M. Jones, Bigard etc) All Night Shags/ Put Me In The Alley Blues. Voc 1008 E sol s2. Rare! 212 CHOCOLATE DANDIES. Six or Seven Times/ That’s How I Feel Today. OK 8728E+ Stunning copy! 213 Dee Blues/Bugle Call /Rag. (Ger) Od O-28344 E+ Original Sleeve, Beautiful pressing! 214 LILLIE DELK CHRISTIAN & LOUIS ARMSTRONG’S HOT 4. Too Busy!/ Was It A Dream? (Big Red) OK 8596 E+ Fab sides, superb copy! 215 SUNNY CLAPP & HIS BAND O’ SUNSHINE. A Bundle of Southern Sunshine/ I Found Girl of My Dreams. OK 41283 E Rare Territory sides 216 DOC COOK & HIS DREAMLAND ORCH. Here Comes The Hot Tamale Man/ Spanish Mama. Col 727 E+ A stampers of this iconic record! 217 COON-SANDERS ORIG NIGHTHAWK ORCH. Some Of These Days/ JEAN GOLDKETTE ORCH. It’s The Blues. Vic 19600 E/EE- few scrs s2, lt tix 218 Blazin’/ THE VIRGINIANS. Low Down. Vic 21680 E+ Two fine sides 219 BOB CROSBY & HIS ORCH. I’m Prayin’ Humble. 1-sided vinyl Master Test Pressing of Decca mx 91534-A E+ Fine side, great sound 220 JOHNNY DE DROIT & HIS N.O. JAZZ ORCH. Number Two Blues/ Nobody Knows Blues. OK 40150 E- N.O., 1924! 221 CARROLL DICKERSON & HIS ORCH. Black Maria/ Missouri Squabble. BrE 3853 E Fine Chicago 1928 sides - Willie Hightower tpt! 222 JOHNNY DODDS. Clarinet Wobble/ San. Br 3574 E+ Gorgeous copy! 223 JOHNNY DODDS BLACK BOTTOM STOMPERS. After You’ve Gone (-41)/ Come On and Stomp Stomp Stomp. Br 3568 E+ Gorgeous copy and Rare non-vocal take of side 1! 224 CHICAGO BOYS. Stack O’ Lee Blues. 1-sided vinyl Master Test Pressing of Decca mx 63193-A E+ 225 HOT SIX. Too Tight (-4)/ Goober Dance. HMV B10419 E+ This take of S1 Unissued in USA! Now, a selection of beautifully-pressed, shellac-rich Swiss HMVs of Johnny Dodds - all have the engineer’s handwritten information under the label. 226 JOHNNY DODDS HOT SIX. Heah Me Talkin’/ My Little Isabel. (Sw) HMV JK2137 E+ 227 Too Tight/ Goober Dance. (Sw) HMV JK 2138 E+ 228 TRIO. Indigo Stomp/ Blue Piano Stomp. (Sw) HMV JK2179 E+ 229 WASHBOARD BAND. Bull Fiddle Blues/ Weary City. (Sw) HMV JK2154 EE+ 230 ELGAR’S CREOLE ORCHESTRA. Brotherly Love/ The Nightmare. Br 3404 E+ 1926 Chicago Big Band classics! Next a fine selection of Duke Ellingtons, starting with a major rarity… 231 DUKE ELLINGTON & HIS ORCH. Black Beauty (mx 27093)/ Jubilee Stomp. Br 4044 E+ This issue is mislabelled as ‘The Hotsy Totsy Gang’ playing Don’t Mess With Me, but actually plays the only issued version of mx 27093 of Black Beauty. 232 I’m So In Love With You/ NOBLE SISSLE & HIS ORCH (Bechet, Ladnier etc). Loveless Love. Per 15649 E+ Rare issue! 233 (as JUNGLE BAND). Paducah/ Harlem Flat Blues. Br 4309 E+ lbl trs s2. Stanley Dance’s own copy, sticker s1. 234 Tishomingo Blues/ Yellow Dog Blues. (Fr) Br 500245 E+ Lovely pressing 235 Cotton Club Stomp/ Arabian Lover. Vic V38079 E+ 236 Ring Dem Bells/ Three Little Words. Vic 22528 E+ 237 Bugle Call Rag. 1-sided vinyl Victor Master Test Pressing of mx 71839-1 E+ 238 Rockin’ In Rhythm. 1-sided vinyl Victor Master Test Pressing of mx 67401-1 E+ 239 Rude Interlude. 1-sided vinyl Victor Master Test Pressing of mx 77025-1 E+ 240 Cocktails For Two. 1-sided vinyl Victor Master Test Pressing of mx 79156-1 E+ Unissued on 78! 241 BOB FINLEY & HIS ORCH. Doin’ The Campus Crawl/ SAM LANIN O. You Were Meant 4 Me. Cam 9101 E- Fine side 1! 242 FIVE SPIRITS OF RHYTHM. Rhythm/ I Got Rhythm. PaE R2662 E+ Great sides, Unissued in USA! 243 TROY FLOYD & HIS SHADOWLAND ORCH. Dreamland Blues Pts 1 & 2. OK 8719 E+ Superb copy of 1928 Territory Band classic - Herschel Evans, Don Albert etc! 244 FOUR INSTRUMENTAL STARS (Annette Hanshaw + Rollini, Venuti, Lang…). I Like What You Like/ I’m Somebody’s Somebody Now. PActE 11485 Rare and mega-hot 1927 sides! 245 BUD FREEMAN & HIS GANG. What’s The Use?/ ‘Life’ Spears A Jitterbug. Com 507 E+ 246 Tappin’ The Commodore Till/ Memories of You. Com 508 E+ 247 CHARLES FULCHER & HIS ORCH. Atlanta Gal/ I Faw Down & Go Boom. Col 1734-D E+ Great Atlanta Jazz sides! 248 JAN GARBER & HIS ORCH. Fascinatin’ Vamp/ HARRY RESER O. Humoreskimo. (Aus) Re G20243 E- Fine side1, only issue!! 249 Outside/ Love Tale of Alsace Lorraine. CoE 5454 E+ hot s1 250 Way Down Yonder in New Orleans/ That’s Why I’m Happy. Col 1823-D E+ hot! 251 GEORGIA STRUTTERS. Ev’rybody Mess Aroun’/ Georgia Grind. Har 231-H EE- Jimmy Wade’s Band! 252 ROSS GORMAN & HIS VIRGINIANS. It Looks Like Helen Brown/ Oh Baby Don’t We Get Along. Har 372-H E+2 fine sides 253 ADELAIDE HALL & LEW LESLIE’S BLACKBIRDS ORCH. Bay/ I Must Have That Man. Br 4031 EE- sm rc s1 0gvs 254 HARLEM HAMFATS. I’m Cuttin’ Out/ Down in Shady Lane. (SB) Dec 7351 E+ 255 Mellow Little Devil/ The Barefoot Boy. Dec 7484 E v tight 1/2 hc s1 nap Now a fine selection of Fletcher Hendersons… 256 HENDERSON’S HOT SIX. Gulf Coast Blues/ Midnight Blues. Col A3951 E+ 257 FLETCHER HENDERSON & HIS ORCH. Sud Bustin’ Blues/ War Horse Mamma. Br 2592 E+ 258 Naughty Man/ The Meanest Kind of Blues. Col 249-D E+ Louis solos both sides on this beautiful copy! 259 (Southern Serenaders) I Miss My Swiss / JOE FRIEDMAN O. Collegiate. ReE G8471 EE+ Great Louis solo s1! !32
260 Money Blues (-1) / I’llTake Her Back. Col 383-D E+/E Great Louis solo s1, A2 stamper! 261 Then I’ll Be Happy (-1)/ EDDIE PEABODY ORCH. Along Came Luv. Ban 1654 EE- Great Joe Smith/Hawk 262 When Spring Comes Peeping Through/ TENNESSEE TEN. What Happened To Rosie. (Red) Gnt 3285 E tiny rc, nap Rare! 263 The Henderson Stomp/ The Chant. Col 817-D E West Coast Pressing of 2 classic 1926 sides! 264 Hop Off/ BDWAY BROADCASTERS (Lanin). I Must /Have That Man. Br 4119 E+ Superb copy! 265 THE JAZZ PILOTS (Reser). Oh You Have No Idea/ SAM LANIN O. Too Busy! PaE R217 EE+ 2 fine hot sides! 266 JOHNNIE’S JAZZ BOYS (Clarence Williams 1st session, 1921!) Roumania/ BROWN & TERRY’S JAZZOLA BOYS. Jump Steady Bl. OK 8021 E-/V+ 267 PETE JOHNSON (Piano solos). Kaycee On My Mind/ Blues on the Down Beat. Dec 3384 E268 JIMMY JOHNSTON’S REBELS (Reser group). Poor Papa/ Horses. EBW 4449 E v. tight hc s2 nap. 2 hot 1926 sides! 269 ISHAM JONES’ ORCH. Wop Blues/ The One I Love.. Br 2555 E 270 JONES & COLLINS ASTORIA HOT 8. Astoria Strut/ Duet Stomp. (Staff) BB B8168 E+ Master of Important N.O. 1929 sides! 271 KEYSTONE SERENADERS. Where Can I Find You/ Everything Is Hotsy Totsy Now. Voc 15122 V++ 2 fine sides by Detroit Band. 272 BENNIE KRUEGER’S ORCH. Pleasure Mad/ Charley My Boy. Br 2667 E++ Fine hot s1 273 LADD’S BLACK ACES. Lot’s O’ Mamma/ Nine O’ Clock Sal. Gnt 5366 EE+ 274 HAROLD LAMBERT (Excellent Jazz Band Acc!) My Kinda Love/ St. Louis Blues. Voc 15804 sol should soak off. Rare! 275 LEW LESLIE’S BLACKBIRDS ORCH. Bandanna Babies/ Magnolia’s Wedding Day. Br 4030 E+ Great 1928 sides! 276 MEADE LUX LEWIS (Piano solo). Yancey Special. 1-sided vinyl Decca Master Test Pressing of mx 90561-A E+ 277 Celeste Blues/ Yancey Special. Dec 819 E+ 278 TED LEWIS’ JAZZ BAND. Where Is My Daddy Now Bl/ Queen of Sheba. Col A3421 E- San Francisco 1921. 279 & HIS BAND. Frankie & Johnny/ Wah! Wah! Col 1017-D E+ 280 A Good Man Is Hard To Find/ I Ain’t Got Nobody. Col 1428-D E- 2 fine Don Murray features. 281 Egyptian Ella/ I’m Crazy ‘Bout My Baby. Col 2428-D E Magical and uncommon 1931 sides - Fats, Muggsy, Goodman etc! 282 An Ev’ning in Caroline/ Old Playmate. Col 2560-D E+/E Goodman! 283 DONALD LINDLEY & HIS BOYS. Slidin’ Around/ Nothin’ Doin’. Col 1443-D E+ Chicago 1928, uncommon! 284 THE LITTLE RAMBLERS. Life Begins at Sweet 16/ I’m the Fellow Who Luvs You. (Buff) BB B6192 E 285 BERT LOWN & HIS ORCH. When I Take My Sugar To Tea/ Running Between Raindrops. Vic 22654 E- LMS shop stickers 286 JIMMIE LUNCEFORD & HIS CHICKASAW SYNCOPATORS. In Dat Mornin’/ Sweet Rhythm. BB B5330 E+ Memorable preachin’! 287 WINGY MANNONE & HIS ORCH (Jelly Roll Morton piano). Never Had No Lovin’/ I’m Alone Without You. Sp Ed 5011-S E+ 1st issue, 1934 288 FRANK MARVIN (as George White). Dust Pan Blues/ CAPT. APPLEBLOSSOM. The Book of Etiquette. PaE R1081 E+ Rare 1929 s1 featuring fine (and attypical) Earl Oliver trumpet + guitar! 289 MEMPHIS STOMPERS. Hold It Still/ Kansas City Blues. Vic 21270 E+ Great 1928 Memphis sides! 290 MENDELLO’S FIVE GEE GEES. High Hattin’ Hattie/ YANKEE TEN D.O. It Goes Like This. Or 1363 EE- lt scrs s2. Fine hot s1! 291 MILLS BLUE RHYTHM BAND. Weary Traveller/ Brown Sugar Mine. PaE R2366 E+ Rare - only issue of s1! 292 MIFF MOLE & HIS LITTLE MOLERS. Orig Dixieland One Step/ My Gal Sal. (Lge Black) OK 40932 E+ gorgeous copy! 293 Birmingham Bertha/ Moanin’ Low. (US) Od ONY41273 E+ Superb copy of rare West Coast issue! 294 Shim-Me-Sha-Wabble/ FRANKIE TRUMBAUER & HIS ORCH. Cryin’ All Day. (Fr) Od 279713 E+ Tesch s1! 295 Windy City Stomp/ LOUISIANA RHYTHM KINGS. Ballin’ The Jack. HRS 15 E. 1st issue s1 - Tesch! 296 MORELLI’S BOHEMIANS. Joe College/ U Laughed When I Told You PaE E6279 E/E- bad ngouge s2 plays through. Fine hot s1 - only record! 297 THOMAS MORRIS & 7 HOT BABIES. The Mess. 1-sided vinyl Victor Master Test Pressing of mx 36962-2 E+ This take Unissued on 78! 298 ORCH. Who’s Dis Heah Stranger/ NEW ORLEANS BLUE FIVE. King of the Zulus - Chitlin Rag. Vic 20316 E+ Fine copy of classics! 299 BENNY MORTON & HIS ORCHESTRA. Tailor Made/ Gold Diggers Song. (Blue wax) Col 2924-D E+ Fabulous sides - only issue s1! 300 CURTIS MOSBY & HIS DIXIELAND BLUE BLOWERS. Weary Stomp/ In My Dreams. (West Coast) Col 1191-D E+ Great 1927 sides! 301 GOOF MOYER. Idol Of My Eyes/ BOYD SENTER. Beef Stew. Per 14709 E- Fine 1926 side by Mutli-instrumentalist 302 THE MUSICAL MANIACS. Am I Blue/ Down By The Old Mill Stream. Voc 3691 E Fine 1937 Irving Fazola sides. 303 OZZIE NELSON & HIS ORCH. Swamp Fire/ Rigmarole. Mel 7-07-08 E good arrangements 304 NEW ORLEANS BOOTBLACKS. Mixed Salad/ I Can’t Say. Col 14465-D E+ Classic Dodds! 305 NEW ORLEANS OWLS. That’s A Plenty/ The New Twister. Col 1547-D EE- sm ef and tight 1” lam, nap 306 RED NICHOLS WORLD FAMOUS PENNIES. Jungle Fever/ Rockin’ In Rhythm. (Buff) BB B5547EE+ 307 KING OLIVER’S CREOLE JAZZ BAND. Alligator Hop/ Krooked Blues. Gnt 5275 V+, rough start particularly on side 1 not too obtrusive, soon settles down to V+ , other side very slight rough start. Rarest of the Gennetts and I’ve had much worse copies!! 308 & HIS ORCH. Stealing Love/ DIXIELAND JUG BLOWERS. Memphis Shake. (Ger) Electrola &853 E+ Only 78 issue of s1! 309 LOUIS PRIMA & HIS N.O. GANG. Swing Me With Rhythm/ Sugar Is Sweet. Br 7431 E 310 LEO REISMAN & HIS ORCH. Puttin’ On The Ritz/ SHILKRET O. Singing Vagabond Song. (Can) Vic 22306 EE+ Miley! 311 Time On My Hands/ U Didn’t Know The Music. Vic 22839 E+ Lee Wiley vcl s1 312 Happy As The Day Is Long/ ARDEN-OHMAN O. Let’s Call It A Day. HMV B6378 E+ Harold Arlen vcl, Rollini showcase s1! 313 ADRIAN (ROLLINI) & HIS ORCHESTRA. Happy As The Day Is Long/ Blue Prelude. (Blue wax) Col 2785-D E+ Uncommon sides - Goodman, Dorseys etc! 314 & HIS TRIO. Honky Tonk Train/ Martha, Ah So Pure. Voc 5582 E 315 ROMANCE OF HARMONY ORCH. Blue Evening Blues/ Doodle Doo Doo. (Personal) Gnt 20068 E+ Rare and fine! 316 SAVOY BEARCATS. Bearcat Stomp/ How Could I Be Blue. Vic 20307 E/EE- scrs s2 lt tix in places. 1926 Harlem Jazz! 317 CECIL SCOTT & HIS BRIGHT BOYS. Lawd Lawd/ In A Corner. Vic V-38098 E lbl trs both sides. What a stomper! In the words of Russ Shor “The first Rock n’ Roll Record! 318 LLOYD SCOTT’S ORCHESTRA. Symphonic Scronch/ Happy Hour. Vic 20495 E+ Two memorable 1927 sides in great shape! 319 CHARLIE SEGAR (Piano solos). Southern Hospitality/ Cuban Villa Blues. (SB) Dec 7027 E+ Great Blues Piano sides 320 BEN SELVIN & HIS ORCH. Me!/ Give Me Your Affection Honey. PaE R1047 E+ Rare 321 SEPIA SERENADERS. Breakin The Ice/ Bay Brown. (Buff) BB B5782 E- Great 1934 Cliff Jackson group sides 322 SHARKEY & HIS SHARKS OF RHYTHM. High Society/ I’m Satisfied With My Gal. Voc 3380 E 323 NOBLE SISSLE & EUBIE BLAKE. Boo Hoo Hoo/ N.I. Re 9180 EE324 NOBLE SISSLE & HIS ORCH. Bandanna Days/ TED LEWIS BAND. Dallas Blues. Shellac George Avakian Columbia Master Test Pressing of mxs M398-2/ 17065 E+ Bechet feature Side 1 - Unissued on 78! !33