Vintage Jazz Mart 181

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THE ORIGINAL JAZZ & BLUES RECORD TRADING MAGAZINE, FOUNDED IN 1953

No: 181

SUMMER 2018

In This Issue...

The Original Memphis Five Part 3 - The Busiest Band in the Land...

Reviews, Ramblings, and a Sensational Selection of Superior Jazz & Blues 78s!

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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

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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.

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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.

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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.

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VINTAGE JAZZ MART ISSUE No. 181 SUMMER 2018

Summer is finally upon is here in Britain, after a prolonged and very wet winter and spring, so producing and editing the latest VJM has had to fit around making the most of the period of sunny weather we’ve experienced since early May. As a consequence of this and our holiday plans, this issue is a little later then usual. As five clear weeks from publication to the close of auctions is more than enough time in the age of email bidding, I’ve decided not to move the closing date for auctions - they will close on Sunday 29th July. Holidays will also impact the Autumn issue, with a shorter (and strictly adhered to) time for advertisers to submit content and a likely publication date of mid-October - could advertisers please take note and plan accordingly!

and often thought-provoking presentations, and our thoughts and condolences are offered to his widow, Glenda, and his many friends around the world.

Record fairs remain a practical and fun way to acquire new items and an opportunity to catch up with friends old and new, but they need your support to enable them to continue. Here in Britain the number of new faces is worryingly low, but in the US at least there seems to be a new wave of interest, as Russ Shor writes:- “Early last year, two young collectors of (mainly) country 78s, Brody Hunt and Hunter Holmes, decided to hold a “collectors party” to meet people they’ve gotten to know via Facebook and record trading sites. The small party got a lot of people enthused (including this old time collector) and even drew a few UK collectors by the time it happened. This year’s edition drew twice as many people, including such legends and Dick Spottswood and Gayle Dean Wardlow, along with Paramount scholar Alex van der Tuuk, a strong UK contingent and featured some great live music along with excellent 78s to buy.

Readers will note the distinct lack of reviews of CDs and books in this issue. The CD market is in a parlous state, as sales decline in the face of online streaming and downloads, and we all need to support those brave souls committed to preserving historically and culturally important, and often neglected or ‘lost’ music (see Russ Shor’s review of a new Archeophone 45 EP of minstrel banjoist/vocalist Charles Asbury in this issue). We keep our ears to the ground to find interesting and pertinent CDs and books to review in VJM, What has made the Asheville Collectors Party so enjoyable but we’re not omniscient - if you know of a new book or is the spirit of the young guys — they love the music, love CD which you think we should be reviewing - or if you are the records and are all positive people enjoying one another’s company. It doesn’t hurt that Asheville is a lovely responsible for one - then drop us a line. town in the Smoky Mountains, and I for one plan to return It is with great sadness that we learned of the death of next year for sure. Check Facebook for the Asheville Shellac Trevor Tolley in March, just two days short of his 91st Bash Information Bureau for some videos (Kit Stymee birthday. Trevor was not only a charter subscriber to VJM Stovepipe and Kinney Roror & Carolina Ramblers are the back in 1953, but over many years contributed several highlights… plus photos of 78 diving). And certainly try to articles to its pages. Born in Birmingham, England, in 1927, make the party next year - the proposed dates are 3-5 May he was a stalwart of the local jazz scene before his career as 2019.” a lecturer in English took him firstly to Finland, then Maybe there’s a lesson for UK (and European) record fair Australia, before settling in Canada in 1965. He was one of the world’s leading authorities on Twentieth century British organisers to learn, but maybe it is also mindset thing Literature, in particular the poems and writings of Philip historically US collectors have long been prepared to travel Larkin, himself a noted jazz enthusiast and critic. Trevor was hundreds, or even thousands, of miles to attend a two or made a Fellow of the Royal Society of Literature and later three-day event, and to spend money on both getting there was awarded the Queen Elizabeth II Diamond Jubilee Medal and at the event itself, whilst many British record fair for his contributions to public life, in particular social attendees baulk at the idea of travelling 50 or 60 miles, and housing. He was a dominant force in the Canadian then look skywards if a record is priced at more than a Collectors Convention, regularly making well-researched pound or two!

Cover: An unusual Original Memphis Five issue from 1922. Mark Berresford Collection

AUCTIONS END SUNDAY 29th JULY 2018 COPY/ADVERT DEADLINE FOR THE NEXT ISSUE WILL POSITIVELY BE: 29th September 2018.

WE CANNOT GUARANTEE PUBLICATION OF ANY ADVERTS RECEIVED AFTER THIS DATE! IN THIS ISSUE: Original Memphis Five Part 3, 3; Ate’s Discographical Ramblings, 27; Reviews, 29.

Auctions begin page 31, Wants Section page 55.

INDEX OF ADVERTISERS Beasley Books 33 Chris Hillman Books 37 M. Berresford 38, Inside Back cover Kempton Park Record Fair 30 Birmingham Record Fair 56 H. van der Laan 44 W. Bor 48 J.Lauro 29, 46 J.M. Castro 43 Memory Lane Magazine 56 CLPGS 56 J. Prohaska 49

D. Reiss 54 Frog Records Back Cover J. Tefteller Inside Front Cover H.Thygesen 47

r B l u es 7 a 8’ -W e s r

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Paying $500 to $50,000 each, depending on record, condition and rarity.

Release Sheets!

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Photographs of Blues singers from the 1920’s to the 1950’s. Paying $500 to $10,000 each, depending on photograph, condition and rarity.

Race Record Sleeves!

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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.

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Call me when you’re ready to sell!

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The Original Memphis Five Part 3: September 1922 – February 1925: Busiest Band In The Land

By Ralph Wondraschek After the Original Memphis Five had played their last night at Busoni’s Rosebud ballroom, Surf Ave. & West 5th St., Coney Island (July 18 – Sept.08)394, 395, 396, 777, they started, from September 09, with a doubling scheme, alternating evenings between the Danceland, Surf Ave. & 20th St., Coney Island, and the Balconades Ballroom, 66th St. & Columbus Ave., Manhattan, for a period of two weeks.396 to 402 Then, the band topped even that: The Original Memphis

Five … are now appearing in three dance halls each week and are making records for eleven different phonograph companies. They appear weekly at the Palais de Danse, Brooklyn; Healy’s Balconades, and Healy’s Danceland, at 95th street [formerly Healy’s Sunken Gardens]. Besides this, they are recording for the Columbia, Arto, Banner, Pathé, Actuelle, Gennett, Paramount, Regal, Brunswick and Cameo. The members of the Original Memphis Five are Phil Napoleon, leader, cornetist; Frank Signorelli, pianist; James Lytell, clarinet; Charles PanoIIy [sic], trombone, and Jack Roth, drums. (New York Clipper, November 01, 1922, p.28)

Brooklyn Standard Union, September 22, 1922, p.14

Brooklyn Daily Eagle, September 09, 1922, p.22

The tripling schedule had started on September 22, 1922 with the opening of yet another Busoni ballroom, the Palais De Danse, Flatbush Ave. & Sterling Place, Brooklyn 402, 403:

BUSONI’S PALAIS de DANCE The latest addition to Brooklyn’s sumptuous amusement enterprises, Busoni’s Palais de Dance, at Flatbush avenue and Sterling place, is now open. … Continuous dance music will be provided at the Palais de Dance by the original “Memphis Five” and Frank Ulrich’s Society Orchestra, both combinations being well known among the dancers of the greater city and patrons of vaudeville. The new enterprise is under the personal direction of Sixti Busoni, and the general management is in the hands of Joseph Johnston, well-known Brooklynite.404, 407

New York Daily News, October 17, 1922, p.17

The Brooklyn Standard Union, October 08, 1922, p.05 reported: … Every Thursday evening there is held a

“Memphis Frolic” under the auspices of the “Original Memphis Five”, the featured dance music attraction at the Palais de Danse. On these occasions, amateur and professional dancing stars vie with one another for special prizes and the plaudits of their multitudes of followers.

Brooklyn Standard Union,

October

22,

1922, p.06

PALAIS DE DANSE Numerous unique dancing features provided by Managing Director Sixte Busoni at his new Palais de Danse, at Flatbush avenue and Sterling place, have made that sumptuous ballroom practically the centre of

NY Daily News, Nov. 08, 1922, p.17

NY Daily News, Nov. 15, 1922, p.17

Brooklyn’s terpsichorean activities. During the week the regular nightly dancing sessions are enlivened considerably by the carnivals that are staged on Tuesdays and the “Memphis Frolics” that are held Thursday evenings. The

former are given under the personal direction of Miss Elsie Brewster, who is the hostess supervising the Palais de Danse dancers, while the “Memphis Frolics” are engineered by the members of the famous “Original Memphis Five” Jazz Band.

The latter provide the nightly syncopation that has made the Palais de Danse the most popular ballroom in town in the few weeks that it has already been in operation.

What the press reports didn’t mention was the fact that Busoni had remodeled his former Danse Caprice and had renamed it Palais De Danse.

The bands that alternated their jobs with the OM5 at the Palais De Danse and at the Danceland, 95th St. & Broadway (formerly Healy’s Sunken Gardens), were Frank Ulrich’s NY Evening Telegram, Dec. 22, Society Orchestra,402 to 416, 1801 to 1803 the ODJB,780, 422 and NY Daily News, Nov. 25, 1922, p.17 1922, p.04 1804 to 1807 Fisher’s Californians and the New Orleans Jazz Band.

THREE ORCHESTRAS AT BUSONI’S A novelty in the way However, the Danceland at 95th Street & Broadway was a of orchestra presentation occurred last week [June 11 – 16] at short-lived venture of Busoni: The former Healy place at Busoni’s Balconades when three orchestras of the same

Broadway and 95th street has been converted into a popular dance resort. (Variety, August 18, 1922, p.38) Thomas Healy’s Sunken Gardens, at Broadway and Ninetyfifth street, which is now being operated as a dance palace, will be reconverted into a restaurant the latter part of January and will be operated jointly by Healy and John Wagoner, formerly general manager of Reisenweber’s. (New York Clipper, January 03, 1923, p.06) Then, after October 18, 1922, when the Original Indiana Five had abruptly quit their (exclusive) engagement at the Balconades,781 and went on to a 6 ½ months stay at the Bluebird Ballroom, Broadway & 48th St. (c. Oct. 20, 1922 – c.

May 04, 1923),782 to 790 the OM5 had to help out there, too.418 The band which alternated with the OM5 at the Balconnades from November 20, 1922 to late December 1922 was Lou Gold’s Orchestra.1808 to 1812 Then, starting in early January 1923 as the second band at the Balconades, the Circle Quintet [Harry Gluck, t – Andy Pagano, sax – Jerry Antonacci, vn & ldr – Ray Bloch, p – Harry King, d] began alternating with the OM5 there (…used to be

instrumentation furnished the dance music, these being the Original Memphis Five, the Original Dixieland Jazz Band and the Circle Quintette. All of these are Dixieland combinations and play the style of music that the patrons of the Balconades like. (New York Clipper, June 20, 1923, p.28) New Orleans cornetist Johnny DeDroit, whose band was playing an engagement at Busoni’s Balconades in late 1924, did remember the Circle Quintet: DeDroit was preparing for a Sunday matinee at the Balconades, alternating with the Circle Quintet, in September- early October 1924. According to DeDroit, someone within that group decided to “take him [DeDroit] down a notch” by inviting Bix Beiderbecke, who at that time was playing with the Wolverines at the Cinderella Ballroom, into the lineup of the Circle Quintet as a “ringer” to steal the show. DeDroit picks up the story:

Bix played a number and after I heard him I knew we had nothing to worry about. It wasn’t Bix’s fault; it was the accompaniment from the other band who knew nothing about his music.1734

the second band to the OM5 at the Busoni spots at about this period 891).

NY Daily News, Nov. 20, 1922, p.17 NY Daily News, Nov. 21, 1922, p.20 The Circle Quintet, 1923 (The Balconades News [published by ballroom proprietor Sixte Busoni], late 1923-early 1924) L-R: Jerry Antonacci, vn&ldr / Andy Pagano, as-ts-bar / Harry King, d / Harry Gluck, t / Ray Bloch, p.

Eventually, this demanding tripling schedule got too much for the OM5, and from November 20, 1922 onwards, the band played at the Balconades exclusively.423 to 426, 952 to 954, 1805 Incredibly, despite this already busy schedule, the OM5 found the time to play some one-night stands: NY Daily News, Nov. 23, 1922, p.21

NY Daily News, Nov. 24, 1922, p.25

NY Morning Telegraph, Sunday, October 08, 1922, p.03

FROLICS OF 1923 HAS LOTS OF ‘PEP’ A large and enthusiastic crowd over in Ed Goate and Ben Walker’s new and cosy Rockwell Terrace [Cabaret], opposite the Orpheum Theatre in Brooklyn, fully enjoyed what was called the dress rehearsal of Al Herman’s “Frolics of 1923”, a revue, last Friday evening [Oct. 06]. … Another entertaining tid-bit was the Memphis Five, a company of real syncopators and players of instrumental jazz music, who specialized … in some dance strains for Rockwell Terrace patrons to dance to.

NY

Morning

Telegraph,

December

03,

1922,

p.08

The Thursday midnight shows at the Park Music Hall have become one of the most important features of showland in New York. Eighty percent of the house is generally made up of professional people … the treat of the evening or rather of the Friday morning comes toward the end when the master of ceremonies calls for the house lights, spots famous show folk in the audience and then invites them one by one to come upon the stage and do an impromptu turn. Among those present Thursday night a week ago [Nov. 23] … the Original Memphis Five… . The show broke up at 4:30 in the morning.

This is always a big clown night and a great time is had by all. … those disciples of unalloyed jazz, the “Original Memphis 5” – bass drum and all. And then – what a swaying intoxication of harmonies! 910

The Daily Illini, February 20, 1923, p.05 The Daily Illini, April 08, 1923, p.10

New York Clipper, Wednesday, December 06, 1922, p.28

MEMPHIS FIVE AT PARK The Original Memphis Five, one of the best Dixieland combinations in New York, is appearing in the midnight shows held every Thursday at the Park Music Hall and is proving one of the hits of the performance. Twice since the band has been added to the attraction they have stopped the show.

NY Morning Telegraph, Sunday, December 10, 1922, p.07

Another highly successful clown night was offered last Thursday [Dec. 07], at the midnight show of Burlesque at the Park [Music Hall]. Many well known professionals were in the audience. Those midnighters are fast becoming the talk of the village. Among those who entered into the impromptu entertainment were the Original Memphis Five, …

In Variety, December 15, 1922, p.23 appeared a short review of a disc the OM5 had recorded on October 02 :

Clarence Williams Music Publishing Co., endorsing the OM5 as interpreters of his compositions. Billboard, December 23, 1922, p.23

REVIEWS OF DISKS: JI-JI-BOO / YOU CAN HAVE HIM BLUES PATHE No. 20642 ORIGINAL MEMPHIS FIVE The Memphis quintet is comparatively new to the disks but on this showing qualifies as one of the best “blues” recorders.

Both selections are of that type with the Memphis boys snapping it out in wild, eerie fashion. Exhilarating for dance.

The Variety issue of February 08, 1923, p.37 ran another review: REVIEWS OF DISKS THAT DA DA STRAIN / ‘TAIN’T

NOBODY’S BIZ-NESS IF I DO ANNA MEYERS AND ORIGINAL MEMPHIS FIVE PATHE No. 20870 Another Mamie Smith and jazz hounds combination and equally as worthy as the Okeh coon-shouter. The “Da Da” is a seductive strain which requires no descriptive title to suggest its meaning. The cornet and clarinet figure snappily in pitching the vamp notes. The reverse is a typical indigo wail with some “blue” lyrics typified by one line “If I should go to church on Sunday – strut my stuff on Monday, ‘tain’t nobody’s biz-ness if I do.”

Despite musicologist Dr. David Evans’ guess that ‘Anna Meyers’ was a pseudonym for Hazel Meyers,1531 a negro vaudeville blues singer, Ann Myers (April 21, 1900 – February 1972) was a white artist, who worked with the big Burlesque Theatre Circuits during the 1920s, and was often mentioned in the contemporary press.

Greensboro, NC, Daily News, December 02, 1922, p.06 Due to space constraints, I’m holding back the information [“The Cotton Pickers records are full of noise and the last word in Jazz I’ve gathered on her, and also that on Leona Williams, Music.” (Edwardsville, IL, Intelligencer, September 27, 1922, p.08)]

another singer who made records with the OM5. This hopefully will be published, along with more data on the OM5 which recently surfaced, in a future article here in VJM. Still another OM5 record review appeared in Variety, March 01, 1923, p.46: REVIEWS OF DISKS YANKEE DOODLE

BLUES / STOP YOUR KIDDING LADD’S BLACK ACES GENNETT NO.4995 Ladd’s jazzers are building up a following of jazz dance specialists and are accordingly concentrating on that style of recording. “Yankee Doodle Blues” is sold with considerable patriotic paprika. “Stop Your Kidding” is a straight rag.

Wilmington, DE, News Journal, April 02, 1923, p.09

IVY / AUNT HAGAR'S BLUES [PA 020900] The Original Memphis Five have scored another triumph this month with these two fox-trots, "Ivy" and "Aunt Hagar’s Blues". If the folks in your home like to dance you will be the popular person New York Times, February 04, 1923, p.03 around the house the night you bring home this record.

As the year 1922 drew to a close, the OM5 could be proud of their achievements: they had managed to become, along with the ODJB, the most important and popular jazz band in the hippest NYC ballrooms and one of the cornerstones of the Busoni Dance Empire. Despite the passage of the Cotillo Bill in April 1922, which outlawed all jazz and dancing on Broadway after midnight, the members of the band still managed to each earn more than $ 200 per week, and in addition this was supplanted by money the band received for their numerous recording sessions.

To add to it all, the band was now beginning to exploit a new medium of the time: broadcasts. As far as I could trace, the OM5 gave their radio debut on January 09, 1923, 9:00 – 10:00 P.M., over station WEAF, NYC (400 meters): Latest

popular dance music by the “Memphis Five”, well known phonograph recording artists, now playing at “The Broadway Brevities, October 1923, p.35 Balconades”, New York. Program: “Gee, Gee, Bu”, “Bees Knees”, “Stop Your Kidding”, “Great White Way Blues”, “I Variety, February 08, 1923, p.21 ROME and DUNN and ORIGINAL Got To Cool My Doggies Now”, “Chicago”, “Sister Kate”.429 NEW ACTS THIS WEEK MEMPHIS FIVE, with DOROTHEA DAWN SONGS AND On the next day, 8:00 – 10:00 P.M., the OM5 performed MUSIC; 24 min; FULL STAGE; COLONIAL Bert Rome and again at WEAF, also accompanying various singers, not all 432 Henry Dunn are a vaudeville song act appearing in a cabaret. listed. Perhaps this was the occasion later recalled by Eva Taylor: she remembered broadcasting with the Memphis Five The Original Memphis Five are jazz boys at another cabaret in the early 20’s on New York radio station WEAF. Eva said close by the Colonial [Busoni’s Balconades Ballroom]. Both that although her voice sounded ‘white’ enough to be turns are continuing in their cabaret dates, which may also acceptable to the station’s listeners, studio executives took no apply to Dorothea Dawn, who has been in a Brooklyn chances: they set up a scrim curtain between her and the restaurant. The combination was probably framed for band as protection against any possible charges of racial appearance in the New York houses, but it can go much farther, if the principals care to leave town. It is a corking ‘mixing’.791 entertaining unit. Rome and Dunn look well and know how to Besides playing at the Balconades late in the evenings, the handle their brand of songs, all duetted. The band is one of OM5 got into another ‘side-project’: they teamed up with the the “hottest” jazz bunch for five players heard hereabouts. cabaret/vaudeville song act of Bert Rome [baritone] and Being known, both band and singer got a hand at the Henry Dunn [tenor], with singer Dorothea Dawn, and performed at the Hamilton Theatre, NYC (Febr. 01 - 03, opening. The Memphis Five swung into action with the first 1923) 433, and then at the Colonial Theatre, Broadway & 62nd act finale medley of the current “Music Box Revue”, it being “Pack Up Your Sins and Go to the Devil”, and an infectious St. (Febr.05-10).434 to 438, 1515 tune. Rome and Dunn got started with a Dixie number with a New York Clipper, February 07, 1923, p.11 high note finish that brought returns. The Five supplied a VAUDEVILLE – HAMILTON [Theatre](LAST HALF) blues tune that brought Miss Dawn out for a warbling bit The Original Memphis Five, with Rome and Dunn and an which sounded well enough but got nothing. The leads had a unbilled woman, all combined in one act, closed the show. ballad duet and the girl another blues number before the The act runs much too long and the last twelve minutes of it Memphis boys opened up again. Someone called for “Sister could be used for encores, for there was about a half hour of Kate” and that was the band’s selection, it going over big. The time to it in addition. The quintette is great, and the cornetist cornetist had the only variation solo in the going, with his particularly one of the best. Rome and Dunn sing well, and the woman handles several numbers in “coon-shouter” style instrument plugged and then covered with a small megaphone. Rome and Dunn returned for a ragged idea of effectively.

“Maggie”. They went into “Chicago”, Miss Dawn joining. A dance bit just before the curtain kept time to the band’s wide open playing of the number. An encore was insisted on and was given by the band alone. The act’s running time was 20 minutes up to then, with four minutes added by the encore.

The new combination ought to repeat its hit encore, with a change or so, in all the big houses. - Ibee.

While the OM5’s continued success at the Balconades Ballroom surely pleased proprietor Busoni, he nevertheless had to deal with some difficulties: Variety, March 15, 1923, p.33 Two of Sixte Busoni’s dance

places in New York are being sued by local music publishers for copyright infringements for the unlicensed performance of copyrighted music without license. Busoni’s Danceland at 2531 Broadway is named defendant by the Remick firm. Feist New York Clipper, February 07, 1923, p.09 VAUDEVILLE REVIEWS – COLONIAL … Rome and Dunn, is also suing the managers of Busoni’s Balconnades. the original Memphis Five and a girl named Dorothea Dawn have been combined into one big act by Billy Grady, which closed the first half here, leaving a wallop which carried into the second half of the show and kept the audience warmed up. … The combined offerings of Rome and Dunn, the Memphis Five and Dorothea Dawn ran for more than a half hour when we saw it last week at another house, and now has been effectively cut to about twenty-two minutes, not including an encore which the audience compelled them to take, although they closed the first half. The band is great, and the cornetist a marvel. They are evidently known to this audience, for they received a great reception, especially before rendering Sister Kate. Rome and Dunn have good voices and Miss Dawn does blues very effectively.

Billboard, February 17, 1923, p.20 VAUDEVILLE NOTES from around 1920, before Busoni took over and re-decorated the room The Memphis Five made quite a hit at the Colonial Theater, Photo (Balconades Ballroom, early January ,1922) New York, with “Sister Kate” and “That Da Da Strain”.

Apparently, this project of performing in addition to their Of course, the OM5 didn’t waste opportunities to perform steady cabaret and dance hall jobs was not practical in the at other occasions: long run, for both the singers and the band: Brooklyn Daily Star, April 07, 1923, p.12 The chorus girls Variety, February 15, 1923, p.05 of New York will hold a monster performance tomorrow night

BAND ACT BREAKS UP Rome and Dunn and The Memphis Five, the cabaret act, have separated as far as vaudeville is concerned and will resume their cabaret bookings. The act framed up for one week. The dissolution was on account of the amount of salary the act would require to continue in the two-a-day and leave cabarets. …

[More than a year later,

Dorothy Dawn was not reluctant to describe herself thus:

Dorothy Dawn, jazz song manipulator, a former member of the Memphis Five (New York Morning Telegraph, April 01, 1924, p.05)] Nevertheless, it was probably this successful teaming up of the Original Memphis Five with singer Dorothy Dawn that induced the New York Recording Laboratories to produce a recording session of their popular blues singer Alberta Hunter, accompanied by the Original Memphis Five, for their Paramount label, in February 1923. In 1978, Alberta recalled:

at the Casino Theatre for the benefit of Edna Rochelle, a former chorus girl who is ill [tuberculosis patient 1724] at Saranac Lake. The performance is for the purpose of obtaining funds which will enable Miss Rochelle to continue the treatments which she has been receiving at Saranac in the hope that she can be permanently cured and return to the stage. One of the most pretentious programs ever staged in New York will be presented and the entertainers will include more than forty stars and headliners of the dramatic, musical comedy and vaudeville stage. Among those who will appear are … Rome and Dunn, [and the] Memphis Five …

Troy

Times,

Troy,

N.Y.,

April

25,

1923,

p.13

WHAT’S IN THE AIR TONIGHT WJZ, NEWARK, N.J. 8 to 11 p.m. – The Talking Machine Men, Inc., annual banquet in the grand ballroom of the Hotel Pennsylvania. Joe Hayman, better known as “Cohen on the Telephone”; Al Jolson, Dolly I remember the thick brown wax disc they recorded on and Kay, Pandy McKensie, Barbara Maurel, Marion Harris, the wax shavings falling on the floor as I sang. The Memphis William C. Kennedy, and Van and Schenck will entertain.

Five was white and could play.1591 Music by Paul Specht and his orchestra, Vincent Lopez orchestra, Memphis Five, Ted Lewis and his band, Georgians, Selvin's Boardwalk orchestra and Coleman’s Monte Marte [sic] Orchestra.

Music Trade Review, April 28, 1923, p.25

Brooklyn Standard Union, April 06, 1923, p.14

BANQUET OF TALKING MACHINE MEN ANNUAL DINNER AND ENTERTAINMENT OF DEALER’S ORGANIZATION AT HOTEL PENNSYLVANIA ON WEDNESDAY EVENING [April 25] PROVES GREAT SUCCESS – MANY STARS IN MUSIC WORLD APPEAR An affair that promises to go down in trade history was the annual banquet of the Talking Machine men at the Hotel Pennsylvania [7th Ave. & 33rd St.], New York, on Wednesday evening of this week, when there was presented an aggregation of musical stars, both soloists and orchestras, that probably could not be assembled under any other

circumstances or at any other price. The banquet served to bring out the largest crowd on record, and not only was the floor of the large ballroom filled with tables, but it was necessary to provide tables on the balcony for a number of the late comers. It seemed as though everybody of prominence in the talking machine trade in New York and a number from distant points were present and the showing was a notable one. So lengthy was the prepared program that the entertainment began almost as soon as the diners were seated and continued right through the dinner and well into the morning hours. Through the courtesy of the various record manufacturers there appeared during the evening such notable artists as … the U.S.S. “Leviathan” Orchestra, Harry Stoddard’s Orchestra, the Memphis Five, the Georgians, Paul Specht’s Orchestra, and many others. …

Billboard, May 12, 1923, p.22 So great was the success scored by the Original Memphis Five at the annual banquet of the Talking Machine Men, Inc., held last Wednesday at the Hotel Pennsylvania, New York, and at which Broadway’s Metronome Orchestra Monthly, May 1923, p.07 greatest musical combination entertained, that Phil Napoleon, (from an advertisement of Jack Mills, Inc., music publisher) leader of this famous band, was asked by Sol Lazarus, chairman of the entertainment committee, to furnish the dance music exclusively for the next affair of that organization. The Memphis Five played “Shufflin’ Mose” and “Great White Way Blues”, their own compositions, published

by Jack Mills, Inc.. (similar reports appeared in NY Clipper, May 02, 1923, p. 30, and in NY Morning Telegraph, May 06, 1923, p.06) Variety, May 30, 1923, p.04 SONGWRITER’S SHOW The Songwriter’s benefit at the Century [Theatre] Sunday evening [May 27] was a success. An almost capacity house

Metronome Orchestra Monthly, June 1923, p.15

saw a good show; the boys made money and had a lot of (from an advertisement of Jack Mills, Inc., music publisher) laughs. Not half the acts listed were able to go on because of the length of the program. …The show opened with Victor

Herbert leading the orchestra. Anatole Friedland followed with his act. Then came Pearl Regay, Memphis Five, Will Rogers, Newhoff and Phelps, Sizzle [sic] and Blake, with their “Shuffle Along” girls, Fradkin, Fay Marbe, Jimmy Hussey, scene from “Apple Blossoms” with Romberg at the piano, Bert Hanlon, Buck and Bubbles (colored boys), Frank Silver’s orchestra, Eva Clark, New York Giants, Al Jolson and the song writers.

arrangers have a knack of almost re-writing a song they record! “New Orleans” (Creamer-Layton) is another survivor of a defunct colored show – “Strut, Miss Lizzie” – but worthily so. It starts as a slow, melodious jazz with a suggestion of Spanish tango in the patter chorus, but primarily given to warm saxo harmonies. [there is no saxophone present on these two tracks !!!] (Variety, May 30, 1923, p.27)

SNAKES’ HIPS / I NEVER MISS THE SUNSHINE THE COTTON PICKERS BRUNSWICK No. 2418 Now that they’ve had “Cat’s Meow”, “Bees’ Knees” and “Apple Sauce” as song titles, “Snakes’ Hips” is as good a colloquialism to label a rag as anything and this is truly a corking blues. The Cotton Pickers sure pick it into all sorts of arrangements and spell it into a wicked toddle. “I Never Miss the Sunshine, I’m So Used to the Rain” is a more melodious blues, equally effective for dance. (Variety, June 28, 1923, p.44) Victor dance numbers … Memphis Five Victor 19052 includes neither saxophone nor banjo, nor violin. Cornet, trombone, traps, piano and clarinet, however, achieve some effects for which no apologies are due. “Who’s Sorry Now” might be sad were it not for a plethora of jazz. “Snakes Hips” New York Clipper, May 16, 1923, p.18 JACK MILLS SAILS Jack Mills, head of Jack Mills, Inc., on the reverse begins with some eccentric rhythm work, and sailed for Europe Tuesday [May 15] on the S. S. Berengaria, then settles down to straight jazz. (Ogdensburg, NY, and while in London will make his headquarters at the offices Republican Journal, June 02, 1923, p.07) of the concern’s representative, the Laurence Wright Music Company. A large party of friends were at the pier to see the publisher off, including Gallagher and Shean, the Memphis Five Orchestra and others affiliated with the music business.

New York Clipper, May 30, 1923, p.18

SONGWRITERS’ BENEFIT SUCCESS The Century theatre was crowded to the doors on Sunday night and an enthusiastic audience remained seated until nearly twelve o’clock to witness the final act of the songwriters benefit. …

Dance Review, March 1923, p.19 The song-writing fever has got those well-liked boys, Phil Napoleon and Frank Signorelli, who respectively are the wonder-cornetist and exceptional-pianist of the Original Memphis Five. Right this minute they have three low-down numbers with the Jack Mills house entitled “Great White Way Blues”, “Shufflin’ Mose” and the “Memphis Strut”. The fact that they’ve written them is SOME recommendation, buddy !

Music Trade Review, Saturday, May 19, 1923, p.50

JACK MILLS TENDERED DINNER BEFORE EUROPEAN TRIP Jack Mills, of Jack Mills, Inc., sailed for London on Tuesday of this week. On Monday evening [May 14] a farewell dinner was tendered him by his many friends in the trade and his business associates at Keene’s Chop House, West Fortyfourth street, New York City. Music was furnished by the Original Memphis Five. …

The Metronome Orchestra Monthly, June 1923, p.96

JACK MILLS OFF FOR EUROPE Amid the crash of cymbals and the mellow strains of Phil Napoleon’s effervescent cornet, Jack Mills, head of the House That Jack Built, sailed for Europe Tuesday morning on the S. S. Berengaria. More than a hundred friends and staff associates, wearing Gallagher and Shean red fezzes, waved everything from red bandannas to salary checks as the giant steamer went down the bay.

Newspaper men, representatives of mechanical companies, well-known performers and the entire Mills organization attended a farewell dinner given to Jack on the eve of his departure at Keene’s Chop House. (also in the New York

New York Times, May 23, 1923

Snakes Hips Fox Trot Dance once and again, then they howl "encore," when the Memphis Five cut loose with this number. Cornet, trombone, traps and piano are presided over by a screaming virago of clarinet in wild effects. Who's Sorry Now, a sensational fox-trot of country-wide popularity, is on the reverse. Price, 75c (Harrisburg, PA, Evening News, May 26, 1923, p.06)

VICTOR RECORD ARTISTS: The Memphis Five play "Snake's Hips" in rollicking fashion (Pittsburgh, PA, Press, June 03, 1923, p.39)

ORIGINAL MEMPHIS FIVE Wild jazz music of the unusual type that makes you dance on and on and on. (Racine, WI, Journal News, May 23, 1923, p.06)

DOWN BY THE RIVER / WHEN WILL THE SUN SHINE FOR ME THE COTTON PICKERS BRUNSWICK No. 2436 Fox Trots of the type that make you want to spring out on the floor with all the abandon of a circus clown. (Appleton, WI,

Post Crescent, August 21, 1923, p.08) Morning Telegraph, May 20, 1923, p.06) YOU’VE GOT TO SEE MAMMA EV’RY NIGHT - TENNESSEE The following five discs, recorded in February, March, and TEN - VICTOR No. 19073 The Tennessee Ten is a new April 1923, during the OM5’s engagement at the Balconades Victor combination … It sounds like a winner judging from Ballroom, were reviewed as follows: this record, getting a lot of corking effects from the familiar YOU TELL HER – I STUTTER / ‘WAY DOWN YONDER IN “mamma” number. (New York Clipper, July 20, 1923, p.30) NEW ORLEANS THE COTTON PICKERS BRUNSWICK After playing their last night at the Balconades on June NO. 2404 “You Tell Her” (Billy Rose-Cliff Friend), primarily 17,451 the band took a well-earned two week’s rest from a lyric song, is a surprisingly infectious dance number, ballroom work, but continued to do recording sessions. On although Billy Jones makes his presence known with a vocal June 10, Jack Roth and Frank Signorelli were wedded to chorus of the number. Jones sings it in perfect dance rhythm, Margie Connolly and Jennie Egan, respectively 451, 452, 1486, 1592, which means a novel acceleration of an ordinarily fast vocal 1594, 1789, 1792 (Conrad Kronengold, 26 years, living at 1662 54th tempo. The Cotton Pickers have made a striking arrangement St. had married Bernice Brown, 21 years, living at 1162 54th of the number, sounding fresh and nascent in spots to St., on June 19, 1922;799 Charles Panely had married Hazel contrast with the now familiar tune. These modern jazz Holland on January 17,1922.792).

were taken last week and others will follow rapidly. For some time a shake-up in the orchestra situation along Broadway has been predicted. With the prohibition laws being comparatively strictly enforced and the added burden of the Lenten season, the majority of the larger resorts have been keeping open at a loss. The Salvins last week sounded the first note when they released Benny Selvin from his contract, despite the fact that the Boardwalk had been doing fair business. Selvin has a high-priced combination and it was this fact that led the Salvins to consider the change. Selvin refused to cut, feeling that he had established himself at a certain price and it would be better for him not to work at all than to recede from that figure. Orchestras in the other Salvin restaurants that are remaining open are taking cuts that range from ten to twenty dollars per man. Raymond, at the Palais Royal, is working for less than he originally contracted for and others of the orchestras, including Fosdick at the Little Club, and several others are taking cuts. The Club Royal will close shortly for the summer, as this depends almost entirely upon society patronage and the spring migration of the social set is now in progress. The Salvins are not the only ones that are cutting. Yerkes Metropolitan Players, furnishing the music at Shanley’s, reduced the size of the orchestra from ten to seven men rather than take a cut and other cabarets are working along the same lines. The panic is not confined to the

Spokane, WA, Daily Chronicle, May 23, 1923, p.X03

SOMETHING TO “BLOW” ABOUT Charles Panely, who plays trombone for the Original Memphis Five, is the proud father of little Charles Anthony Panely, who arrived on Tuesday, February 20th [1923]. Charles, Jr., was seven pounds ten ounces on arrival, and his father has bright hopes of making him a successor for trombone honors, even though Charley, Sr., admits that at the present time he sounds more like clarinet. (Dance Review, March 1923, p.18) The Original Memphis Five, early 1923 (Elmira NY Star Gazette, July 10, The conclusion of the Balconades job on June 17, 1923 1925, p.05) L-R: Lytell/Signorelli/Napoleon/Panely/Roth) [this photo first marked the end of an era for the band: they would never appeared in the September 1923 issue of Metronome Band Monthly, p.86] again work for Sixte Busoni (the ODJB continued to perform at Busoni’s dance halls intermittently until late 1924, and Busoni died in May 1927, still owing the ODJB more than $ 2,000.00 793 [Busoni had declared bankruptcy in January 1926, with liabilities of more than $ 100,000.00]924 ).

Before detailing the OM5’s upcoming summer job for the 1923 season, witness the following contemporary report:

ORCHESTRAS FACING BIG CUT IN SALARIES FOR SUMMER WORK - BROADWAY RESORT MANAGERS THE FIRST TO ANNOUNCE THAT SALARIES ARE TO BE REDUCED SUMMER HOTELS AND CAFES FOLLOW WITH BIG CUTS IN ALL Dance orchestras along Broadway and throughout the country have been thrown into something closely resembling a panic by the answers they are getting from resort proprietors when they go in search of summer booking.

Prices all along the line are from two to five hundred dollars under what they were last season and the owners of several cabarets and dance halls along Broadway have expressed The Original Memphis Five, early 1923 (Variety, September 09, 1925, p.65) their intention not to renew contracts next season at the L-R: Napoleon/Signorelli/Panely/Lytell/Roth [photo taken before June 30, 1923] present high rates. The first steps in the reduction of prices

cabarets. The larger dance halls, although making a profit, are reducing expenses. Hallett and Lanin will close at Roseland in a month or so and an unorganized combination of six or seven men will be put in for the summer months. This follows a policy previously employed by Roseland for the summer but rumors concerning next season’s policy are already rife. Bluebird, where Al Burt and the Indiana Syncopators hold forth, will probably close about May 1st, the building being remodeled for a monster dance hall to open in the fall. Burt’s contract expires on April 21 and the Syncopators leave on May 01. In Atlantic City the proprietors are as silent as oysters and answer all inquiries regarding their plans with grunts. They have refused to discuss terms until they get some advance indication of what business is going to be like. The Easter season has always been used by them as a criterion, and if the weather is fair over the coming Easter holiday they will be in a more amiable mood and may offer more than they had intended for good orchestras. One orchestra that worked in Atlantic City with great success last summer at $ 1,200 a week was offered $ 900 this year. The leader is now debating whether or not he should snap up the offer or take the chance of going without a job all summer.

There are several combinations that signed contracts last summer for their re-engagement this year, and the leaders of these orchestras are now congratulating themselves on their foresight, inasmuch as in most cases the contract for this summer called for an advance over last year’s price. It is possible that some of these contracts will be broken. A peculiar feature of the situation is that in spite of the prices being offered there is no glut of orchestras on the market, good combinations at a reasonable price being scarce.

Proprietors, who feel that they need a good orchestra to build up their business are finding it difficult to get what they want at a price they are willing to pay. Orchestras are, to a

large extent, replacing other forms of entertainment in the summer resorts, so that, in order to get business, a crackerjack orchestra is necessary. At the same time excessive cover charges kill business, the $ 1.50 and $ 2 covers that have been prevalent scaring off a good many sensible patrons that would otherwise not hesitate to come in. On the other hand the proprietors find it impossible to pay the cost of an orchestra at the prevailing rates without making a heavy charge. (New York Clipper, March 28, 1923, p.04) Dance hall business around New York has perceptibly dropped in the past few weeks.(Variety, June 07, 1923, p.31) TOO MANY DANCE ORCHESTRAS There are so many dance orchestras in the field at the present time that, according to one prominent orchestra leader, the time has come when it is a question of the survival of the fittest. There are more dance orchestras then there are jobs.1745 These were the conditions facing the OM5 when the New York Clipper of July 04, 1923, p.28 reported the news:

LANIN AT CASINOPIER Sam Lanin opened on Saturday [June 30] at the Casino Pier, Wildwood, N. J. [located 40 miles south of Atlantic City], for the summer. Lanin is in charge of one orchestra and the Memphis Five is the other combination. The Casino Pier [a dance palace on the boardwalk] 1518was taken over by Lanin and his brothers this year with Sam Lanin in personal charge.

The Delmarvia Star, Wilmington, DE, July 01, 1923, p.16:

WILDWOOD, N. J. … Last night the Casino formally opened for the season. The beautiful dance hall is under the direction of the Lanin Brothers and their Radio Club.

New York Clipper, July 20, 1923, p.04: MUSICIANS OPERATING PIER The Lanin Brothers have bought the Wildwood, N. J., pier, which they are currently operating. Joe and Sam Lanin are both orchestra leaders, the former at the Rosemont, Brooklyn, and Sam Lanin at the Roseland, New York. The Original Memphis Five is supplying the music.

Three months earlier, the Clipper (issue of April 18, p.28) had provided some more background detail: LANIN BROS.

INCORPORATE Sam Lanin, Joe Lanin and Howard Lanin, incorporated last week under the name of the Lanin Brothers, Inc., to furnish orchestras and operate dance halls throughout the east. The corporation has adopted the slogan, “Specialists in good dance music”, which will appear on all stationery. …

Their first venture in the way of dance halls has been to take over the Casino Pier at Wildwood, N. J., for the summer. …

Frank Signorelli and Phil Napoleon, c. 1923. Courtesy Ate van Delden.

Wilkes-Barre, PA, Record, August 13, 1923, p.02

The Original Memphis Five, 1923. L-R: Frank Signorelli, p/Phil Napoleon, t/Jimmy Lytell, cl / Miff Mole, tb / Jack Roth, d. Courtesy of the late Bob Hilbert.

Wilkes-Barre, PA, Times Leader, August 04, 1923, p.13

New York Sun and Globe, November 15, 1923, p.05

Wilkes-Barre, PA, Record, August 10, 1923, p.02

New York Clipper, July 11, 1923, p.28

FIRE AT CASINO PIER The Casino Pier at Wildwood, N. J., which is being operated by the Lanin Brothers under the personal supervision of Sam Lanin, narrowly escaped burning last week [July 02 – 07] when a fire started in the Sweet Block at Schellenger avenue and the Boardwalk and was fanned towards the Pier by the high wind. The Sweet Block, which was destroyed at a loss of about $ 200,000 is owned by Mrs. Belle Sweet and comprises bathhouses, a steam plant and many stores and concessions with apartments above.

Firemen from nearby towns helped extinguish the blaze and keep it from spreading to the Casino Pier and other nearby Buildings. Business at the Pier was not seriously interrupted and the Memphis Five and Howard Lanin’s seven piece orchestra were on hand the following evening to play for the dancing in this magnificent structure.

Pittsburgh Press, October 31, 1923, p.27

I haven’t found any more contemporary reports detailing the OM5’s appearance at the Lanin brothers’ Casino Ballroom, where they seem to have performed until at least late July, 1923. But a check of local Pennsylvania newspapers revealed four one-night-stands during a period of 10 days: 1923-08-04

Dallas, PA, Harvey’s Lake, Schwab’s Sunset Pavilion 1079 to 1081 / 1923-08-10 Pittston, PA, Valley View Park, dance held by the Fern Club 1082 to 1084 / 1923-08-11 Elmira, NY, Rorick’s Glen Park, Crystal Ballroom 1085 / 1923-08-13 Dallas, PA, Harvey’s Lake, Oneonta Pavilion.1086 to 1091 This leads to the question how long-lived the Wildwood Pier, NJ, summer job actually was (the September 1923 issue of Metronome Orchestra Monthly reported, on its page 86: The Original Memphis Five, just in from Wildwood, N. J.), and if there were not quite some more one-night-engagements which the OM5 played that summer, and which have escaped my notice.

New York Clipper, August 31, 1923, p.20

The Original Memphis Five … with a spicy offering of Pickles. You will love these pickles, tartly flavored with a peach of trick piano, tended with saucy saxophones [!!!] and mixed with cornet and other favorite dance flavors.

Like a regular blue Monday is this week’s edition by the Original Memphis Five. “I’ve Got A Song For Sale” is jazz blues re-distilled, with a regular Calamity Jane of a clarinet to start the screaming. “Tin Roof Blues” has some corniceworker effects. (Bismarck, ND, Tribune, Nov. 03, 1923, p.06) "I've Got a Song for Sale" has true Memphian blues-swing and rhythm. The same is true of "Tin Roof Blues", begun by the piano like a blues-song accompaniment, then chorused PENNSYLVANIA DANCE CRAZE The dance craze has hit by a boat-rocking ensemble. The records of the Memphis Five the anthracite belt of Pennsylvania. Every kind of summer are unexcelled for the “high-jazz” quality demanded by many dancers – especially, it seems, the younger element. resort, park or lake has a dance pavilion.

Journal:

Let’s hear some contemporary reports about these one- (Wilmington, DE, News Journal, November 15, 1923, p.03) BLUE ROSE / DO YO’ DOOTY DADDY night-stands:

MEMPHIS FIVE TO PLAY AT THE LAKE … the Original Memphis “5” will appear at Schwab's Sunset Pavilion, Saturday night. [Aug. 04] This well known band has made many records which are now on sale in local music stores. It will be a treat to dancers and local musicians to hear the Memphis Five. They are coming here from the Wildwood-Pier in Southern Jersey, where they have been making a decided hit. (Wilkes-Barre, PA, Times Leader, August 01, 1923, p.09) Wilkes-Barre, PA, Times-Leader, August 02, 1923, p.02; Everybody should hear this famous also August 04, p.13

band. The snappiest syncopators in the country. If these boys don’t make you dance, see a doctor. Be here, and give your feet a treat.1087 to 1089 MEMPHIS FIVE AT ONEONTO TONIGHT When a real eighteen-karat jazz band serenades the atmosphere with one of those mean, moaning "blues", the old and young, the rheumatic and acrobatic, the peppy and petrified start to sharpen their pedals, oil up their stiffened joints and holler "Let s go”. Everybody steps to “blues" that are played by a band that knows how. The original Memphis Five know how, for this quintet of snappy musicians originated the "Blues" as played by modern syncopators. The Memphis Five will play at the Oneonta Pavilion tonight [Aug. 13] and anyone who has stepped to its Victor records in the family parlor will attest to the Memphis Five's ability to saturate one's anatomy with that shimmy shaking feeling. (Wilkes-Barre, PA, Times Leader,

THE COTTON PICKERS BRUNSWICK No. 2532 A mean bunch of jazzists, those Cotton Pickers! “Blue Rose” (Coleman-Herbert) is plenty “blue” while the “daddy” gets down to basic, barbaric indigo. The trumpet does some real “wicked” work and the piano tickling is unusual. (New York Clipper, March 06, 1924, p.17)

SHUFFLIN’ MOSE / THE GREAT WHITE WAY BLUES ORIGINAL MEMPHIS FIVE EDISON No. 51204 The Memphis Five, one of the most distinctive dance organizations in the United States, will be welcomed by Edisonites. The two dance-compelling numbers given here present the Memphis Five at their best. (Greenville, PA, Evening Record, November 09, 1923, p.12) An interesting report about factors that influenced the popularity of a working group’s records appeared in the New York Clipper, October 23, 1923, p.24: LOCALITY GOVERNS

RECORD SALES IN CERTAIN DISTRICTS Although it has been demonstrated that the public buys the dance tune that is popular regardless of the maker of the record, a survey of dealers shows that recordings of the same tune by different orchestras will get a bigger play than others. Another point of interest is the question of locality. In New York different sections prefer different orchestras. In the Eighth avenue section Lanin records sell very well, a large part of the dancing population being familiar with Lanin’s work at Roseland and liking his style of playing. Whiteman and Specht, Miller and Lopez records go big pretty generally all over, Miller getting a big plug in New Jersey, due to his owning the Paradise dance hall in Newark. In Harlem a dealer who sells several makes of records pointed out that with his patrons records by the Memphis Five outsell Whiteman almost two to one.

August 13,1923, p.09; also Wilkes-Barre, PA,Record, August 13, 1923, p.12) During this period of ten weeks or so, the band managed to do only three recording sessions, for Edison, Victor (as Tennessee Ten) and Plaza, due to the 150 miles distance involved. The New York Clipper, September 21, 1923, p.22, carried a short review of a “Tennessee Ten” (the OM5 plus Bandleader Irwin Abrams had the following to say about the one additional trumpet, two saxophones, banjo and tuba) factors which determined the popularity and success of a record, made on June 26, 1923, just before the start of their band: IRWIN ABRAMS TELLS WHAT NEW YORK DANCERS WANT summer job at Wildwood, N.J.:

I have studied the wishes of the people who come to the ballroom to dance … After all, it is they who determine whether a band is a success or not. I find that about half of them favor the melodious dance, the sort of number which leans heavily on tune. The other half like the ‘hot’ arrangements. The same thing applies to tempo. We have a great number of young folks among our patrons, including a “Pickles”, recorded one month earlier for Columbia, was great many college boys. They all clamor for fast dancing the subject of a short review which appeared on page 05 of tempos, in fact we can’t play too fast for them. Sometimes I the September 01, 1923 issue of the Wilmington, DE, News think we are playing at a speed impossible for human feet to

WAITIN’ FOR THE EVENING MAIL / ‘TAIN’T NOBODY’S BIZZ-NESS IF I DO TENNESSEE TEN VICTOR 19109 A hot blues dance couplet in the Tennessee Ten’s best indigo style which includes the usual array of wild clarineting, forte banjo picking of the “wicked” order and weird saxo modulations. With the second number is medleyed “Achin’ Hearted Blues”. Very satisfactory for dance.

keep up with, but I am quickly disillusioned when I look out on the floor and see these young dancers. They have a knack of splitting the time and dance at quite a leisurely pace. At the same time, the dancers who have not acquired this knack are getting winded trying to keep time with the band. What I have had to do is to try and keep the exponents of both these dancing styles satisfied; I mix up my programs so that each gets the sort of dance they want. I find that about half and half does the trick very nicely. (Metronome, August 15, 1925, p.74) On Friday, September 07, 1923, the OM5 took part in the ELABORATE NEW OFFICES OPENED BY following event:

JACK MILLS, INC. Formal opening of the new home of Jack Mills, Inc., music publishers, in the Jack Mills Building, 148 West Forty-sixth street, New York City, took place on Friday, September 07, and was attended by several hundred wellknown stage and talking machine artists, as well as mechanical reproduction representatives, music publishers, newspaper men, etc. … On the whole, the opening, at which such renowned musical organizations as Ben Selvin’s Orchestra and the Original Memphis Five furnished the music, proved … most auspicious. … (Music Trade Review,

stars were also present …

Brooklyn Standard Union, September 26, 1923, p.03

CLOWN NIGHT AT THE ROSEMONT Each Thursday night has been set aside at the Rosemont in Brooklyn as “Clown Night”, with a number of musical comedy and vaudeville stars scheduled to appear. I. J. Faggen, managing director of the Rosemont, announces that only the best talent from the Manhattan theatres will appear, with every promise that each programme will be replete with novelties. An exceptional and regular feature of the Rosemont is the Original Memphis Five, a musical aggregation direct from Broadway. This group of artists plays each evening, introducing a unique programme of music.

The Rosemont was managed by I. Jay Faggen, “one of the greatest salesmen I ever knew, and one of the sportiest dudes you ever saw. He would make a thousand dollars a day and spend fifteen hundred the next ”, as reed-player and

showman Fess Williams recalled.796 Sources differ from each other whether the Rosemont was,797 or was not 796 owned by Louis J. Brecker, the proprietor of the famous Roseland Ballroom.

The New York Clipper, December 14, 1923, p.25 carried a September 15, 1923, p.57; similar reports in Jacobs’ Band review of one of the OM5’s evening performances there: Monthly, October 1923, p.21/22, and in Billboard, September BAND AND ORCHESTRA REVIEWS THE ORIGINAL MEMPHIS FIVE ROSEMONT, BROOKLYN, N.Y. This 15, 1923, p.22) On Thursday, September 13, 1923, a week before its jazz combination holds the unique distinction of having done official opening for the fall season, the Rosemont ballroom in recording work for every disk record manufacturer in the Brooklyn staged a benefit gala: Musical comedy and business. Organized in 1917, the quintet has remained intact

vaudeville stars will donate their services at Rosemont in Brooklyn to-morrow night when the entire proceeds are to be given by the management to the Japanese Relief Fund. I. J. Faggen, managing director of Rosemont, has arranged a gala programme, and all receipts will be immediately turned over to the Red Cross. … The Memphis Five and Milt Merrill and his orchestra will furnish the music for the evening.456 Then, on September 20, 1923, the Memphis Five opened at the Rosemont Ballroom, Fulton St. & Flatbush Ave., Brooklyn 457, 458, 459, 902 , where it would perform continuously for the next eight months, until May 17, 1924.460 to 493, 508, 903, 1816 to 1865 Brooklyn Daily Eagle, September 23, 1923, p.B 03

AT THE ROSEMONT Paul Whiteman, Vincent Lopez and Ray Miller alternated as guest orchestra leaders at the fall opening of Rosemont in Brooklyn last Thursday night [Sept. 20]. The Colony Club Orchestra, led by the three leaders, alternated with the Memphis Five from Broadway. Stage and screen

under Phil Napoleon’s direction all these years, growing with the jazz dance craze until now. It is an ace “blues” recording combination for companies from the Victor down. At the Rosemont in Brooklyn, N. Y., the most pretentious ballroom in the borough across the bridge, the Memphis Five is the prime dance feature. They have played vaudeville, cabaret, dance hall and every indoor amusement place up to now. In the dance place they dish up a variety of Indigo numbers that is best gauged in effect by the fact they draw the crowds on to the floor, more so than the alternating combination [Jules Berkin and his 11-piece orchestra 1544] which features the smoother sort of dance music. If ever there was an instance demonstrating that they prefer the barbaric jazz to symphonic syncopation, it is no more aptly illustrated than here.

Napoleon, who plays the trumpet, really is the nucleus of the band, with his sizzling modulations. Frank Signorelli is the pianist; James Lytell, a wicked clarinetist; Charles Pavely [sic], trombonist, and Jack Roth, drums. They feature rhythm music and that seems to be the thing with the Brooklynites. - Abel [Green] NY Daily News, February 17, 1924, p.08B / *Febr. 24, p.06B Thursday night [Febr.21] at Rosemont will be Clown

NY Daily News, Sept. 12, 1923, p.20

NY Daily News, Sept. 17, 1923, p.21

Night. Special Broadway entertainers are scheduled to make the event a success. Rosemont’s two famous orchestras, the Original Memphis Five and Jules Berkin’s Players, as usual will jazz it up for dancing guests. * [They] are making Thursday night the night of nights at Rosemont.

WEEKLY COMMENT NY Clipper, April 10, 1924, p.14

by Abel [Green] WRITERS WHO PROTECT THEMSELVES Frank Signorelli and Phil Napoleon of the Original Memphis Five are two composer-bandmen who get all that’s coming to them in “mechanical” royalities. Everything they write they record for the different companies, and when they doubt a publisher’s royality statement, they have access to the phonograph company’s books for verification.

NY Daily News, Sept. 25, 1923, p.06

NY Daily News, Dec. 22, 1923, p.28

NY Daily News, Dec. 26, 1923, p.23

NY Daily News, Dec. 28, 1923, p.23

NY Daily News, Jan. 14, 1924, p.24

NY Daily News, Oct. 16, 1923, p.24

NY Daily News, October 29, 1923, p.24

NY Daily News, January 13, 1924, p.14 B

NY Daily News, Nov. 15, 1923, p.28

NY Daily News, Dec. 19, 1923, p.27

NY Daily News, Jan. 16, 1924, p.21

NY Daily News, Febr. 12, 1924, p.19

NY Daily News, May 27, 1924, p.30 NY Daily News, January 21, 1924, p.24

NY Daily News, Jan. 15, 1924, p.12

NY Daily News, Febr. 14, 1924, p.27

NY Daily News, May 13, 1924, p.20

NY Daily News, May 22, 1924, p.25

NY Daily News, June 28, 1924, p.20

NY Daily News, July 03, 1924, p.16

NY Daily News, July 13, 1924, p.39

NY Daily News, Sept. 14, 1924, p.46

New York Clipper, February 08, 1924, p.16

DISK REVIEWS by Abel [Green] SHE WOULDN’T DO WHAT I ASKED HER TO / MORE ORIGINAL MEMPHIS FIVE COLUMBIA 37-D A brace of “hot” dance tunes played in the Memphis Five’s most torrid manner. This quintet is the last word in the line of jazz record-makers, giving full play to the trumpet, clarinet, etc.. “She Wouldn’t Do” has an incidental chorus by Billy Jones, as has “More”.

New York Clipper, February 29, 1924, p.16

New York Clipper, December 28, 1923, p.37

The Original Memphis Five, c. 1924. Courtesy Ate van Delden L-R: Roth / Mole / Lytell / Napoleon /Signorelli

We are afforded the luxury of several contemporary reviews (in addition to those already cited above) of discs which were recorded during the band’s stay at the Brooklyn Rosemont: New York Clipper, November 09, 1923, p.22 REVIEWS OF DISK RECORDS by Abel [Green]

DISK REVIEWS by Abel JUST HOT / SHUFFLIN’ MOSE THE COTTON PICKERS BRUNSWICK 2507 Just Hot ( Signorelli-Napolean-McHugh-Smith ) is nothing else but, as a dance number. lt is beaucoup torrid as composed and more so as The Cotton Pickers have interpreted it. Frank Signorelli and Phil Napolean are the conductors of the Original Memphis Five, the dance feature at the Rosemont dance hall, Brooklyn, N. Y., where they have plenty of opportunity to study the dancers’ likes in rhythmic blues. It is therefore only natural this should be a perfect dance number. They are also the writers of Shufflin’ Mose with Lottman and Smith as collaborators. Both are published

by Jack Mills and since Jimmy McHugh is professional manager for Mills that accounts for his being in on the first.

Lottman is somebody connected with the advertising department of the firm, and that explains his being cowriter of the other. Both tunes are distinguished by trumpet and clarinet flash stuff.

New York Clipper, March 13, 1924, p.17

DISK REVIEWS by Abel ST. LOUIS GAL / SHUFFLIN’ MOSE THE ORIGINAL MEMPHIS FIVE COLUMBIA 50-D Here’s a “low down” blues coupling of the meanest order and perfect for the Original Memphis Five’s jazz attack. There is plenty of indigo contributed by the clarinet and the cornet, with the saxes [!!!] also outstanding. These are lazy toddles making for nice and easy dancing. “St. Louis Gal” (Robinson) cannot miss out. “Shufflin’ Mose (Frank Signorelli, Phil Napoleon) is the Memphis Five’s own composition by the pianist-leader and cornetist of the band.

THE JELLY ROLL BLUES & A BUNCH OF BLUES ORIGINAL MEMPHIS FIVE EDISON No. 51246 Plenty of indigo dance strains and snappily delivered by the Memphis quintet.

The “Jelly Roll Blues” is an old “blues” classic revived for the Anaconda, MT, Standard, March 20, 1924, p.09 current dance craze for this rhythmic type of unmelodious RELEASED TODAY. HEAR IT. THE ORIGINAL MEMPHIS FIVE. music. The other, a drag fox trot, is equally danceable.

Those dancers whose feet simply won’t keep still when they New York Clipper, December 14, 1923, p.22 hear the slightest suspicion of a blues tune will find a sky full REVIEWS OF DISK RECORDS by Abel [Green] of indigo enjoyment in these two low-down blues by the LAST NIGHT ON THE BACK PORCH / WALK, JENNY, WALK Original Memphis Five - “St. Louis Gal” and “Shufflin’ Mose”.

MEMPHIS FIVE COLUMBIA 7-D Melody is totally They might be called physiological fox trots. They make the submerged in favor of rhythm. The barbaric staccato of the body hitch, the knees twitch and the feet itch to be up and Memphis quintet must be finding ample response, because doing. Each is a succession of climaxes, in which the clarinet their records are really selling. It is just a marathon of shrills challengingly to the cornet, the cornet cackles to the accentuated dance beats and quite “kicky”, in which the saxophone [!!!], and the saxophone [!!!] retorts with a hoarse cornet and banjo are most prominent. Billy Jones is also vibrant rumble like some jungle animal growling in its sleep. present with a vocal chorus. And on the same page: Each number is slow and easy-going – good for those who MAMA GOES WHERE PAPA GOES / WALK, JENNY, WALK like to take their dancing easy.

COTTON PICKERS BRUNSWICK 2490 New York Clipper, April 17, 1924, p.18 The Cotton Pickers have been absent from the Brunswick WHY SHOULD I WEEP ABOUT ONE SWEETIE / SINCE MA IS ranks for several months, but they seem to have saved all PLAYING MAN JONG ORIGINAL MEMPHIS FIVE their stuff for one grand flash. And how they flash! In brief, if COLUMBIA No . 74-D every disk combination that threatens to grow stale through For a change, Frank Signorelli and Phil Napolean’s Original prolific recording can make as brilliant a come-back as the Memphis Five are doing outside numbers; i. e., compositions Cotton Pickers, some should by all means lay off for some they did not themselves author. These young band leaders time. The orchestra has picked a pair of peppy fox trots to enjoy the unique reputation of writing and recording their begin with and their versions thereof are syncopated classics.

New York Clipper, February 22, 1924, p.12

Variety, May 07, 1924, p.29

Variety, October 01, 1924, p.71

Variety, December 31, 1924, p.55

own songs as a rule. They dish up their usual brand of weird jazz pyrotechnics with this couplet. In “Sweetie” (Hanley), the brass, piano and saxos [!!!] stand up and out. “Mah Jong” (Rose-Conrad), is appropriately dressed up with the Oriental trimmings. The cornet and piano particularly scintillate. Billy Jones is also present with an incidental chorus.

Mohawk Valley Engineers’ Club. About 300 were present. …

Thirty-two firms were represented at the banquet. Liberty Lodge Quartet sang and music was furnished by the Memphis Five. …

The following press blurb appeared in the New York Clipper, March 20, 1924, p.13, probably written and sent in Just how influential the style of the OM5’s music was to by Frank Signorelli: that of other bands, and to the perception of the new music Frank Signorelli and Phil Napoleon, pianist-conductor and by the general public, is demonstrated by music critic Abel cornetist respectively of the Original Memphis Five. The band Green’s review of a record by another band, the Georgians was the hit of the C. & C. Blow-out at the Friars’ Saturday (Columbia 11-D), where he states: This is another of those night [March 15], in honor of “Saturday Night” Eddie O’Brien.

Memphis Five combinations featuring rhythmic dance Otherwise still going strong at the Rosemont, Brooklyn, N. Y., music.1763 with the genial I. Jay Faggen as the guiding mentor and During their continuous eight months stay at the Rosemont business manager. Extensive recording dates with practically every disc company also contribute to a happy existence. in Brooklyn, the OM5 performed at several extra occasions: Brooklyn Standard Union, September 30, 1923, p.14:

Prospect Hall is to be the scene of the first annual ball of the Edward T. O’Loughlin Association. The affair is to be held tomorrow night [Oct. 01] and indications point to one of the biggest gatherings the South Brooklyn hall has ever held. It’s expected that at least 6,000 persons will attend. … Five halls are to be pressed into service and five bands will discourse dance music. They include the Memphis Five, Crescent Melody Five, John J. Nolan’s Orchestra, New Orleans Jazz Band and McGarry’s orchestra. … Most of the city and borough officials have promised to attend …

New York Clipper, November 09, 1923, p.23 PLENTY MUSIC AT BALL The annual ball of the Talking Machine Men, Inc., of New York, New Jersey and Connecticut at the Hotel Pennsylvania, New York, on Nov . 21, will have the following recording orchestras present: All Star Trio, Ben Selvin, Benny Krueger, Ben Bernie, Brooke Johns, Carl Fenton, California Ramblers, The Columbians, The Collegians, Coleman, Charles Dornberger, Dixieland Jazz Band, Elkeles Club Deauville orchestra, Great White Way band, Gene Rodemich, Joseph C. Smith, Memphis Five, Paul Whiteman, Paul Specht, Ray Miller, S. S Leviathan, Ted Lewis, Tennessee Ten, The Virginians, Vincent Lopez, Yerkes S. S. Flotilla, Zez Confrey. (similar report in NY Morning Telegraph, November 04, 1923, p.05) The following event represents a very rare case that the OM5 featured a star guest musician at a live engagement, apparently to help promote their Brunswick records:

During this Rosemont period, the OM5 also resumed radio work, and I was able to trace the following instances: WHN, NYC (360 meters): 1923-11-08, 11:15 P.M. - 12:00495 / 1923-11-21 498 WJZ, NYC (455 meters): 1924-01-14, 04:00 P.M.499 / 1924-01-16, 04:00-04:30 P.M.500, 501 / 1924-01-22, 04:45-05:15 P.M.502 / 1924-01-29, 05:0005:30 P.M.503 / 1924-03-07, 07:05-07:30 P.M.504, 505 / 192403-21, 07:00-07:30 P.M.506, 507 The November 21, 1923 broadcast was reviewed: …the

Original Memphis Five was in the air… It is of the best heard through the ether, and their stuff got over with full effect.798 Some obligatory press blurbs also appeared in the papers during this time: New York Clipper, February 08, 1924, p.18

CONN’S BAND WAGON The Conn Band Instrument Co. has instituted a novel form of itinerant exploitation in the form of a vividly painted red “Conn Band Wagon”, which is used for haulage in New York City. On either side of the wagon is printed that Arthur Lange and the Original Memphis Five both feature Conn instruments.

New York Clipper, April 03, 1924, p.15

THE ORIGINAL MEMPHIS FIVE This superb aggregation of “hot” jazzists will disport themselves “by the sea, by the sea, by the beautiful sea” these summer months, as the dance music attraction at the new Rosemont Ballroom, on the Boardwalk, Coney Island. I. Jay Faggen, their manager, will close down the Rosemont, Brooklyn, N. Y., which is their present abode, for the summer season, and look after their business welfare during the hot spell. The phonograph companies will probably demand the Original Memphis Five’s occasional visits to town for recording dates. Also, Frank Signorelli and Phil Napoleon, the leaders of the band, will have at least one chance to visit Broadway with a bodyguard to collect the royalties from Irving Berlin, Inc., on their sensational novelty dance hit, “Sioux City Sue”.

COLLEGIATE DANCE TAKES PLACE IN NEW YORK SOON The entire eighth floor of the Hotel Astor including the Presidential ballroom has been secured by those in charge for the Intercollegiate Dance to be held in New York December 28. Capacity is 1800. The “Cotton Pickers”, including the “Memphis Five” and “Benny” Krueger, will vie with “Wes” Thomas’ orchestra, supplemented by several members of the “Collegians”, for the musical honors of the evening. The music will be continuous from 9 o’clock in the evening until 3 New York Clipper, April 17, 1924, p.15 o’clock the next morning. “Benny” Krueger, perhaps the FRANK SIGNORELLI AND PHIL NAPOLEON The pianistgreatest saxophone player in the country, will be the stellar conductor and the torrid trumpeter and co-leader of the performer.872 Original Memphis Five, the prime dance attraction at the Rosemont, Brooklyn, N.Y., are … talking their summer Utica NY Observer Dispatch, March 08, 1924, p.09 NEW YORK COLLEGE PROFESSOR TALKS AT MEETING HERE season’s plans over. That takes in a lot of territory. The boys seem serious about something, and the deduction is that with “Industrial Optimism” was the subject of the talk given by William B. Guthrie, professor of government at the College of their one-piece Kellermanns about to be removed from the the City of New York, before the final lecture and banquet for mothballs in view of the “sweet” Coney Island booking this industrial foremen, held in the Utica Gas & Electric summer, their chief worry is going to be the morning trips auditorium last night. The lecture concludes the training into Main street and “tin pan alley” to place new songs or to course which has been put on under the auspices of the sign contracts for new recording dates. The summer address

will be at the new Rosemont ballroom on the Boardwalk, Cameo Dance Palace, Surf & Stillwell Avenues, at the rear of the old Henderson Music Hall, and alternated at that venue which I. Jay Faggen will manage.

New York Clipper, May 01, 1924, p.16

ORIGINAL MEMPHIS FIVE This beaucoup torrid phonograph recording orchestra [is] in the throes of going through the motions of strenuous rehearsals in preparation for their forthcoming debut at the new Rosemont ballroom on the Boardwalk, Coney Island. The Memphisites will open their summer season shortly. Meantime they are still at the Rosemont, Brooklyn, N. Y., under the genial I. Jay Faggen’s management. Frank Signorelli and Phil Napoleon, in between playing nights and recording mornings, still find time to write some new “blues” ditties. Particularly watch for “Sioux City Sue”. Irving Berlin, Inc., is the Lucky Publisher.

This seems a good place to give a brief overview of the career of former OM5 member Johnny Costello: some months after the OM5 disbanded in late March 1921, at the end of their engagement at the Claridge Cabaret in Montreal, Canada, Costello was playing with “The Tempters Of Dance” [Bert Reynolds, c / Nick Tarquinio, tb / Johnny Costello, cl / George Webb, p / Harry Condon, d] at the Albermarle Dance Palace, Flatbush Avenue & Albermarle Road, Brooklyn, in November – December 1921;1786 with the “Original Indiana Five” in 1922; with “Louis Maesto’s St. Louis Five” in 1923 1764 [this group was re-named “St. Louis Rhythm Kings in April 1924” 1765]; with “Roy Johnston’s Dixie Devils” [Roy Johnston, t / Vincent Grande, tb / Johnny Costello, cl & sax / Gerald Finney, p / Ken Whitmere, d], from October, 1923 until February 1924;797 with “Johnny Johnson’s Band” from February 1924 onwards;1764 and then in December 1924, Costello joined the new “Ben Bernie Ciro, New York, Orchestra”.1753 As the spring season drew to a close, Coney Island in the summer of 1924 was still the Mecca for NYC’s jazz musicians – new venues were opened there every year: New York Clipper, May 08, 1924, p.18

FAGGEN’S CONEY PLACE I. Jay Faggen’s new Rosemont ballroom, Coney Island, opens May 22. It is on the Boardwalk and will have the original Memphis Five and Jules Berkin’s orchestra as the dance features. The Rosemont, Brooklyn, N.Y., will be closed four days preceding the Coney Island opening. [see also advertisements on page 16 of this article] The OM5 played at the new Coney Rosemont the whole summer season, for four months, their last night there being September 24, 1924.508 to 523 No reviews of their performance there during that summer survive – in their stead, a short contemporary record review must suffice: Variety, August 20, 1924, p.37 DISK REVIEWS

IT AIN’T GONNA RAIN NO MO’ / RED HOT MAMMA MEMPHIS FIVE COLUMBIA NO.155-D The popular doggerel, “It Ain’t Gonna Rain” (Forster), Wendell Hall’s sensational radio song hit, despite its brief chorus, steers clear of the danger of becoming monotonous through the Memphisites’ clever jazz variations. They play it plenty “hot”, with the “wow-wow” trumpet and piano (Phil Napoleon and Frank Signorelli, respectively) standing out.

“Red Hot Mamma” (Wells, Cooper and Rose), is a corking jazz number. The clarinet and trumpet are not the least important in the torrid delivery.

Other jazz bands playing the 1924 summer season at Coney Island included the ODJB, which opened at the Danceland, Surf Ave. & 20th St., on May 10, 1924;800 the Original Georgia Five, who opened May 17, 1924 at the new

first with Mike Mosiello’s Cameo Dance Orchestra (May 17 – c. July 06),801, 1768 and thereafter with Bobby Orr’s Cameo Orchestra, a six-piece combination;801, 802 Vincent Sigler and his Jazzing Six (Vincent Sigler–Phillip Rameriz–Justo Marreto– George Kiko–Eddie Day–Jess Williams), who were playing at Steeplechase Park;1520 Duke Yellman and his 11-piece orchestra, who opened at Feltman’s Maple Garden on May 17, 1924;1545, 1546 and Saxey Holtsworth’s Band who began an engagement in late May at the newly remodeled Ravenhall’s (which featured a large open air dance floor with a rubber floor).1769 Furthermore, there was Ben Bernie and his Band, who started May 17 at Hotel Shelburne, on nearby Brighton Beach,1589, 1590, 1767 and played there until July 20,1744 to be replaced thereafter by Mel Craig’s Band.1744 While still playing their summer job at the Rosemont, Coney Island, the OM5 got into another ‘side-project’: they teamed up with the vaudeville dancing act of Tom Bryan and Lillian Fairchild, and performed with them at Keith’s Greenpoint Theatre, Brooklyn (Sept.04-07, 1924),525, 526, 1521 followed by a week at Keith’s Rivers Theatre, Brooklyn (Sept.

08-14)530, and finally another week at Moss’ Broadway Theatre (Sept. 15-21).528, 529, 531, 532, 1522 to 1524, 1536, 1599, 1600 The Billboard issue of September 20, 1924, p.20 reported:

MEMPHIS FIVE IN VAUDE. The Memphis Five … have been booked to play Moss’ Broadway Theater this week …

The quintet … has been hailed as the “hottest” band on any circuit, with sure-fire show stopping qualities.

And the Brooklyn Daily Star, September 13, 1924, p.14 read: B. S. MOSS … BROADWAY THEATER

A highly diverting well-balanced program of B. F. Keith vaudeville favorites will … be presented. … the Memphis Five, a new musical organization [!!!] who will present new ideas in syncopation …

Five reviews of the act’s performances survive: ORIGINAL MEMPHIS Variety, September 17, 1924, p.44

FIVE and BRYAN and FAIRCHILD BAND AND DANCE TEAM 11 Mins.: FULL STAGE (SPECIAL) KEITH’S RIVERS, BROOKLYN, N. Y. The Original Memphis Five are a famous jazz organization, supreme in their particular field of “hot” dance music delivery. They are well known through their dance orchestra work and on the records, recording for practically every company in the business. The dance team, which completes the act, is Tom Bryan (Bryan and Broderick) and Lillian Fairchild. Their terps are naturally all done to the Memphis Five’s accompaniment. The routine is fast and snappy, an alternation of musical and dance specialties. The band opens with a “hot” number followed by Bryan and Fairchild with a dance. The team’s second number is an Oriental motif leading into a tango. For this Miss Fairchild wears abbreviated costume of rhinestone breastplates and frugal nether covering. The accompaniment is naturally excellent, accentuating the motif rhythms smartly. The band does another specialty, a medley of pop tunes, featuring the trumpet, which fetched individual applause, but choked it off until conclusion of the rendition. The dance team closes with an acrobatic fox trot number. The Memphis Five band is led

by Frank Signorelli, pianist, and Phil Napoleon, trumpet. It’s a smart frame-up and should be a relief from the straight orchestra combinations. That the bookers, however, are still strong for the band featuring is attested by the front of the house billing at the Rivers, the last half of which only had the

Memphis Five’s name carded, sans the accompanying dance team. - Abel Variety, September 17, 1924, p.45 VAUDEVILLE REVIEWS BROADWAY [Theatre] A slow start, working up to the Original Memphis Five, who stopped everything cold, and Francisco Pantilon, strong man, closing, maps the progress of Monday night’s events. The five-piece combination tore the gallery apart with their hot renditions to the point where the house almost entirely passed up Brian and Fairchild, the dancing team under whose name the band is included. The boys get plenty warm during their soloing and are responsible for one of those slow-drag numbers that is just downright “vulgar”. Forced before the drop for a collective bow, the quintet might pass up the indifferent attitude, for it amounts to cold water on an otherwise pleasant interlude.

Billboard, September 20, 1924, p.14 B. S. MOSS’ BROADWAY [Theatre], NEW YORK - REVIEWED MONDAY MATINEE, SEPTEMBER 15 Tom Bryan and Lillian Fairchild, reinforced by the “Original Memphis Five”, were assigned to close the opening show. Perhaps that was why they failed to New York Daily News, September 25, 1924, p.24 score the whooping response they deserved. A pair of finished ballet and acrobatic dancers and a spicy jazz combination, each player a master of his instrument. Sheer talent, no monkeyshines. Again, perhaps that is why they failed to get an extra curtain at this performance.

Billboard, September 27, 1924, p.21 BRYAN AND FAIRCHILD WITH THE “ORIGINAL MEMPHIS FIVE” REVIEWED MONDAY AFTERNOON, SEPTEMBER 15, AT B. S. MOSS’ BROADWAY THEATER, NEW YORK STYLE: DANCING AND JAZZ BAND - SETTING: SPECIAL, IN FULL TIME: 15 MINUTES A condensed jazz combination widely NY Daily News, Sept. 22, 1924, p.23 NY Daily News, Oct. 10, 1924, p.25 renowned as a dance orchestra and for its phonograph recordings, the “Original Memphis Five” packs a smelter furnace of “hot” tunes and sprinkling of diverting novelties, none of which is made sloppy with stupid monkeyshines.

Each member of this superb quintet coddles his instrument with the deft, sure touch of mastery. Be it an oriental motif, fox-trot or blues, these lads deliver their goods with a tang of finished smartness. Tom Bryan and Lillian Fairchild interstice the band’s repertoire with a varied dancing program of high worth. They open with a vigorous whirligig, return for a graceful glidery with an undercurrent of Oriental tunes and then slip into a provocative tango. For the latter two bits Miss Fairchild totes merely a pair of rhinestone breastplates and a hip coverteur. The pair closes its allotment of the turn’s routine with a speedy acrobatic fox-trotery. The five musical lads and the dancing team make a fine tieup, but for some reason the combination failed to stir up the least gust of enthusiasm at the Broadway’s opening performance. B. B. New York Morning Telegraph, September 17, 1924, p.05

BROADWAY [Theatre] Tom Bryan and Lillian Fairchild are dazzling dancers whose accompanying band, the Memphis Five, offers admirable music on their own account while the couple are making changes of costume. The two start in costumes that are a combination of modern Latin quarter and the royal splendor of knights and ladies of old, except that Miss Fairchild is always open in display of her physical charms. Their second dance runs to the athletic with the helpful lack of too much clothing. At the finish Mr. Bryan puts on a few clothes and Miss Fairchild refrains from taking off any more.

New York Daily News, October 30, 1924, p.30

Because of their appearance with this vaudeville act at these three theatres, it was not always possible for the OM5 to start their Rosemont, Coney Island job in time, so another arrangement had to be made: Variety, September 10, 1924, p.40: The Rosemont,

Brooklyn, opened formally for the new season on Sept. 4 with Jules Berkin and a new orchestra of nine, and the St. Louis Rhythm Kings, a “hot” quintet, as the dance features. The Original Memphis Five will remain at the Rosemont, Coney Island, until Sept. 25, when they return to the Brooklyn

1924, p.26-B reported: On Thursday [Sept.25, 1924] evening

the Original Memphis Five will be welcomed back to the Rosemont ballroom, Brooklyn, N. Y. The Memphisites under Frank Signorelli and Phil Napoleon’s direction are Rosemont favorites. They have decided to abandon their vaudeville tour with Brian and Fairchild, because of the impracticability of making connections with the New York vaudeville stands.

Back for the fall season in Brooklyn at the Rosemont, Flatbush Ave. & Fulton St., and first playing opposite Jules Berkin’s Orchestra until October 25, 1924,1525, 1749 then opposite the Vernon-Owen Orchestra of Cleveland (until c.

Nov. 15 1882 to 1885), and finally Sammy Kahn’s Orchestra,1896 the OM5 performed there continuously for 4 ½ months, until February 11, 1925. The band’s salary was $ 1,200.00 per week 549, a very high figure for the times, and especially for a five-piece aggregation.

NY Daily News, Dec. 17, 1924, p.29

Aside from the leaders the musicians in the jazz bands are getting big money. They have to work to earn it, but they get it. Two to three hundred dollars a week for an exceptionally NY Daily News, Dec. 24, 1924, p.26 good jazz musician is not exceptional. (Boston Post, October 15, 1924, reprinted in Variety, November 19, 1924, p.47) To put this figure into perspective, one has to remember that during the year of 1923, there was a total attendance of 6,113,694 paid admissions to the 238 licensed dance halls in Greater New York.1748 One Brooklyn enthusiast remembered that he and his wife “did the shimmy from Flatbush to Greenpoint”.1601 New York Daily News, November 30, 1924, p.18 B

ROSEMONT The Original Memphis Five, tantalizers of thousands of twinkling feet at the Rosemont dance hall, Fulton and Flatbush aves, claim the distinction of being the only orchestra in the country recording for every phonograph company. This aggregation of jazz interpreters is also one of Brooklyn’s best proofs that jazz is not dying out.

Brooklyn Daily Eagle, November 30, 1924, p.68:

THE MEMPHIS FIVE “The Original Memphis Five” are still providing music at the Rosemont Ballroom in Brooklyn. They claim the distinction of being the only orchestra recording for every phonograph company in the business.

NY Daily News, Dec. 30, 1924, p.17

NY Daily News, Dec. 31, 1924, p.22

New York Morning Telegraph, November 30, 1924, p.10:

Thanksgiving eve was a memorable time for Niblo and Spencer, featured stars of “Step On It”, and the Rosemont dance hall in Brooklyn was the rendezvous for an exciting time and event when George and Helen, upon the invitation of Philip Napoleon, owner of the Memphis Five band, had the honor of selecting twenty-five of the best costumed among the dancers, to receive that many prizes at a masquerade carnival held at that resort.

Again, in absence of further reviews of the band’s evening performances at the ballroom, here are some record reviews: Variety, November 05, 1924, p.38: DISK REVIEWS by Abel [Green] HOW COME YOU DO ME

NY Daily News, January 03, 1925, p.17

NY Daily News, Jan. 06, 1925, p.21

Rosemont. The Memphis Five is also touring with Bryan and Fairchild in vaudeville, which will necessitate the St. Louis Rhythm Kings substituting part time evenings during the Memphis band’s absence for its vaudeville show. The booking was arranged so that the doubling becomes practical.

The strain of playing two engagements a day apparently soon got too much for the band, and Variety, September 24,

LIKE YOU DO / MEANEST BLUES THE ORIGINAL MEMPHIS FIVE VICTOR No. 19480 The Original Memphis Five is the foremost jazz aggregation of its type in the field. This quintet records its “low-down” indigo specialities prolifically for practically every company in the business. It is the sole survivor of a school of “hot” bands (which formerly had the Original Dixieland Jazz Band as very prominent in that sphere), for the reason the Memphisites have kept up with the times. Their barbaric rhythms are not all blare and jazz, but also interspersed with melodic interludes for contrast. Like the second title, both are

San Antonio, TX, Express, November 16, 1924, p.B 17:

“Blues” of the deepest dye have been recorded by the Original Memphis Five, under the titles of “How Come You Do Me Like You Do?” and the “Meanest Blues”.

Waterloo, IA, Evening Courier, November 20,1924, p.05:

HOW COME YOU DO ME LIKE YOU DO / MEANEST BLUES THE ORIGINAL MEMPHIS FIVE VICTOR 19480 Fine recordings for dances of the jazz-blues type. Comedy cornet and trombone parts.

Variety, April 01, 1925, p.43:DISK REVIEWS by Abel SOB SISTER SADIE / THROW DOWN BLUES ORIGINAL MEMPHIS FIVE VICTOR No. 19594 The quintet delivers plenty “hot” and unadulterated jazz when it does its stuff. They can’t miss, particularly with addicts and disciples of torrid modulations who dote on the sizzling paprika. The second number is the work of Frank Signorelli and Phil Napoleon of the Five.

Muncie, IN, Star Press, March 28, 1925, p.05:

SOB SISTER SADIE / THROW DOWN BLUES ORIGINAL MEMPHIS FIVE VICTOR No. 19594 Simon pure jazz, "Sob Sister Sadie" works superbly with the new clog effects of the "collegiate" fox trot, but of course, if you want to dance pretty it will work just as well. "Throw Down Blues" has the slow loping movement of the Southern and Southwestern fox trot, a clarinet leading its melody.

These are two very funny dance numbers, and we think they will bring rejoicing into the "inner circle" of less serious fox trotters.

Albany, NY, Times-Union, March 27, 1925, p.32:

Jacobs’ Band Monthly, February 1925, p.72

“mean” blues of the thrilling rhythm type. The cornet, clarinet and trombone get some weird effects out of the compositions. The first is by Austin and Bergere; the second is by Phil Napoleon and Frank Signorelli, respectively cornetist and pianist of the Memphis Five. Withall a “hot” “blues” classic.

Auburn Citizen, November 14, 1924, p.17: MUSICAL ITEMS FOR THE WEEK From the source of “blues” come two Cerulean fox-trots by the Original Memphis Five, with the slow, rolling rhythm of the only and genuine blues. You have undoubtedly heard “How Come You Do Me Like You Do?” but hear it on this new record [Victor 19480]. “Meanest Blues” certainly reveals a lot of bottled up venom.

Chicago Daily Tribune, November 14, 1924, p.18:

HOW COME YOU DO ME LIKE YOU DO / MEANEST BLUES THE ORIGINAL MEMPHIS FIVE VICTOR 19480 Comedy fox-trots of the drollest Paradise-jazz-blues description. They have the slow, rolling rhythm of the genuine blues; it is amazing what these five instruments do with it.

St. Louis, MO, Post-Dispatch, January 30, 1925, p.03:

“HOW COME YOU DO ME LIKE YOU DO” AND “MOBILE BLUES” ON COLUMBIA 260-D, PLAYED BY THE ORIGINAL MEMPHIS FIVE. First is a tantalizing slow drag fox-trot.

A tricky swerve on a plaintive cornet. Rippling stuff on the piano. Then – a clamoring finale of double timing which will lift you off your feet, that’s “How Come You Do Me Like You Do” played by the original Memphis Five. “Mobile Blues” is a racy, peppery piping-hot round of jazz by the same orchestra.

SOME RECORD! GET IT TODAY !

NEW DANCE RECORDS The Original Memphis Five provide a snappy wind-up with “Sob Sister Sadie” and “Throw Down Blues” with clog effects and the slow lope of the Southern fox trot.

Variety, February 18, 1925, p.36:ABEL’S COMMENT by Abel Green MEMPHIS FIVE’S “THAIS” To demonstrate that they can be equally symphonic as they are “hot”, the Original Memphis Five have recorded for Pathe a fox-trot arrangement of the Meditation from “Thais”. The quintet, without any other instrumental augmentation, has “canned” the number sans the usual torrid interludes to which the band is so much given.

The matrix number for the Pathé/Perfect recording of “Thais” is 105838a, with the preceding two matrices (105836 & 105837) still untraced. However, the following report mentions OM5 recordings which may account for these two matrices:

OPERA HAS BEEN JAZZED The Original Memphis Five Jazz Orchestra is always doing the unusual, and is the only combination which records for all the reputable phonograph companies. Recently they introduced a novelty by jazzing for one of the big recording companies “Aida” and several other operas. Other larger outfits have jazzed opera, but this is the first time the feat has been done with four instruments – trombone, clarinet, cornet and piano. … (New York Morning Telegraph, March 04, 1925, p.09) During their stay at Brooklyn’s Rosemont, the OM5 participated in the following three benefit events: A CHARITY BALL On Tuesday night [Dec.16, 1924]

Rosemont will hold a charity ball, the proceeds of which will be used to spread Christmas cheer where most needed.

Many acts have volunteered their services. Sammy Kahn and Orchestra and the Original MemphisFive, Rosemont’s regular dance orchestras, will be augmented by other bands.552

Brooklyn Daily Eagle, December 21, 1924, p.64: What promises to be New York's largest indoor Christmas tree will be seen at Rosemont Ballroom at a Christmas party to be held on Wednesday coming, Dec. 24. Rosemont's orchestras, the Original Memphis Five, und Sammy Kahn's Orchestra, will furnish music for the dances.

An entertainment was staged in the music hall of the Academy of Music last night [Jan. 29, 1925] for the benefit of the Little Theatre movement of Brooklyn that proved an attraction to several hundred persons. … the programme ended with several numbers by the Memphis Five.553 In addition, the OM5 performed on several broadcasts, via direct line from the Rosemont ballroom in Brooklyn, over radio station WAHG, Richmond Hill, NYC (316 meters): 1925-01-21, 10:30-11:30 P.M.543, 544, 545 / 1925-01-28, 10:30 P.M.547 / 1925-02-04, 10:30 P.M.548,549, 554 / 1925-02-11, 10:45P.M.555, 556 Brooklyn Daily Eagle, January 18, 1925, p.40 WEDNESDAY NIGHT’S [January 21, 1925] PROGRAM

…Late in the evening an Eagle announcer will go to the Rosemont Ballroom at Flatbush and Fulton St., where the famous Memphis Five and Sammy Kahn’s Orchestra play for the dancers, and will present these well known musical organizations to the radio audience. A direct wire from Rosemont to The Eagle Studio and thence to the transmitter at the A. H. Grebe & Co. factory in Richmond Hill has been installed in order that the radio audience may hear the Memphis Five and Sammy Kahn’s Orchestra every Wednesday evening as part of The Eagle program.

Brooklyn Daily Eagle, January 22, 1925, p.05 The program of dance music was given by the Memphis Five and Sammy Kahn and his Rosemont Orchestra. … The Memphis Five made such a good thing of the dance music that they had to oblige with many request numbers. The Rosemonters maintained the high standard they set in previous appearances.

Variety, March 19, 1924, p.09

their numbers being broadcast. This orchestra, he added, has been replaced because of its walkout from Wednesday’s program. The orchestra, Faggen added, has consulted counsel following the decision of the union that their action was unjustified, and announced that no action would be brought against the dance hall for declaring the contract voided.

[Ominously, a few hours earlier that day, the OM5 had visited the Victor recording studio to wax the NapoleonSignorelli composition “Throw Down Blues”.]

That the OM5’s contention that sales of records were being hurt by radio broadcasts was not that far-fetched, and that the Then a press report appeared concerning the OM5’s third band may even have been in a dilemma caused by the broadcast (Febr.04, 1925) from the Rosemont, detailing diverging expectations of ballroom proprietors and radio events that would have a profound impact on the band’s station owners vs recording company executives, is illustrated future: by the following report from a few weeks later: Brooklyn Daily Eagle, February 10, 1925, p.20: ONE MECHANICAL COMPANY IS PLANNING TO PROHIBIT

JAZZY PLAYERS LOSE THEIR CONTRACT FOR BALKING AT RADIO. UNION REPUDIATES REFUSAL OF PERFORMERS TO BROADCAST FROM W A H G The refusal of the “Original Memphis Five” to play the jazz tunes their contract called for in the Rosemont Dance Hall, Flatbush Ave. and Fulton St., Wednesday night [February 04, 1925],when they learned that arrangements had been made to broadcast their music through arrangement with The Eagle studio station WAHG, has cost the temperamental quintet its contract of $ 1,200 a week, it was learned today. The musicians, according to I. J. Faggen, manager of the dance hall, were under contract to play there nightly. Their refusal to go on when the microphone was placed before them was taken by Faggen before the New York local of the Musician’s Union, which ruled that the performers had violated their contract, and that the Rosemont was not obligated to keep them on the payroll at the handsome figure they were commanding. The action of the union is taken as a precedent by radio and stage people to indicate the musician’s organization supports the contention of the radio heads that broadcasting is an asset to musical productions. The Memphis Five, Faggen said today, claimed that phonograph records they had made would be hurt by

ITS RECORDING ORCHESTRAS FROM BROADCASTING The recent big drop in the sales of phonograph records has furnished the executives of these concerns with an abundance of food for troublesome thoughts. And the radio, practically everybody feels, is to blame for the slump. The public refused to pay for something it could obtain for nothing, and for a time it looked as if the phonograph companies and the music publishers were powerless to do anything to remedy the situation. A solution to this problem, however, appears to have been discovered. Some of the prominent orchestras which have been playing vaudeville and broadcasting promiscuously have been notified to keep off the air in the future, as the booking agents have come to realize that continuous broadcasting by an orchestra takes the edge off it as a vaudeville attraction. “And we are thinking seriously of doing the same thing”, a certain mechanical man remarked yesterday. “We have come to the conclusion that people are not keen for records made by an orchestra which they can hear almost any afternoon or evening by simply turning a knob. So the chances are that before long we shall not engage any singer or orchestra that broadcasts without our special permission, which we will not be likely to grant

very often. And if every other phonograph company takes the same step the best orchestras in the country will be off the air within a short time and the sales of records will show a decided increase. Then radio owners would soon tire of the fourth rate bands and would be glad to pay for the privilege of listening to and dancing to a record made by a real orchestra”. (New York Morning Telegraph, March 14, 1925,

desperate in its effort to procure entertainment that will hold the public at home at the receiving sets. … (Variety, December 10, 1924, p.16) The cancellation of the Rosemont contract was a serious loss for the OM5, and eventually would have a decided effect on the fate of the band…

p.08)

Radio is now the biggest thing the amusement business The fourth and final part of the OM5 saga will deal with the ever has had to encounter as opposition. And the show time period of February 1925 – 1929, and will follow the business is helpless against it. … No one can predict if the band’s extended road tours, its dissolution, and subsequent public at large will stick to radio. … And radio may be re-emergence as a band within a band.

ORIGINAL MEMPHIS FIVE: known Playing Engagements Compiled 2014 – 2018 by: RALPH WONDRASCHEK, Kaiserstr. 54, 69115 Heidelberg, Germany. E-Mail: rwondraschek@yahoo.de

1922-09-09 1922-09-22 1922-10-06 1922-10-23

1922-11-20

1922-11-23/24 1922-11-30/31 1922-12-07/08 1923-01-09 1923-01-10 1923-02-01 1923-02-05 1923-04-08 1923-04-25 1923-05-14 1923-05-15 1923-05-27 1923-06-17 1923-06-30 1923-08-04 1923-08-10 1923-08-11 1923-08-13 1923-09-07 1923-09-13 1923-09-15 1923-09-20

1923-10-01 1923-11-08 1923-11-21 1923-11-21 1923-12-28 1924-01-14 1924-01-16 1924-01-22 1924-01-29 1924-03-07 1924-03-07 1924-03-15

References

alternating at 1) Danceland, Coney, and 2) Balconades, Manhattan Napoleon/Panely/Lytell/Signorelli/Roth 396; 397; 398; 399; 400; 401 alternating at 1) Palais de Danse, Flatbush Ave. & Sterling Napoleon/Panely/Lytell/Signorelli/Roth 402; 403; 404; 405; 406; 407; 408; Place, Brooklyn [formerly Danse Caprice], and 2) Balconades, Manhattan 409; 410; 411; 412; 413; 414; 415; 416; 1805; 1806 ONS: dance music at the dress rehearsal of Al Napoleon/Panely/Lytell/Signorelli/Roth 417 Herman’s “Frolics of 1923”, at Rockwell Terrace, opposite the Orpheum Theatre in Brooklyn (Fulton Street & Rockwell Place) alternating at 1) Palais de Danse, Brooklyn 2) Balconades, Napoleon/Panely/Lytell/Signorelli/Roth 418; 419; 420 Manhattan and 3) Danceland, 95th St. & Broadway, Manhattan (formerly Healy’s Sunken Gardens) second & third bands at Palais de Danse: 1922-09-22 to 1922-11-early Frank Ulrich’s Society Orchestra 1801; 1802; 1803 1922-11-early to 1922-11-18 Fisher’s Californians & New Orleans Jazz Band 1804; 1805; 1806; 1807 Balconades, Manhattan (exclusively, until 1923-06-17) Napoleon/Panely/Lytell/Signorelli/Roth 422; 423, 424, 425; 426; 952; 953; 954 second band at Balconades: 1922-11-20 to 1922-12-late Lou Gold’s Orchestra 1808; 1809; 1810; 1811; 1812 1923-01-early to 1923-06-17 Circle Quintet 1845; 891 ONS: Thursday Midnight Show at Park Music Hall Napoleon/Panely/Lytell/Signorelli/Roth 421; 427 ONS: Thursday Midnight Show at Park Music Hall Napoleon/Panely/Lytell/Signorelli/Roth 421; 910 ONS: Thursday Midnight Show at Park Music Hall Napoleon/Panely/Lytell/Signorelli/Roth 428; 421 broadcast at WEAF (400 meters), 9:00 – 10:00 P.M. Napoleon/Panely/Lytell/Signorelli/Roth 429; 430 broadcast at WEAF (400 meters), 8:00 – 10:00 P.M. [+singers] Napoleon/Panely/Lytell/Signorelli/Roth 431; 432 Hamilton Theatre, NYC, with Rome&Dunn (singers) (Febr.01–03) Napoleon/Panely/Lytell/Signorelli/Roth 433 (the OM5 continued to play at Balconades late at evenings) 434 nd Colonial Theatre, B.way&62 St., with Rome&Dunn (Febr.05-10) Napoleon/Panely/Lytell/Signorelli/Roth 434; 435, 436; 437; 438; (the OM5 continued to play at Balconades late at evenings) 1515; 1516; 1532 ONS: benefit concert at Casino Theatre, NYC Napoleon/Panely/Lytell/Signorelli/Roth 914 ONS: appeared as one of the bands at the Talking Machine Napoleon/Panely/Lytell/Signorelli/Roth 444; 445; 446; 817; 818; 1517; Men’s Annual Ball at Pennsylvania Hotel, 7th Ave.& 33rd St. [this event was also broadcasted over WJZ, Newark, NJ, 8:00 – 11:00 P.M.]445 ONS: OM5 plays at farewell dinner & party for Jack Mills at NYC Napoleon/Panely/Lytell/Signorelli/Roth 816; 447; 450; 940 Harbor, Keene’s Chop House, West 44th St. ONS: OM5 plays at farewell for Jack Mills at pier of NYC harbor Napoleon/Panely/Lytell/Signorelli/Roth 447; 940 ONS: Century Theatre, NYC, Songwriter’s Benefit Ball Napoleon/Panely/Lytell/Signorelli/Roth 448; 449 last night at Balconades, Manhattan Napoleon/Panely/Lytell/Signorelli/Roth 451 two-week vacation [except recording sessions!]; both Roth & Signorelli were wedded June 10 451; 452; 1486; 1592; 1594 Casino Ball Room, Casino Pier, Wildwood Park, Wildwood, NJ, Napoleon/Panely/Lytell/Signorelli/Roth 451; 453; 454; 455; 870; summer job [this ballroom was owned by Sam & Howard Lanin] 1518 ONS: Dallas, PA, Harvey’s Lake, Schwab’s Sunset Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1079; 1080; 1081 ONS: Pittston, PA, Valley View Park, dance held by the Fern Club Napoleon/Panely/Lytell/Signorelli/Roth 1082; 1083; 1084 ONS: Elmira, NY, Rorick’s Glen Park, Crystal Ballroom Napoleon/Panely/Lytell/Signorelli/Roth 1085 ONS: Dallas, PA, Harvey’s Lake, Oneonta Pavilion Napoleon/Panely/Lytell/Signorelli/Roth 1086; 1087; 1088; 1089; 1090; 1091 ONS: Grand Opening of the Jack Mills Building, 148 W. 46th St., NYC Napoleon/Panely/Lytell/Signorelli/Roth 815; 1584; 1623 ONS: Rosemont [pre-fall season], Brooklyn, benefit for Japanese Relief Fund Napoleon/Panely/Lytell/Signorelli/Roth 456; 1816 ONS: Allentown, PA, Mealey’s Dance Studio Napoleon/Panely/Lytell/Signorelli/Roth 1815 Rosemont Ballroom, Fulton St. & Flatbush Ave., Brooklyn (until 1924-05-17) Napoleon/Panely/Lytell/Signorelli/Roth 457; 458, 459; 460; 461; 462; 463; 464; 465; 466; 467; 468; 469; 470; 471; 472; 473; 474; 475; 476; 477; 478; 479; 480; 481; 482; 483; 484; 485; 486, 487; 488, 489; 490; 491; 492; 493; 508; 902; 903; 1533; 1816; 1817; 1818; 1819; 1820; 1821; 1822; 1823; 1824; 1825; 1826; 1827; 1828; 1829; 1830; 1831; 1832; 1833; 1834; 1835; 1836; 1837; 1838; 1839; 1840; 1841; 1842; 1843; 1844; 1845; 1846; 1847; 1848; 1849; 1850; 1851; 1852; 1853; 1854; 1855; 1856; 1857; 1859; 1860, 1861; 1863; 1864; 1865 ONS: Prospect Hall, Brooklyn, Gala Program, 5 bands Napoleon/Panely/Lytell/Signorelli/Roth 494; 1534 broadcast at WHN, NYC (360 meters), 11:15 P.M. – 12:00 Midn. Napoleon/Panely/Lytell/Signorelli/Roth 495 ONS: appeared as one of the bands at the Talking Machine Napoleon/Panely/Lytell/Signorelli/Roth 496; 497; 956 Men’s Ball at Pennsylvania Hotel, NYC broadcast at WHN Napoleon/Panely/Lytell/Signorelli/Roth 498 ONS: Intercollegiate Dance at Presidential Ballroom, Napoleon/Panely/Lytell/Benny Krueger/Signorelli/Cali, Helleberg, present ??/Roth 872 Astor Hotel, 8th floor, NYC [ “The ‘Cotton Pickers’, including the ‘Memphis Five’ and Benny Kruger “ ] broadcast at WJZ (455 meters), 4:00 P.M. “OM5 of Rosemont” Napoleon/Panely/Lytell/Signorelli/Roth 499 broadcast at WJZ (455 meters), 4:00 – 4:30 P.M. “ Napoleon/Panely/Lytell/Signorelli/Roth 500; 501; 1686 broadcast at WJZ (455 meters), 4:45 – 5:15 P.M. “ Napoleon/Panely/Lytell/Signorelli/Roth 502; 1687 broadcast at WJZ (455 meters), 5:00 – 5:30 P.M. “ Napoleon/Panely/Lytell/Signorelli/Roth 503; 1688 broadcast at WJZ (455 meters), 7:05 – 7:30 P.M. “ Napoleon/Panely/Lytell/Signorelli/Roth 504; 505; 1689 ONS: Gas & Electric auditorium, Utica, NY, banquet for industrial foremen Napoleon/Panely/Lytell/Signorelli/Roth 915 ONS: Friar’s Club, NYC, C.&C. Blow-out in honor of Eddie O’Brien Napoleon/Panely/Lytell/Signorelli/Roth 1766

1924-03-21 1924-05-17 1924-05-22

broadcast at WJZ (455 meters), 7:00 – 7:30 P.M. “ Napoleon/Panely/Lytell/Signorelli/Roth 506; 507; 1690 last night at Rosemont Ballroom, Brooklyn Napoleon/Panely/Lytell/Signorelli/Roth 508 Rosemont Ballroom, Boardwalk & 15th St., Coney Island Napoleon/Panely/Lytell/Signorelli/Roth 508; 509; 510; 511; 512; (1924-05-22 - 1924-09-24) 513; 514; 515; 516; 517; 518; 519; 520; 521; 522; 523 1924-05-29 ONS: Rosemont, Coney Island, benefit for G.A.R. veterans Napoleon/Panely/Lytell/Signorelli/Roth 524 1924-summer ONS: Harvey’s Lake, PA Napoleon/Panely/Lytell/Signorelli/Roth 1115 1924-09-04 Keith’s GreenpointTheat, Brookl., w.Bryan&Fairchild(Sept.04-07) Napoleon/Panely/Lytell/Signorelli/Roth 525; 526; 1521 (the OM5 continued to play at Rosemont, Coney Island, with the St. Louis Rhythm Kings substituting part time evenings) 527 1924-09-08 Keith’s Rivers Theatre, Brooklyn, w.Bryan&Fairchild(Sept.08-14) Napoleon/Panely/Lytell/Signorelli/Roth 530 (the OM5 continued to play at Rosemont, Coney Island, with the St.Louis Rhythm Kings substituting part time evenings) 527 1924-09-15 Moss’ Broadway Theatre, NYC, with Bryan &Fairchild(Sept.15-21)Napoleon/Panely/Lytell/Signorelli/Roth 527; 528; 529; 531; 532; 1522; (the OM5 continued to play at Rosemont, Coney Island, with the St. Louis Rhythm Kings substituting part time evenings) 1523;1524;1536; 1599; 1600 1924-09-24 last night at Rosemont, Coney Island Napoleon/Panely/Lytell/Signorelli/Roth 527; 523 1924-09-25 Rosemont, Brooklyn (1924-09-25 – 1925-02-11) Napoleon/Panely/Lytell/Signorelli/Roth 522; 532; 533; 534; 535; 536; 537; 538; 539; 540; 541; 542; 543; 544; 545; 546; 547; 548; 549; 550; 551; 1625 1924-12-16 Rosemont, Brooklyn, Charity Ball Napoleon/Panely/Lytell/Signorelli/Roth 552 1924-12-24 Rosemont, Brooklyn, Christmas party Napoleon/Panely/Lytell/Signorelli/Roth 1097 1925-01-21 broadcast at WAHG, Richmond Hill(316 m) 10:30–11:30 P.M., Napoleon/Panely/Lytell/Signorelli/Roth 543; 544; 545 direct from Rosemont ballroom 1925-01-28 broadcast at WAHG, Richmond Hill (316 m) 10:30 P.M., Napoleon/Panely/Lytell/Signorelli/Roth 547 direct from Rosemont ballroom 1925-01-29 ONS: music hall of Academy of Music, NYC, for the benefit Napoleon/Panely/Lytell/Signorelli/Roth 553 of the Little Theatre movement, Brooklyn 1925-02-04 broadcast at WAHG, Richmond Hill (316 m) 10:30 P.M., Napoleon/Panely/Lytell/Signorelli/Roth 548; 549; 554 direct from Rosemont ballroom, aborted by the OM5 (this lead to their loss of contract ($ 1200 weekly) with Rosemont) 1925-02-11 last night at Rosemont, Brooklyn (this was broadcasted Napoleon/Panely/Lytell/Signorelli/Roth 550; 555; 556 over WAHG, 10:45 P.M.)

Due to space limitations, the list of more than 1900 contemporary sources used for this four-part study of the Original Memphis Five could not be included in the printed edition of VJM. These references are listed at the end of the internet version of my piece; readers are encouraged to print-out these additional pages for quick and permanent reference.

Thanks to Ate van Delden (c. 1923 Frank Signorelli & Phil Napoleon photo, and c. 1924 Original Memphis Five photo).

Information from newly found sources pertinent to Part 1 and Part 2 (and hopefully also to this Part 3) of my OM5 study, along with data on singers Ann Myers and Leona Williams, will hopefully be published in a future issue of VJM. If you have any contributions or suggestions to make, please email me at rwondraschek@yahoo.de © Ralph Wondraschek 2018

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ATE’s DISCOGRAPHICAL RAMBLINGS ATE’S DISCOGRAPHICAL RAMBLINGS accordion duo of Hartvig Kristoffersen and Chr. Liebak and Another batch from the usual suspects. Come on, every issued on Vikes’s Special 124 (Norway) and Bulldog 685 collector makes discoveries! Send ‘em in!

(UK).

CURTIS MOSBY NON-VOCAL TAKE? In a recent email exchange with the Editor, Dave Hignett (Japan) remarked that he’d recently been in touch with an old friend with whom he used to hang out at the celebrated Jazz Man Record Shop in Hollywood back in the 1970s, who said that there was a third, non-vocal take of Curtis Mosby’s Dixieland Blue Blowers’ In My Dreams, and that it was only sold at Solomon’s Penny Dance Hall in Los Angeles, where the Mosby band played. Dave says that both Don Brown and Don Gray of the Jazz Man Record Shop had copies, which apparently had the normal Columbia issue label (1192-D) and that his friend had a taped transfer ‘somewhere’.

BRUNSWICK FILE CARDS We found some remarkable ramblings in Mark Berresford’s copies of the Brunswick file cards. Here are two more.

All very interesting as an anecdote but is it true? The Columbia file card reproduced below clearly shows that three takes were made, take three being 1st choice, take 1 being 2nd choice and take 2 rejected, and clearly shows that Henry Starr sings on all three takes. It may well be that there are copies mispressed, or specially pressed that uses take 2, and that take 2 doesn’t have Starr vocalising, but can anyone vouch for this? Another possibility is that some one lucky enough to own the rare Sonny Clay Vocalion version of In My Dreams - which is non-vocal - has mixed up their versions!

Comments please…

Another case of moving titles around is the coupling of Jabbo Smith with Walter Barnes on Br 4244. Brunswick recorded Jazz Battle by Jabbo Smith & his Rhythm Aces but without a planned coupling. This was solved when Beau-KooJack, recorded by Walter Barnes’ Royal Creolians had to be cancelled. It had been planned for Brunswick 4244, coupled with Barnes’ It’s Tight Like That. Jabbo’s recording took the open place.

A coupling by (Mills) Hotsy Totsy Gang was planned of Dardanella with Since You Went Away for which no issue number was assigned. Also a coupling was planned of Duke Ellington’s The Mooche and Memphis Wail, this as Brunswick 4122. Then Dardanella and Memphis Wail were both rejected and the company decided to issue the other two titles, Since You Went Away and The Mooche as Br 4122.

Dardanella was eventually issued as Vocalion 15763.

In March 1931 Brunswick recorded Cab Calloway doing a song called Poor Minnie, but when this was issued as Br 6074 it had been retitled and became a mega hit: Minnie The NORWEGIAN ARTISTS, NORWEGIAN LABEL, AMERICAN Moocher.

RAGTIME One from Björn Englund, with a Swedish flavour. He refers to CHARLES MATSON’S CREOLE SERENADERS ON EDISON Allan Sutton’s book Cakewalks, Rags And Novelties. This Around 1960 Riverside/London reissued the two titles that book says that Chatterbox Rag, a composition by Charles were recorded by Charles Matson Creole Serenaders for Botsford was recorded by Hartvig Christoffersen, accordion, Edison in July 1923, Tain’t Nobody’s Business If I Do and I in London in 1920 and issued on Bulldog 685 (British). Just Want A Daddy. They sounded like a territory band and its Actually this was recorded in Kristiania (Oslo) in 1919 by the personnel remained a mystery, even Armand Piron’s band

27

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being suggested. Ralph Wondrascheck (Germany) is exploring vintage American magazines that apparently have been largely neglected by jazz researchers. Recently he went through the New York Clipper of 2 May 1923 and to his surprise it lists a complete personnel of , what is here called, Chas. A. Matson’s Serenaders, and described as “Ten Jazz Players”. By further digging Ralph found the instruments of nearly all men: Charles Matson, piano/leader; Thomas E. “Petey” Hilleary, cornet; Levi Bush, trombone; Carlos Daugherty, cl/sax; Charles (Chas.) O. Moseley – sax/cl; Julian Arthur – violin and/or sax (?); Leroy Parker, violin (if used at the Edison session); William ‘Splif’ Escoffery, banjo; William “Bill” Benford, tuba; Curtis Moseley, drums. But for Parker and Benford, none of these men made any known records and that may be the reason why their Edisons became mysterious.

Edison recorded three takes of each title. All 3 takes were issued of “Business”, while takes B and C are known of “Daddy”. Anyone has take A? HAROLD OXLEY ON OKEH Here’s another discovery from Ralph. Circa 5 August 1924 Harold Oxley and his Post Lodge Orchestra recorded an excellent version of I Don’t Know Why, issued as OKeh 40180. The Metronome Band Monthly of 24 July 1924 magazine provided a personnel (published in ADBORAF) and adds that the band toured “all over the south for the past five years”. This may explain why the above OKeh recording has a typical territory sound, unlike the Perfect title that Oxley recorded about a week later. In June 1924 they had recorded two more titles for OKeh. Are they any good?

JULIE WINTZ ON HARMONY The very last title by Julie Wintz is After You’ve Gone from 16 April 1930, issued on Har 1169-H. Many years ago I wrote in my copy of Jazz Records that it was excellent, so I was pleased to find the record at the latest Doctor Jazz Day. My notes also said that Eddie Miller is on reeds and Horace Diaz on piano, both men from New Orleans. The third name I have is trombone player Chuck Preble, who worked with Harry James, but is mentioned nowhere in JR. The title features solos by tenor, trumpet, clarinet, trombone and piano. Miller did not play tenor yet at the time and may be

For the Record...

VJM's Letters to the editor section.

Following on from Choo Jazzers Revisited [VJM 180], an inventory of Vocalion metal parts extent in early 1925 (photocopy held here of an original document held by Vivendi-Universal Music) lists parts 13832-33 available for pressing side A of Vocalion 14913 [Lenox Avenue Shuffle] and parts 13834-35-36 for side B [Down in the Mouth Blues]. My copy of this issue was pressed from masters 13832 and 13834, these numbers being faintly visible "under the label," as inscribed in the wax by the recording engineer. To the best of my knowledge, only one take of each title has ever been released.

the clarinet player. One other title that I heard from this date, has a vocal by Arthur Fields and no jazz value. Can anyone shed light on this interesting recording?

DEPARTMENT “LISTEN AGAIN”: DAVE NELSON Bernhard Behncke (Germany) had a fresh listen to Dave Nelson’s Victors and Timely Tunes sides, in particular the vocals. This certainly is Nelson himself, and Bernhard believes that Nelson is also one of the Keep Shufflin’ Trio with James P. Johnson’s Orchestra (Victor) AND NOW ONE REACTION...

Ralph Wondrascheck has Brunswick 4000 and A81001 by the Original Wolverines and confirms that they are the same takes (VJM #180).

CLOSING WITH ROLLINI (also see VJM #165) The Editor writes that the 1929 Metropole recording of After The Sun Kissed The World Goodbye/ If Anything Happened To You by a star-studded Fred Elizalde group including Adrian Rollini, Norman Payne, Bobby Davis and vocalist Al Bowlly is mythically rare. No more than half a dozen known copies are known (the Editor found one 15 minutes from his home!). Still rarer is the Octacros issue, made for use as incidental music in cinemas and theatres and not for general public sale, of which there are zero reported copies. This is odd, since Mark recently acquired a number of Octacros catalogues and supplements, and the Elizalde issue, Octacros 367, is still listed in the 1937 catalogue, eight years after it was made! Even stranger is that the 1934/5 General Catalogue credits the hot side After The Sun Kissed The World Goodbye as being played by Allan Selby and His Band, and the reverse as by Elizalde, probably a typo in the catalogue, but there is a slim possibility that some copies are so labelled. Also JR4 and later editions wrongly show the Octacros issues as no. 307, earlier editions correctly as 367.

Incidentally, Decca acquired Octacros’ parent company, Synchrophone Ltd, in 1937, included in the deal being the Octacros and earlier Metropole metal masters, which is why a number of vinyl Decca pressings of both sides exist, far outnumbering the known Metropole and Octacros issues.

Anyone care to admit owning or even seeing the Octacros?

Reactions (and please refer to the relevant VJM issue!) and new information (I can use more) to a.vandelden@onsmail.nl. Thanks.

147) that Lena Henry recorded matrix 13764 on 25 September 1924, whilst matrix 13924 was recorded by Fletcher Henderson on 30 October 1924. Interpolation between these two hard dates suggests the Texas Blues Destroyers' Vocalion session was recorded ca. 10 October 1924 (a Friday).

Steven Lasker, Venice, CA, USA

Do you want to get something off your chest? Disagree with what you’ve read? Maybe provide some additional information to an article we’ve published? We’d love to hear from you! Drop us a line - by email or even a letter, and we’ll publish it here. Note: Whilst VJM is happy to While the relevant Vocalion recording ledger disappeared print your views and comments, we may edit for length, years ago, perhaps in 1962 when Decca Records moved from not content, and will not print letters used to endorse or New York to Universal City, Walter C. Allen had a glimpse of criticise specific advertisers. it before the move, and in Hendersonia noted (pp. 123 & 28

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?

BOOK: BILL RUSSELL AND THE NEW ORLEANS REVIVAL. By Ray Smith & Mike Pointon. With a foreword by George Avakian. ISBN978-1-78179-169-1 Published by Equinox Publishing, 2018. 354pp hardbound, illust. £50. www.equinoxpub.com Straight off – let me say that I think this book is wonderful, simply wonderful and hard though I’ve looked, I can find no fault - other than the absence of a dust jacket – to either balance or temper my gushing approval.

From one of the book’s introductions, Pointon nicely describes how, during that memorable week/interview period, he had been so enthralled listening to so many authentic stories from the lips of a man who had personally known so many figures from jazz history.

Many who have engaged Russell in conversation tell how he would constantly digress to another incident or meeting he had encountered - but if anything, these kind of deviations in the narrative made for an added fascination for the listener I never met Bill Russell, but I know many who did and like and this comes across as equally absorbing in this present many readers of VJM I have heard so many stories about this text. great man, that having such a complete volume, the vast majority of which containing the words as spoken by Russell Bill Russell’s knowledge of New Orleans music was himself, is a real treasure. unequalled – his seemingly inexhaustible enthusiasm for the genre – was infectious to those him knew him well or briefly Authors Ray Smith and Mike Pointon (actually they are not interacted with him. From his first written contributions, most really ‘authors’ as such in this case – they supply the written notably to the prestigious first publication of ‘Jazzmen’, to the links between Russell’s own spoken words) interviewed Bill hundreds of interviews with a veritable who’s who of Jazz Russell over a seven day period in April 1990. Their interviews history that he made. To the opening of his first record shop were ostensibly made with the hope and possibility of to the formation of his American Music record label and an procuring a series of radio programs from their taped results. endless life full of his projects, campaigns, With the exception of one single broadcast (a Pointon headed archives,recordings, interviews and collections – they are all documentary that concentrated on Bill Russell’s association here. As is his ‘musicians life’ as a drum/ percussion with trumpeter Bunk Johnson) nothing has materialised... composer, that he gave up...”because no one would play the until now. Both Smith & Pointon are well known and much stuff… (and)... after hearing Baby Dodds, this wonderful respected UK musicians and true ‘experts’ in the field and drummer , the greatest from New Orleans, I figured I couldn’t obviously knew how to prime Russell in such a way as to write anything that would sound half so good.” allow the full transcripts of their interviews to be transcribed He was interested in every aspect of every musical with minimal editing and to read as uninterrupted narrative from a prodigious man, in full flow and with a million instrument he encountered and how the players produced that ‘certain something’ i.e. the longer his great friend Bunk memories to share.

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Johnson played his trumpet the harder his lips become, and the richer the tone he could provide – is just one of a myriad of observational titbits. In his final days (Russell died in his beloved New Orleans in August 1992) he played himself featuring another of his own chosen instruments, the violin, while recording and touring Europe with Lars Edegran & the New Orleans Ragtime Orchestra.

Russell’s natural extension of his interest in New Orleans jazz was with Gospel music . He became great friends with Mahalia Jackson (although was presumably bewildered by her love and admiration for Liberace! ) and he was happy that most black Church’s “jump” every Sunday night and he would put things into rightful perspective while seemingly mocking fellow record collectors, discographers etc when he wrote… “if there’s a Sanctified Church in your town it might If anybody had been there and done it -in a jazz life - Bill pay you to look it up if you enjoy hearing good music more Russell was the man! His reminiscences of his life in music - than looking at a record label.” from hearing master clarinettist Johnny Dodds perform, to his first meeting with another of his heroes - the mighty Jelly Roll I remember reading the same 1940s Record Changer article Morton, in the spring of 1938, constantly engage. He seems by Russell (reprinted here with just about every other article to have known just about everyone – so when he makes the written by, or about him) that in part showed his admirable occasional statement like “I didn’t know Tommy Ladnier and aesthetic priorities while he discussed his favourite (“they pronounced it Lad-ner”) very well” it almost comes as Pittsburgh preacher and singer… “Elder Beck may not be the a shock... and if it had come from a less modest man than world’s greatest musician, but he’s smart enough to know the Russell - it could read like a comparative boast! tremendous power of music and how to use it to make a happier world. Music, one of the most powerful forces in the His huge archive (originally housed in his own French world, hasn’t the destructive ability of the atom but it has Quarter apartment attached to his record shop on Chartres greater power to benefit man, and we have not begun to Street) was used as the basis of the Tulane Jazz Archive that realise its potentialities.” he founded and he became the first of many notable curators following his inevitable move from his home ‘up-north’ ‘down Perhaps Russell’s greatest fame lies in The Jazz Revival of the south’ to NOLA in 1956.

Mid 1940s. He is generally regarded as spearheading this illdefined movement (at a time of continuing racial unrest and While always willing to share, loan his research or sell his distrust) – while re-discovering past greats and promoting all recordings - it was only on the basis that everything was fair current players, particularly those active in the Crescent City and correct (either going to the ‘right person’ or sometimes and on his own American Music record label. generously calculated to the last cent!) he didn’t suffer fools gladly, or “bad time keepers” or “bullshitters, timewasters, I remember first hearing Russell’s recording of Wooden Joe and the like”.

Nicholas’ Shake It & Break It with Albert Burbank et al. for the

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first time and being totally knocked out with this primitive, exhilarating, hot ‘new’ jazz – not the exceptional Sam Morgan Band or even Piron’s bands, but a new and different energy still playing in the old classic way. With all this said and done, there are many American Music and other Russell productions from the ‘Jazz Revival’ that I do not share his enthusiasm for… and while many readers of this magazine will treat this statement akin to an intention to burn down an orphanage – I include most George Lewis and even some Punch Miller recordings among that number! But Russell would surely have forgiven me for such an outrageous statement… and lapse in education? Because all music and it’s appreciation really is a most subjective entity. And the affectionate and fervent way he speaks of his times, his music as well of those of his music friends – makes me want to go back and see what I missed out on. Like many of us - he was a ferocious record collector and researcher himself – but was often happy to de-bunk soulless academia and the pretentious ‘musicologist’ in many of us… “as long as it’s hot and swings then it’s jazz.” Period.

Like many of us [Bill Russell]... was a ferocious record collector and researcher himself – but was often happy to de-bunk soulless academia and the pretentious ‘musicologist’ in many of us… “as long as it’s hot and swings then it’s jazz.” Period.

Bessie Smith, Ethel Water, Duke Ellington, Louis Armstrong and countless others whose names appear on those great old record labels. Four blocks west was the Royal Theatre. A bit smaller (and still standing) it also featured these top names, and around the corner on Broad Street was the Lincoln We are told that he didn’t embellish his stories and wasn’t Theatre which hosted the Lafayette Players as well as musical prone to exaggeration – he was a modest man, but with so acts. many wonderful anecdotes and memories of meetings and conversations with other legendary figures, it would be hard Leecan had regular spots at these theaters, as well as gigs in to imagine that a more authoritive and absorbing read exists. Harlem (a 90-minute train ride from the B&O station a short Every one of the jam-packed 335 pages has at least one great walk away) and Atlantic City (70 minutes by train). conversation or incident remembered, one fact or new detail documented. Finally, if any ‘icing-on-the cake’ were needed While most of the established Afro-American community in (and it patently isn’t) I rough-count over 200 stunning B&W Philadelphia didn’t take to the down home stuff (trumpeter photographs and other illustrations reproduced throughout – Charlie Gaines, a Philly native had never heard of Ma Rainey, for example and many others I was acquainted with had little many of which are published for the first time. patience for “non-professional” music) there was a constant Too often, major superlatives are applied to relatively minor influx of newcomers from the South for Leecan and Cooksey achievements in the documentation of all strains of American to entertain. Thus the South Street Trio and Leecan’s NeedRoots Music – but with a book such as this, a reviewer’s More Band. hackneyed final words of ‘essential’ ‘recommended’ or even The duo recorded Black Cat Bone Blues and Dirty Guitar ‘highly recommended’ seem somehow totally inadequate. So I’ll boldly go further and conclude that absolutely anyone with Blues for Victor in 1926 and its success helped convince the the faintest interest in Jazz, New Orleans born or otherwise, company to join the other record companies in producing or any keeper of the printed word interested in the brilliant “race records.” The following sessions added Leecan’s and fascinating spoken words and wisdom of an equally brother Alfred Martin on guitar as the South Street Trio on brilliant and fascinating man should get a copy of this book – Suitcase Breakdown, Cold Morning Shout, Shortnin’ Bread, it will probably be the best of it’s kind you’ll ever own. OTT? Ain’t She Sweet. Then, adding Eddie Edinborough on washboard and an unknown cellist (who pretty much stayed I don’t think so.

PAUL SWINTON in the wrong key) they recorded a riotous session as Leecan’s Need More Band— Apaloosa Blues, Midnight Susie and CD: BOBBY LEECAN - GUITAR MAESTRO. “Suitcase Washboard Cutout. Apaloosa was issued in the UK in 1927 Breakdown”. Frog DCF86. www.frog-records.co.uk (see and I forever wonder what the unsuspecting British record buyer thought of the pandemonium within the grooves of that advert in this issue for ordering details) As a Philadelphia native who spent many a youthful excursion disc. scouting for 78s on South Street in stores that guitarist Leecan While recording for Victor, Leecan also represented Pathé and harmonica player Robert Cooksey busked in front of /Perfect’s first attempt to tap into the emerging market for years before, I am glad to see this set come to fruition. country blues after the success of Blind Lemon Jefferson and Leecan was an accomplished guitarist who had an excellent Lonnie Johnson. Nobody Knows You When You’re Down and jazz sense; adding interesting runs instead of simply keeping Out is an interesting version of a song that had bubbled time. Of course, he is best known for his work with Cooksey around since 1906 when Bert Williams recorded All in Out and together they entertained the patrons of Philly theaters and Down. The song became an iconic part of the American canon after Bessie Smith’s 1929 issue but Leecan’s version during intermissions. features very different lyrics. In any case, the rarity of the disc There were a number of theaters hosting big Afro-American today attests to its lack of success. revues in the city then: The Standard Theatre at 11th and Up in Harlem, Leecan (with and without Cooksey) recorded South Street had been the centre for black entertainment from with Thomas Morris, a prominent trumpet player in the 1920s the 1890s and, during its heyday in the 1920s, it hosted and made several sessions with the Waller-Morris Hot Babies 31

on Victor. Red Hot Dan is the one side represented on this CD and Leecan’s guitar runs truly enhance this side, adding texture to the unusual voicings. With Cooksey, he teamed with Morris on the Dixie Jazzers Washboard Band for another wild session on Kansas City Shuffle and another version of Black Cat Bones. Leecan was also called to accompany a number of female blues singers, two of which are presented here: Alberta Hunter in 1928 and Elizabeth Smith in 1926.

entirely drawing on secondary sources for his information, he has thankfully avoided the ‘Wikipedia school of accuracy’ and pools his information from the most reliable sources of Blues and Jazz documentation including some of Lynn Abbott & Doug Seroff’s outstanding recent research (something that even Chris Albertson failed to do in his latest edition of ‘Bessie’). He successfully de-bunks many of the old perpetuating ‘chesnuts’ associated with Bessie’s biography including the circumstances following her fatal car accident in His penultimate session took place in 1931 with Eddie 1936 and with each section enlarged with biographic and Edinborough’s New Orleans Wildcats. While the recording historical ‘sketches’ presents the most up-to-date survey the name overstates the musical value of these sides, Leecan is singer and her satellites…as yet. still in good form, teaming with the vaudeville pianist Wesley Wilson.

However, I found myself arguing with the page, with what I can only assume were ill informed, throwaway lines about By then the Great Depression had put an end to the good- Bessie’s rivals… When Ma Rainey started her recording career time skiffle sounds Leecan represented. Although he was in 1923 she was apparently… “acknowledged as past her undoubtedly much more versatile, Leecan faded from the prime” and later poor old Ma gets it again, this time in the music scene and died in Philadelphia in 1946. company of Ethel Waters and Alberta Hunter - “during the 1920s these four women made an aggregate total of more We must thank the excellent notes by Guido van Rijn for his than five hundred recordings, which are, with very few excellent research on Leecan, Cooksey and Edinborough. It exceptions, almost entirely forgotten today.” Really? I do must be noted that, in the introduction, there is a discussion wonder on whose research these kind of statements were of Leecan’s similarity to “Charlie” Christian on some of the based? But overall the main section of this book is a neatly Victor recordings with Thomas Morris. The writer meant to put together, most readable and up-to-date, history of Smith. say “Buddy” Christian [!].

There are two other distinct sections to this book that create Transfers and production is to Frog’s usual high standards so the problems for me as a reader and huge fan of ‘The Empress of the Blues’ (only another marketing slogan I know – but she it’s recommended.

RUSS SHOR deserved it!). Author John Clark leads a trad Jazz band in Boston, MA, which goes someway to explain his seemingly BOOK: EXPRERIENCING BESSIE SMITH: A Listeners greater preference to musical analysis of the accompanists Companion. By John Clark. Published by Rowman & (great, good or indifferent) than he does for the principal artist Littlefield. 186pp Hardbound. ISBN 978-1-4422-4340-8 and subject of his book’s title – although In fairness, I suppose So much has been written about Bessie Smith that there are only so many ways that any author can go to comparison with other dedicated works about her is describe the voice, phrasing, pitch control, interpretive power inevitable. Everything that has been published on Bessie etc. etc. of someone even as unique and exceptional as Smith. inevitably draws from Chris Albertson’s monumental first full length biography ‘Bessie’ (first published in 1971 and updated My ‘section two’ is a kind of update or progression of in 2003) and this latest book ‘Experiencing Bessie Smith’ is no Edward Brooks ‘The Bessie Smith Companion’ (first published exception. in 1982) but unlike Brooks’ complete and chronological, song-by-song approach, Clark ‘cherry-picks’ his favourites According to publisher Rowman & Littlefield and author John titles. So, just as an example, one of my own personal Clark’s back cover sales blurb, this book “illustrates and favourites, St Louis Gal, with its outstanding melody, teaches us how to listen to Bessie Smith’s recordings” Well, emotional lifts and unique coordination of Bessie’s vibrato in all modesty, I think I know already... but for those of you and the tremolos of two (!) pianists... is summarily dismissed who don’t – the question is - could this latest publication be in passing as “less interesting”. I don’t expect anyone to like beneficial to that most rewarding of experiences? the same songs as I do, but as a self-confessed ‘musicologist’, Unfortunately, I don’t think it does fulfil that specification – Clark could surely have provided more coverage, depth and even though it is a great improvement on many of the expertise to this, and many more of Bessie’s relatively large tediously slanted Gay, Feminist, Black icon etc. biogs that and fascinating recorded output. seem to appear with monotonous regularity (I must say that I He rightly draws attention to other songs, where true do not include Angela Y. Davis’ ‘Blues Legacies and Black Feminism’ which is nowhere near the ‘heavy’ read that a composer credits are dubious, e.g. the ‘down home’ lyrics of borderline misogynist might suppose from its title; hers is an a number like Workhouse Blues would seem more likely to insightful and meticulously researched study of Rainey, Smith have come from Bessie herself than from the white Columbia & Billie Holiday that features full lyric transcriptions of all A&R man Ed Kirkeby who, we’ll assume, claimed composer Smith’s recordings and is the best ‘new look’ on our lady for credits/rights as a session handler’s perk. many a year).

There are very few lyrics quoted – which again is a great ‘Experiencing Bessie Smith’s blurb further tells us that “she shame as many of these ‘firsts’ - being tin pan alley or original toured long before setting her music to vinyl [sic]” So we also blues compositions – are deserving of new or ‘revised’ know that that there was life outside of the studio analysis. (presumably before the use of shellac) and the author nicely plots out the life and times of our heroine and although There is a great little chapter on the song and film ‘St Louis 32

Blues’, where, some researchers may be surprised to read that Thomas Morris doesn’t get a mention but the author “visually and aurally” identifies Joe Smith and Sidney De Paris as the horn players as definitely appearing in Bessie’s two reeler.

this issue for ordering details).

Fletcher Henderson was one of the small number of black band leaders who made it big in the 1920s and managed to maintain that position into the Swing era of the following decade, not least because of his status as chief arranger for the Benny Goodman orchestra at precisely the time Goodman was being hailed as the ‘King of Swing’… and it’s for his ground-breaking charts with this outfit that many jazz lovers know his name and his work. I suspect that a good few of them have probably never heard any of his 1920s recordings and wouldn’t give the earlier ones, at least, much time if they did. But the seeds of Henderson’s orchestrating genius were already germinating in the period covered by this CD and many of the tracks here are as interesting for their arrangements as for the hot solo work provided by the stars playing them.

I can only assume that the final section of this book, under the heading of ‘influences and legacy’ where separate biographical sections on Connie Boswell, Janis Joplin, Ella Fitzgerald, Big Joe Williams and Bob Wills were added as ‘padding’. That these artists were included simply because they ‘admired’ Bessie Smith or covered one of her songs – seems rather a random selection. There are few discerning blues or jazz musicians in history that didn’t admire or, however indirectly, were influenced by her! Smith together with Ma Rainey and maybe to a lesser extent, Bessie’s nonrelative, Clara Smith and Rosa Henderson were THE pioneers during the early 1920s, who through their record releases The Henderson orchestra was first and foremost a dance popularised a form of blues phrasing and delivery that I am band, playing at this time at the Club Alabam, which is sure influenced ALL blues singers, both male and female of credited on some of the Vocalion issues. There has in the past that time and that we still hear today. been much speculation about how different the band might have sounded away from the recording studio, with the It is finally worth noting that some truly excellent Bessie musicians not confined to the 3-minute format recording Smith session analysis is being undertaken by Wayne B. demanded. But in an interview given, I think, by Don Redman Shirley for The Ranson Hogan jazz Archive’s half-yearly somewhat later, he made the point that dance bands were newsletter/magazine ‘The Jazz Archivist’. But waiting six expected to stick rigidly to the 3-minute formula, otherwise months at a time for a new chapter of any story is frustrating the club hostesses – who charged ’10 cents a dance’ – to say the least. In the meanwhile, I would recommend - with wouldn’t make enough of an evening. So what we hear on this the above reservations - this latest ‘listeners companion’ to CD will be very much what the patrons of the Club Alabam would have heard 94 years ago! Except, of course, they would the Bessie Smith library - according to John Clark.

PAUL SWINTON have heard the band in glorious full frequency sound, whereas we have to make do with the best the acoustic recording CD: FLETCHER HENDERSON & HIS ORCHESTRA - “DO studios could manage. In the case of Vocalion (from whose THAT THING.” Vocalian and Pathé recordings 1924 - 25. 25 catalogue the majority of these recordings 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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Books on display at Chicago Rare Book Ctr, 703 Washington St. Evanston, IL 60202 773-472-4528 or 847-328-2132

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on the other hand, tended to produce a sharp, often grating sound, with an undertone of bass rumble caused by the absurdly outdated method they used to record - the actual recording was made onto a huge wax cylinder and then it was pantographically copied onto a wax master disc, with huge amounts of mechanical noise imparted into the final record by the copying process. The important issue, however, is that Fletcher Henderson wrote his arrangements precisely to fit the restricted length allowed for each tune in the club venues.

As the 1920s progressed, he developed this talent and turned out some of the best big-band arrangements of the day.

Meanwhile, his pupil from this period, Don Redman, did much the same for McKinney’s Cotton Pickers, in some ways beating Henderson at his own game.

This CD, then, features tracks that show Henderson in transition from being very much a dance-band leader to becoming a leading light in the jazz world; although most of the tracks here are largely hot, this wasn’t true of many other titles Henderson recorded for other labels. It opens with Chicago Blues from the Vocalion session of March 25, 1924; like so many such numbers of the time, this is not a blues at all – other titles here include Tea Pot Dome Blues, Mobile Blues and Forsaken Blues. The term ‘blues’ was deemed by music publishers to be a big selling point for a popular tune – which is why the Melrose Brothers retitled Morton’s The Wolverines as Wolverine Blues; Morton took the point, as the sales ratcheted up and so didn’t demur, because up to the mid-20s, the success of a pop tune depended on sheet-music rather than record sales. That said, Henderson obviously was good for the recording industry, as many of his discs clearly sold in big numbers, not least, perhaps, because his arrangements made them far more interesting to listen and dance to than the output of some of his contemporaries, who depended on the publishers’ stock arrangements, which could often be pretty mundane. Not so with Henderson, as can be heard here: Feelin’ the Way I Do from this first session is a very good example of how he alternated arranged passages, often with extended ‘call and response’ phrasing, with hot solos.

Tea Pot Dome Blues refers to a political scandal that led to the resignation of the then Secretary of the Navy, and is one of the most interesting titles on the CD from the point of the view of the arrangement, which features a trombone solo backed by the reeds, with a series of finely punctuated breaks, then bursting into a rasping muted trumpet solo. Henderson himself solos on Mobile Blues for a half-chorus, demonstrating just how complex his style was compared to most dance band pianists of the period. I Don’t Know and I Don’t Care has some of the most relaxed swing the band produced at this time, which avoids the 1920s tendency to plod on slower numbers; its session mate, Strutters’ Drag, is taken at a slightly faster tempo but is equally swingy and includes some excellent double-time passages, a stylistic device that was quite rare at the time and something of a Hendersonian innovation.

The title track, Do That Thing, was a Sidney Bechet composition and is one of the few titles Henderson recorded to have a vocal, provided here by Rosa Henderson – no relation but a blues singer and vaudeville artist, whom her namesake often accompanied on recordings, as did Edgar Dowell, who composed the next track, Those Broken Busted, Can’t Be Trusted Blues, which is in this case also a true blues

When Ma Rainey started her recording career in 1923 she was apparently… “acknowledged as past her prime” and later poor old Ma gets it again, this time in the company of Ethel Waters and Alberta Hunter - “during the 1920s these... women made an aggregate total of more than five hundred recordings, which are, with very few exceptions, almost entirely forgotten today.” Really? with a fine chorus by trumpeter Howard Scott.

The Gouge of Armour Avenue is noteworthy for another fine and blues-tinged solo from a new member of the band, Charlie Green on trombone. The same session produced one of the hottest renditions of the big hit Hard Hearted Hannah, which includes a blistering trumpet solo and a complex solo from Coleman Hawkins on tenor. A New Kind of Man was the first Henderson track I ever heard – as a teenager, when it was re-issued on a Jazz Collector EP. It opens with a series of goofus breaks, by Don Redman, who later plays a solo, deemed to be on the same instrument, though in his review of the EP I mentioned, Brian Rust explained it to be a cuesnophone (pronounced ‘queenophone’). He later lists just a goofus in his Jazz Records personnel – but it’s clearly not a goofus and sounds much more like Adrian Rollini’s hot fountain pen!

The first Pathé session on the CD is also the first to feature Louis Armstrong, as well as the first, on which Don Redman is given arranger credits. Henderson was as much a businessman as a musician – as witness the fact that he managed to record for every major and middle-ranking company at this period, with the sole exception of OKeh (though he didn’t record for Victor under his own name till 1927) – and his decision to sign Armstrong was a risky one.

But the attraction of having a major jazz star in his ranks obviously overcame any doubts; and it was one more step along the path to abandoning the ‘straight’ dance band with solos format. The lower quality recorded sound of the Pathé studios and their insistence on fewer hot moments is, then, more than made up for by the added punch provided by Armstrong’s presence in the front line and his fiery muted solos – which provide almost the only satisfying passages on Tell Me, Dreamy Eyes and My Rose Marie. Incidentally, as the liner notes discuss, Armstrong was still playing cornet at this time. Mention is made of a photo that proves this (though it’s not included in the CD booklet), but his solos are clearly played on a cornet, even if he may have used a trumpet in the ensembles – the tone of the instrument is unmistakable. The next Vocalion session produced the justly famous and much re-issued title Copenhagen: Armstrong bursts out from the

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preceding clarinet trio and infuses the brass passages with tremendous fire and ‘push’. This is a signature recording.

Just how fluid some musical categories were is suggested by the splendid Floyd’s Guitar Blues where Floyd Smith’s electric lap steel guitar playing (derived from Western Swing?) is thrillingly meshed with the driving Kansas City jazz of Andy Kirk’s Twelve Clouds of Joy.

Henderson recorded Shanghai Shuffle on the Pathé session above, but the Vocalion version is so much better, a different arrangement with fine solos from Armstrong and Charlie Green. He recorded two more ‘blues’ for Pathé in early 1925: Poplar Street Blues is in fact one of the fastest numbers on the CD, featuring a fine trombone solo and another fiery contribution from Armstrong and a similar shorter solo from Hawkins…this is probably the best Pathé side. 12th Street Blues is also up-tempo, though not as inspired a performance as Poplar Street, in spite of two excellent Armstrong solos. His cornet dominates the ensembles and brass passages on Memphis Bound, and the final track, When You Do What You Do, includes probably his best solo with Henderson, backed by off-beat cymbal rhythm from Kaiser Marshall, which allows (slide or bottleneck guitar) was I think, more directly Armstrong to play back and forth across the beat. significant. The wonderful Red Hot Blues by Casey Bill The re-mastering of these tracks by Nick Dellow is, as Weldon, “The Hawaiian Guitar Wizard”, neatly makes the always, excellent and the deficiencies of the Pathé system point: its swinging dance rhythms and smooth, ringing guitar notes lead to Western Swing as does the brilliant Kokomo have been neatly removed. An excellent re-issue.

MAX EASTERMAN Arnold’s Goin’ Down in Galilee. Just how fluid some musical categories were is suggested by the splendid Floyd’s Guitar 4 CD SET: A Rhythm And Blues Chronology Volume Six: Blues where Floyd Smith’s electric lap steel guitar playing 1938-39. RANDBO 47. Rhythm and Blues Records. (derived from Western Swing?) is thrillingly meshed with the driving Kansas City jazz of Andy Kirk’s Twelve Clouds of Joy. www.1960s.london.

The term “Rhythm and Blues” was first used in the trade magazine Billboard in 1943 and from 1949, replaced “Race “Swing” is well represented on this compilation in both its Big Music” for its chart listings of African-American music. It was, band and small group settings. Count Basie’s self-explanatory like “Race Music”, a portmanteau term embracing both blues Swinging the Blues and his big band version of the old blues, and gospel music of various kinds and varieties of jazz and Mama Don’t Allow with vocal by Jimmy Rushing, sit pop music. This set’s 108 titles does not offer us a “snapshot” comfortably with Louis Jordan’s small group recording, of the most popular African–American records of 1938- 1939: Somebody Hoodooed the Hoodoo Man, (later picked up by if it did the Robert Johnson titles Preachin’ Blues and Stop Junior Wells). Jimmy Lunceford’s fine Well Alright Then and Breakin’ Down Blues would not be included here! (they are Ain’t What You Do, Slim and Slam’s Beatin’ The Boards and very scarce records). Instead, it showcases the variety of the Harlem Ham Fats’ Candy Man with an expressive vocal by genres and styles that the major companies, RCA Victor Rosetta Howard, make the point that “Swing” was essentially (sometimes on their Bluebird label), Columbia (with their a dance mode. It defines both the relaxed syncopation of “race” label Vocalion), Brunswick and Decca released. The Washboard Sam (Serve It Right),and the hard driving Plucking compilers distinguish “Down-Home Blues” from “Urban City The Blues by Cab Calloway; and is heard in Cootie Wiliams Blues” and “Boogie-woogie” and then identify “Swing, Jive and His Rug Cutters’ Ain’t That Gravy Good as well as and Kansas City Jazz” as well as “Gospel and Vocal groups” as wonderful sides like Baby, Look At You by Pete Johnson & defining types of Rhythm & Blues. The set also includes a The Boogie Boys. splendid group of Western Swing records which illustrate, As practised by the big three – Meade Lux Lewis, Pete among other things, the effect that certain African-American musical forms had upon a type of white, rural music in the Johnson and Albert Ammons – Boogie Woogie was very much part of the wide popularity of the Big Band Swing craze of the 1930s. late 1930s and 40s, and attracted a large, and white, audience A fusion of Old Time string band music with elements of far beyond the African-American communities at whom blues and the driving rhythms of big band Swing and small “Race” and then, “Rhythm and Blues” records were primarily group jive, Western Swing emerged in Texas and Oklahoma directed. Thus, some of the outstanding tracks here – Pete perhaps in the early 1930s. “The King of Western Swing” was Johnson’s Holler Stomp and Albert Ammons’ quite brilliant Bob Wills whose 1938 recording of Keep Knocking is an Bass Goin’ Crazy and Suit Case Blues were released by Blue excellent cover of Lil Johnson’s 1935 rendition rather than, as Note: they were among the very first records that German the notes propose, a version of James “Boodle It” Wiggins’ émigré , Alfred Lions cut for his fledgling label after he saw the scare Paramount recording of 1928. More immediately, Cliff Boogie Woogie Trio at the 1938 Spirituals To Swing Concert at Bruner’s Kangaroo Blues was written by the urbane Ollie Carnegie Hall. I also suspect that Leadbelly’s thundering and Shepard (an obscure but prolific African-American pianist, thrilling Gallis Pole recorded for Musicraft, was not primarily singer and songwriter) and highlighted by Bob Dunn’s lap aimed at a Black audience! Others, like The Boogie Man by steel guitar playing which also distinguishes Mean Mistreater Jimmie Gordon’s Vip Vop Band were. Recorded for Decca’s

by Bob Dunn’s Vagabonds. Ultimately, this guitar style had its “Sepia” catalogue, it features the spirited boogie piano of Sam origins in the music of the Hawaiian musicians who were so Price and a stirring alto sax solo by Buster Bennett (they hugely popular on the vaudeville stages of early 20th century sound like a miniature swing orchestra!), whilst Vocalion America, but the African-American adoption of the technique issued the ever versatile Big Bill Broonzy’s Sad Pencil Blues 35

which showcased the stomping piano playing of the records, but not more so than the two titles by the great but underrated Joshua Altheimer, a spritely clarinet solo by Bill neglected Georgia White. She’s been a favourite of mine since Owsley, and the electric guitar of George Barnes.

I first heard her brilliant Blues Ain’t Nothing But, and although the two titles here are not her best, Worried Head Blues and The urban and the urbane came in a variety of forms. It the slow Beggin’ My Daddy where I suggest, the unknown ranged from Louis Jordan’s celebration of the latest dance guitarist is Lonnie Johnson, showcase both her considerable craze Doug The Jitterbug, complete with “hipster” lyrics, to vocal and piano playing talents. the reflective piano blues of Roosevelt Sykes’ 44 Blues, was his fourth version of this great piano theme which he’d first John Hammond’s two “Spirituals to Swing” concerts in 1938 recorded in 1929, and the lovely Night Time Is the Right also and 1939 played a very important role in introducing a variety became a blues standard. Again, Bill Gaither’s outstanding of African – American musical genres to mainstream, white Mean Old World to Live In with Honey Hill on piano (evoking audiences and helped shape the later careers of artists as Leroy Carr), could be found in the Decca catalogue alongside diverse as Albert Ammons and Sonny Terry, Big Bill Broonzy Count Basie’s very “cool” instrumental blues Red Wagon. And (who replaced Hammond’s first choice to represent Lee Brown’s Lemon Roller which marries traditional erotic “primitive” blues – the recently deceased Robert Johnson!), imagery with his sophisticated piano playing, neatly contrasts and the Golden Gate Quartet who have three marvellous with the hipster argot of Lionel Hampton’s The Jumpin’ Jive. sides here. They were one of the most influential groups in the history of gospel music and their version of Traveling In contrast to the “sounds of the city “, the major record Shoes from their second session for Bluebird shows why. companies also issued a significant number of “country “ or Rhythmic complexity, the interplay of four beautiful voices “Down-Home” blues records which where, I think aimed (Bill Johnson, Henry Owens, William Langford, Orlandus both at the migrant populations from the South who’d move Wilson) and their precise timing and articulation make this a north and at those who remained “down home”. Thus, wonderful record. Throughout their recording career, “the Bluebird issued the rough-voiced Delta guitarist Tommy Gates” also performed secular material like their charming McClennan’s big hit Bottle It Up and Go whilst Vocalion version of Stormy Weather. Another important jubilee group recorded typical rags by North Carolina’s Blind Boy Fuller – recorded by Bluebird were the Heavenly Gospel Singers; their You Got Something There and the mildly salacious I Want Do Lord, Send Me! features the amazing bass voice of Jimmy Some of Your Pie. The obscure Elijah Jones plays an Bryant. Decca’s answer to “the Gates” was the very fine Selah exhilarating Stuff Stomp which showcases the mandolin Jubilee Singers: their Traveling Shoes is an individual talents of Yank Rachell who was a long time musical partner interpretation rather than a copy of the Gates’ performance of of Sleepy John Estes. Estes is represented here by two of his the song. fine Decca recordings – the up tempo Liquor Store and the great New Some Day Baby. Both Jones and Estes, were This then is an eclectic mix of records – some great, some associates of Sonny Boy Williamson who’s featured here with rather ordinary - which taken together gives us a picture of his compelling, first record, Good Morning, Little School Girl” popular African-American styles and their transformative – it became a blues standard – on which his singing and spread into the main stream of American popular music in the playing are brilliantly augmented by the guitars of Big Joe late 1930s. The sound quality is generally very good but a few Williams and Robert Lee McCoy. The musical careers of tracks are poorly reproduced and the review copy did have Williamson and McCoy (i.e. Robert Nighthawk) exemplify the some pressing glitches. Nonetheless, this is a very enjoyable transformation in the late 1930s of an essentially rural and, I found, illuminating compilation. Recommended.

HENRY THOMAS ensemble sound into what has often been called, rather disparagingly, the “Bluebird beat”, and beyond that to the post-war Chicago blues. Another major Chicago musician VINYL RECORD: CHARLES ASBURY. 4 Banjo Songs 1891who bridged the years to Post war blues was the great Tampa 1897. Archeophone Records. www.archeophone.com.

Red well represented here by the excellent Hellish Old Thanks to modern digital technology, recordings from the Feeling. dawn of phonograph history can be rescued from their wax entombment and offered to today’s historians. The challenges One of the pleasures of this release is that it showcases a of salvaging these recordings is huge: they often ran at range of women singers and their styles. The sophistication of unsteady speeds causing all kinds of wow and flutter, the wax Billie Holiday, whose voice caresses the lyrics of Fine and cylinders deteriorated very quickly from wear and mold Mellow (my favourite) and Long Gone Blues, to the mellow rendering most unplayable, or, at best, difficult listening. voiced Helen Humes, who replaced Holiday as vocalist with Only a handful are known to have survived.

Count Basie’s band (and appeared at Carnegie Hall in 1938) is contrasted with the rougher, often exuberant performances Also, it is a general assumption that very little of interest was of Lil’ Johnson ( Bucket’s Got A Hole In It) and “The Yas Yas recorded before the 1920s – and that certainly was the case Girl”, Merline Johnson, whose I’d Rather Be Drunk evokes the in the USA after Victor and Columbia monopolized recording sounds of Chicago’s Southside taverns. Trixie Smith who first activities in the first years of the new century. But before recorded My Daddy Rocks Me (Paramount 12164) in 1922, then, there were a number of small companies making reprised it for Decca in 1938 with an outstanding cylinder recordings, and their output is not well known accompaniment by Sammy Price on piano and the brilliant because the vast majority of their issues have been lost and Sidney Bechet on clarinet and thus revived the “classic or the information in surviving catalogs was often quite vague, vaudeville” idiom: perhaps in response to the interest in giving only song titles or generic descriptions (“banjo solo”, African-American musical traditions and history occasioned “tenor” etc). As it turns out, these companies did record

by Hammond’s 1938 Carnegie Hall concerts (and, I would artists who would be of interest to blues and country argue, Bessie Smith’s death in 1937). I enjoyed all of these collectors (or American vernacular music as the scholars put 36

it) in addition to the usual marches, vaudeville tunes, on record. Macon made hundreds of recordings, but did not novelties and sentimental songs. One of those artists was begin recording until 1924.

Charles Asbury, whose recording of Haul the Woodpile Down Now a note on the Archeophone issue: its format is nearly resurfaced only seven years ago. as obsolete at the cylinder: It’s a 45 rpm EP (although, Archeophone has produced several collections already thankfully, it has an LP/78-sized spindle hole). The EP, which featuring such material (most notably “Lost Sounds�) and offers 2 songs on each side, is probably the only workable continues doing so with the pioneer banjoist and singer format (other than download) for an artist for whom only four Charles Asbury. Asbury was born in Florida, in 1856 or 7 and songs have survived. The sound restoration is nothing short raised in Augusta Georgia. He was probably of mixed race of a miracle. Each track is clear, properly speeded with no ancestry, being listed alternatively as black or white in various noticeable wow or flutter. One reason is the use of the census reports. He recorded with the Afro-American Unique recently developed CPS1 Cylinder Playback System that is Quartet in 1890-3 (also reissued by Archeophone) and, as a custom made for modern playback of these ancient stage performer, began recording for the New Jersey recordings. And digitalization of the sound files enables Phonograph Company in the early 1890s. The 1894 New restoration programs to reduce the wow and flutter. The Jersey Phonograph Company catalog lists 13 songs by Asbury results are truly amazing. with the note “Mr. Asbury’s work is full of ginger, his songs being rendered in the good old plantation negro style. As a We also must pay thanks to researchers Richard Martin and colored minstrel he is favorably known. His execution on the Ted Olsen for their exhaustive biography of Asbury in the 16page booklet that comes with the disc. banjo is characteristic.�

It must be noted that many historical projects are undertaken after their originators receive government, university or foundation grants. Restoration of sound recordings is one of the few ventures where collectors volunteer their time, money and talent to do these on their own. Charles Ashbury will never make it to anyone’s hit parade but we are all richer for that fact that at least a few of his recordings have been found and preserved. For that reason alone, the set is worth Listeners familiar with early country music will hear a buying, but do so because it’s also a good listen.

RUSS SHOR marked similarity to Uncle Dave Macon (born 1870) who offered one of the very few windows to 19th Century music Two of the four titles in this collection are listed in this catalog: New Coon in Town, an uptempo banjo romp and Haul the Woodpile Down, which was a favorite of 1920s country groups, including Uncle Dave Macon (more about him below). He made a number of other cylinders for Columbia and various Edison affiliates including Keep in the Middle Ob De Road and Never Done Anything Since.

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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. Secondly, and easier for those more familair 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.

AUCTION CLOSES SUNDAY 29th JULY 2018

SB=Sunburst (Decca). DJ=Disc Jockey or Sample Copy. TT=Truetone label OKeh. OS= Original sleeve.

One again we have more gems from the collection of jazz clarinettist, record dealer and collector Johnny Hobbs, plus Master Test Pressings, many of which were unissued on 78 (and some never reissued!). Unless stated tests are vinyl (rather than the less durable modern polystyrene pressings), and several are super-high quality shellac pressed in the late 1930s and early 1940s for George Avakian for consideration for reissue on Columbia.

SECTION ONE: BLUES, GOSPEL AND R&B, INCLUDING ITEMS WITH JAZZ ACCOMPANIMENT.

001 BARBECUE BOB. Chocolate To The Bone/ Way Cross Georgia Blues. Col 14331-D E+ Guitar Blues classic!

002 BIG BILL BROONZY. Night Time Is The Right Time No. 2/ New Shake ‘Em On Down. Voc 04149 E003 Black Brown and White/ Feelin’ Low Down. Vogue V2077 E Paris recordings!

004 BUMBLE BEE SLIM. Bumble Bee’s New Muddy Water/ Good Bye. Voc 03611 E 005 I’ll Meet You In The Bottom/ Meet Me At The Landing. Voc 03384 E+ 006 LEROY CARR - SCRAPPER BLACKWELL. Hard Hearted Papa. 1/s styrene Master Test Pressing of Voc mx 16417-1 E+ Unissued on 78!

007 You Left Me Crying. 1/s styrene Master Test Pressing of Voc mx 16418-2 E+ Unissued on 78!

008 PETER CLEIGHTON. Roaming Gambler/ Something Going On Wrong. OK 06514 E 009 FLOYD DIXON. Empty Stocking Blues/ San Francisco Bl. Aladdin 3074 E- lt scfs 010 CHAMPION JACK DUPREE. County Jail Special/ Fisherman’s Blues. Joe Davis 5103 E+ 011 LOWELL FULSON. Blues Come Rolling In/ I Love My Baby. London L1199 E+ 012 CECIL GANT. The Grass Is Getting Greener/ God Bless My Daddy. Dec 48249 E+ 013 LILLIAN GLINN. I’m A Front Door Woman With A Back Door Man/ Black Man Blues. Col 14433-D E+ Fantastic accompaniment!

014 RENE HALL 3 w/ COURTLAND CARTER. My Kind Of Rockin’ /Summertime Blues. Dec 48217 E 015 HARLEM HAMFATS. Root Hog Or Die/ Black Gal U Better Use Your Head. Dec 7439 V+ 016 WYNONIE HARRIS. Rot Gut/ Greyhound. (Can) King 4190 V+ scfs and lt scrs plays better than it looks!

017 PEG LEG HOWELL. Skin Game Blues/ Doin’ Wrong. Col 14473 E+ West Coast pressing, C1 stampers!

018 MAHALIA JACKSON. Last Mile of the Way/ I’m Glad Salvation is Free. Vogue V302 E+ 019 FRANKIE HALF PINT JAXON. Gimme A Pigfoot/ Take Off Them Hips. Dec 7795 EE020 Fan It Boogie Woogie/ Don’t Fan Me. Dec 7638 VV+ sol 021 JESSE JAMES. Lonesome Day Blues/Southern Casey Blues. (SB) Dec 7213 E sol s2. Piano Blues classic!

022 COLEY JONES. Drunkard’s Special/ The Elder He’s My Man. Col 14489-D E+ few tiny lams at edge, nap, lbl fade. Great Dallas sides!

023 MARGARET JOHNSON & BLACK AND BLUE TRIO. Folks In New York City.../ My Man’s Done Done Me Dirty. Vic 20178 E+ superb copy!

024 DICK LEWIS & HIS HARLEM RHYTHM BOYS. 8 O’Clock Stomp/ Hurricane Boogie. Imp 5001 V+ scfs 025 BROTHER JOE MAY. Your Sins Will Find You Out/ I Thank The Lord. Spec SP803 E+ 026 PALMER McABEE. McAbee’s Railroad Piece/ Lost Boy Blues. Vic 21352 E sm scr end s1, nap Mouth Harp classic!!

027 TOMMY McCLENNAN. Cotton Patch blues/Baby Don’t U Want To Go. BB B8408 E (OS) 028 BROWNIE McGHEE. Diamond Ring/ So Much Trouble. Sav 835 E+ 38

029 LIZZIE MILES (JELLY ROLL MORTON piano). I Hate A Man Like You/ Don’t Tell Me Nothin’ ‘Bout My Man. Vic V38571 E+ Rare and great sides!

030 MONKEY JOE & HIS MUSIC GRINDERS. BVD Blues/ Good Business No. 2. Voc 04871 E+ Great sides!

031 ORIG FOUR HARMONY KINGS. Jesus Moves in De Middle Ob de Air/ Long Ago Lullaby. EBW 4354 E sm lt nr s2 nap. Rare London 1925 sides 032 OSCAR’S CHICAGO SWINGERS (Sam Theard vocals). New Rubbing On The Darned Old Thing/ I Wonder Who’s Boogiein’ My Woogie? (SB) Dec 7186 E033 PILGRIM TRAVELERS. I’m Standing On the Highway/ I’ll Tell It. Spec SP305 E+ 034 Look Down That Lonesome Road/ It Is No Secret. Spec SP872 E few lt scfs nap 035 PINETOP & LINDBERG (Sparks Bros). East Chicago Blues/ LITTLE BROTHER MONTGOMERY. Farish St. Jive. BB B10177E+ Fine sides!

036 MA RAINEY & LOVIE AUSTIN’S BLUES SERES. Ma Rainey’s Mystery Record/ Honey Where You Been So Long. Para 12200 E-/E Ladnier etc!

037 ALTON REDD & HIS LOW DOWN BLUES O. Let’s Get Together/Mean Ol’ World. Bel-Tone 757 E sol s2 038 TODD RHODES ORCH (Lavern Baker vcl s1). Pig Latin Blues/Blue Autumn. King 4566 EE+ 039 ETHEL RIDLEY. Alabama Bound Blues/ I Don’t Let No Man Worry Me. Col A3965 E+ lovely copy!

040 BESSIE SMITH. Sing Sing Prison Blues/ Dying Gambler’s Blues. (Flag) Col 14051-D E+ Lovely copy!

041 HAZEL SMITH (King Oliver acc!!). West End Blues. 1/s vinyl Master Test Pressing of OK mx 401083-B E+ 042 PINETOP SMITH. Nobody Knows You When You’re Down & Out/ Big Boy They Can’t Do That. Voc 1256 E+ Very rare and in immaculate shape!

043 VICTORIA SPIVEY. New York Blues. 1/s vinyl Victor Master Test Pressing of mx 59142-1 E+ 044 TAMPA RED. Grieving Blues/I’ll Dig You Sooner Or Later. Vic 20-3160 E+ 045 YACK TAYLOR. You’re Gonna Go Your Way.../ 4 BLACKAMOORS. Break It Up Charlie. Dec 7850 sm inaudible int hc s1 nap 046 JOHNNY TEMPLE. Big Leg Woman/ Louise Louise Blues. Dec 48002 E 047 FLOYD TILLMAN. It’s A Cruel World 4 Me/ Same Old Blues. Col 37826 E+ 048 JOE TURNER & BLUES KINGS. Married Woman/Well All Right. Atlantic 1040 E couple lt nr, nap OS 049 ETHEL WATERS w/ DUKE ELLINGTON’S ORCH. I Can’t Give You ABL. 1/s vinyl Br/Decca Master Test Pressing of mx B12783-A E+ 050 Porgy. 1/s vinyl Br/Decca Master Test Pressing of mx B12784-A E+ 051 GEORGIA WHITE. I Just Want Your Stingaree/ Alley Boogie. Br 48006 EE+ 052 GEORGE WILLIAMS & BESSIE BROWN. Satisfied Blues/Double Crossing Daddy. Col A3974 E+ 053 SONNY BOY WILLIAMSON. Lacey Belle/Polly Put The Kettle On. Vic 20-2521 E+

SECTION TWO: BRITISH & EUROPEAN JAZZ AND HOT DANCE - SOME RARE & UNUSUAL DISCS, INCLUDING RARE DECCA TEST PRESSINGS!

054 AMBROSE & HIS ORCH. Singapore Sorrows/Without U Sweetheart. HMV B5464 E+ Hot and Uncommon!

055 I May Be Wrong But I Think U’re Wonderful. 1/s vinyl Dec Master Test Pressing of mx MB707-2 E+ Hot! 056 High and Low. 1/s vinyl Dec Master Test Pressing of mx MB953-2 E Fine Lew Stone arrangement 057 (Evelyn Dall vcl). Jeepers Creepers. 1/s vinyl Dec Master Test Pressing of mx DR3430-1 E+ 058 BOSTON ORCHESTRA. Mamma’s Gone/ Nola. HMV B1964 E- plays better. Fine hot 1924 side 1 by contingent of Savoy Orpheans!

059 THE BLUE MOUNTAINEERS. A Great Big Bunch Of You/Listen To German Band. Bcst 12 3249 E Fine Gonella tpt!

060 THE BOSWELL SISTERS (Ambrose Orch acc). Lullaby of Broadway. 1/s vinyl Dec Master Test Pressing of mx GB7317-3 E+ 061 (w/ Ambrose Rhythm section). Fare Thee Well Annabelle. 1/s vinyl Dec Master Test Pressing of mx GB7316-1 E+ These two were recorded in London 1935, and were unissued in USA! 062 ALIX COMBELLE ORCH (Bill Coleman tpt). Hang Over Blues/Alexander’s Ragtime Band. Swing SW 11 E+ 063 BENNY CARTER ORCH (Django). Farewell Blues/ FLETCHER ALLEN & HIS ORCH. What’ll I Do. Swing SW36 E+ Paris 1938 064 You Understand/If Only I Could Read Your Mind. (Swing) VoE 27 E+ London 1936 065 BILLY COTTON & HIS BAND. I Don’t Know Why/ PERCIVAL MACKEY BAND. Blue Grass. Curry 187 E/E- tight 1” hc s2, nap Hot s1!

066 Hello Beautiful/ River and Me. CoE CB259 E+ Hot s1, Gonella tpt!

067 THE CRICHTON LYRICALS (Roy Bros.) Somebody Said/ Where Oh Where Do I Live. Imp 1820 E 2 hot 1927 sides!

068 LEW DAVIS (Trombone solos). Swing Me Sweetly/ I Never Knew. PaE R2152 EE+ 069 JIMMY DORSEY & SPIKE HUGHES 3 BLIND MICE. I’m Just Wild About Harry/ After U’ve Gone. DeE F9003 E+ 070 FRED ELIZALDE & HIS ORCH. Rhythm Step/Paree. BrE 114 E071 & HIS MUSIC. Under The Moon/ Diane. BrE 143 EE+ Fine s1, Rollini, Davis, Quealey!

072 MAURICE ELWIN-SYDNEY NESBITT. Sleep Baby Sleep/ Great Camp Meeting Day. Zon 5298 E sm scr s1. Great Ahola/Lally solos, uncommon!

073 EMBASSY RHYTHM 8. Back Home In Tennessee/Where Black-Eyed Susans Grow. DeE F5467 E+ 074 BERT FIRMAN’S D.O. Ain’t That A Grand & Glorious Feeling/ Souvenirs. Zon 5015 E 075 TEDDY FOSTER’S KINGS OF SWING. Tain’t No Use/ When A Lady Meets A Gentleman Down South. HMV BD 5141 E+ 076 THE GILT-EDGED FOUR. Tell All The World/PERCIVAL MACKEY’S BAND. Knock At /The Door. CoE 3711 EE+ 2 good sides 077 STEPHANE GRAPPELLY & HIS MUSICIANS (George Shearing pno). Noel Brings The Swing/ Sweet Sue. DeE F7841 E+ 078 JACK HARRIS & HIS BAND. The Free and Easy. 1/s vinyl Dec Master Test Pressing of mx MB1406-4 E+ Fine arrangement of this unissued 1930 ‘Experimental Recording!’

079 IKE HATCH. The Rhythm’s OK in Harlem/ With A Banjo On My Knee. PaE F662 E+ Great sides by black American singer/composer 080 SPIKE HUGHES & HIS DECCA-DENTS. Fascinating Devil/What Wouldn’t I Do For That Man. DeE F1710 V+ Fine 1930 sides!

081 JACK HYLTON & HIS ORCH. 7 and 11 Blues/ Blue Trot Blues. HMV B1701 E+ 082 Buffalo Rhythm/ I’m Seeking A Ladybird. HMV B5379 E- Uncommon!

083 Oh What A Night To Love/Where Shy Little Violets Grow. HMV B5594 EE- Hot Berlin 1928 sides - Jack Jackson etc!

084 Oh What A Silly Place To Kiss A Girl/ Amy. HMV B5836 E+ Hot Berlin 1930 side 1 - Phillippe Brun, Crossman solos!

085 JAZZ DE PARIS (Combelle, Rostaing Joe Reinhardt etc). Ambiance/ Verlaine. Swing SW105 E 086 JEFFRIES RIALTO ORCH. Piccadilly Strut/ BAILEY’S LUCKY 7. After I Say I’m Sorry. Gmn 1908 E+ Uncommon and fine!

087 THE KRAKAJAX. Tap Your Tootsies/ Celebratin’. PaE F418 E+ Fine sides with tap dancing side 1!

088 JOE LANIN’S JAZZ BAND. I’ll Build A Stairway To Paradise/ En Douce. (Vert) Fr Pathe 6602 E Hot Paris 1923 side featuring US trumpeter Clarence Gransie.

089 LONDON RADIO DANCE BAND. Who Taught You This/ n.i. CoE 4171 E+ Hot Bass sax/tpt!

090 The Devil Is Afraid of Music/ Castilian Nights. CoE 4669 E 091 NEW MAYFAIR D.O. Copper Blues/ Terribly Fond of You. HMV B5717 E+ Fine and uncommon 1928 sides, Sylvester Ahola solos!

Next, two London 1919 sides by the ODJB - probably the nicest copies of these London 1919 rarities to be offered for a long time - bid 39

accordingly!

092 ORIGINAL DIXIELAND JAZZ BAND. Tiger Rag/ Look At ‘Em Doing It. (12”) CoE 748 EE093 Satanic Blues/ ‘Lasses Candy. (12”) CoE 759 E093 JACK PAYNE BBC DANCE ORCH. Down By The Old Front Gate/n.i. CoE 5118 E+ Fine arrangement and hot solos!

094 QUEEN’S DANCE ORCH. Bull Frog Patrol/Come Along. HMV B1299 E- Fine London 1921 sides featuring black American clarinettist Edmund Jenkins!

095 QUINTETTE DU HOT CLUB DE FRANCE (Django). Sweet Sue/ Sunshine Of Your Smile. Oriole LB1004 E+ Paris 1935!

096 Souvenirs/ Honeysuckle Rose. DeE F6639 E+ London 1938 097 Flat Foot Floogie/Lambeth Walk. DeE F6776 EE+ London 1938 098 DJANGO REINHARDT-STEPHANE GRAPPELLY. Tornerai/ If I Had You. DeE F6721 E+ London 1938 099 RHYTHMIC EIGHT. What A Wonderful Wedding That Will Be/n.i. Zon 5269 E few lt scfs Fine hot side - Norman Payne, Lally etc!

100 RHYTHM MANIACS. Don’t Pose As a Saint/Elizabeth. DeE F2130 V++ scrs 101 RHYTHM RASCALS. Temptation Rag. 1/s vinyl Crown Master Test Pressing of mx H111-2 E+ Great side, Gardener, Polo, Ted Heath!

102 SYD ROY’S LYRICALS. Crazy Words, Crazy Tune/ n.i. Beltona 1219 E103 SAVOY ORPHEANS. Shine/ n.i. CoE 3459 EE+ Fine Vernon Ferry tpt 104 REX STEWART & HIS FEETWARMERS (Django). Solid Old Man/ Montmartre. Swing SW56 EE+ Paris 1939 105 LEW STONE & HIS BAND. Tiger Rag/Canadian Capers. DeE F3839 E rc s1 nap 106 FREDDY TAYLOR & HIS SWING MEN FROM HARLEM. Viper’s Dream/ Blue Drag. (Gold) Oriole LV105 E+ Paris 1935 107 VALAIDA (QUEEN OF THE TRUMPET). I Must Have That Man/ I Want A Lot of Love. PaE F575 E108 FATS WALLER. You Can’t Have Your Cake and Eat It/ Smoke Dreams of You. HMV B8967 E+ London 1939, Unissued in USA! 109 JAY WHIDDEN MIDNIGHT FOLLIES BAND. I Don’t Want Nobody But You/ Hello Baby. Hot! London 1926 110 BAND. Louisiana/Happy Days and Lonely Nights. Imp 2024 E- Fine side 1, Norman Payne Bixian tpt solo!

111 NORA WILLIAMS. Muddy Water/Piccolo Pete. ReZ MT1697 E- Rare London 1935 sides by great US singer and hot band acc!

112 GARLAND WILSON (pno solo). Your Heart and Mine. 1/s vinyl Dec Master Test Pressing of mx TB2429-2 E+ Fine London 1936 side!

113 Get Up Bessie/Blues In C Flat. BrE 1476 E+ Paris 1932 114 MARIUS B. WINTER D.O. Tap Your Feet/ n.i. Bct 12 3036 E/E- hot solos!

115 JIMMY WORNELL’S HOT BLUE BOTTLES. Broadway Stomp/ Stomping. Bcst 12 3033 E+ Rare and hot

SECTION THREE - IT’S A BEAR! BRITISH, EUROPEAN AND AMERICAN RAGTIME - SOME UNUSUAL ITEMS HERE!

116 AMERICAN RAGTIME OCTETTE. Syncopated Boogie Boo/The Ragtime Jockey. EBW 2262 E Fine copy of these London 1912 sides!

117 FELIX ARNDT (Piano solos). Desecration Rag/ Hacienda-Society Tango. Vic 17608 E118 CIRO’S CLUB COON ORCHESTRA. Never Let Your Right Hand Know What Your Left Hand’s Going To Do/ My Mother’s Rosary. (12”) CoE 641 EEFine and very rare London 1916 sides by black American String Band!

119 EUGENE EARLE (Banjo solos). A Banjo Vamp/ A Desert Breeze. Pic 152 E+ Fine banjo solos!

120 Withdrawn 121 EMPIRE ORCH. Red Pepper - A Spicy Rag/ Alexander’s Ragtime Band. (Vert) Pathe 8584 EE- tight 1/2 hc nap 122 GARDE REPUBLICAINE BAND. Le Vrai Cake-Walk. G&T GC-30343 V+ Rare early French Ragtime, Paris 1906!

123 GOTTLIEB’S ORCHESTRA. Alexander’s Rag Time Band/ VICTOR MILITARY BD. Gaby Glide. HMV B161 E124 HAGER’S ORCHESTRA. Darkie Tickle. Harmony Diisc 2102 E- (large spindle hole) 125 THE HOME GUARDS BAND. Cannon Ball (Rag) March/ n.i. The Twin 74 E Superb English band version of a classic rag, 1908!

126 JUMBO MILITARY BAND. Rum Tum Tiddle/Popinjay March. Jumbo 933 E- nr s2 nap sol s1 127 THE LONDON ORCH. Blue Feather Intermezzo/ n.i. Cinch 5214 E 128 OLLY OAKLEY (Banjo solos). A Dusky Belle/Darkey’s Awakening. EBW 2086 E129 JOHN PIDOUX (Banjo solos). Queen of Diamonds/ Piper’s March. Cinch 5290 E+ Stunning copy of this 1914 rarity!

130 Queen of the Burlesque/ Fusiliers’ Patrol. John Bull H51 EE- Rare, and odd misprint - the ‘N’ in John is reversed!

131 PRINCE’S BAND. Ramshackle Rag/Red Pepper Rag. CoE 1910 V+ 132 Gaby Glide/ CASINO ORCH. On The Road To Zig A Zag. CoE 1958 E+ Lovely copy, big sound!

133 ROYAL MILITARY BAND. That Mysterious Rag/ Policeman’s Holiday. EBW 2199 E 134 Alexander’s Ragtime Band/ Bogie Walk. Colis 136 EEA nice selection of Savoy Quartets, featuring the very advanced and exciting drumming of black American Alex Williams!

135 SAVOY QUARTET. Indian Rag/ Some Sunday Morning. HMV B985 E Lovely copy!

136 The Jazz Band/ Everything Is Peaches Down In Georgia. HMV B1008 V+ 137 Sweet Kisses (great tune!)/ Who Wants A Baby? HMV B1151 E138 SCALA CONCERT BAND. The Turkey Trot/ Bogie Walk. Scala 83 V 139 THE VERSATILE FOUR. Castle Of Dreams/El Relicario. EBW 3437 V++ 140 Bo Bo Beedle-Um Bo/Japanese Sandman. EBW 3524 V++ 141 VICTOR MILITARY BAND. Too Much Mustard/ Gertrude Hoffmann Glide. Vic 17292 E-

SECTION FOUR: AMERICAN JAZZ AND HOT DANCE BANDS - SOME FINE ITEMS HERE!

142 ALLEN-HAWKINS ALL STAR ORCH. The River’s Taking Care of Me/Aintcha Got Music. (Fr) Br 500371 E+ silky surface!

143 THE AMBASSADORS. Oh Baby!/ BAR HARBOR SOC ORCH. Ain’t Gonna Rain No Mo. VoE X9460 E+ 144 LOUIS ARMSTRONG & HIS ORCH. Sweet Savannah Sue. 1/s Laminated Shellac Parlophone Test Pressing of OK mx 402511-B E+ Superb sound!

145 BUSTER BAILEY 7 CHOC DANDIES. Call Of The Delta (-2)/ Shanghai Shuffle. Col 35677 E+ 2nd Master of side 1 146 BILLY BANKS & HIS ORCH. Spider Crawl/ Bugle Call Rag. Per 16515 E+ sol 147 BROWNLEE’S ORCH OF NEW ORLEANS. Dirty Rag/Peculiar. OK 147 EE- Great and Rare N.O. 1925 sides, hard to find in anything like decent shape!

148 JACK BLAND RHYTHMAKERS. It’s Gonna Be You/ BILLY BANKS O. I Would Do Anything 4 U. (Fr) Br 500316 E lovely pressing!

149 J.H. BRAGG’S RHYTHM FIVE. Ethiopian Stomp. 1/s vinyl Voc Master Test Pressing of mx SA2358-2 EE+ Unissued take of great 1935 Texas side!

150 CALIFORNIA RAMBLERS. Ramblin’ Blues/ HARRY RESER O. Sam The Old Accordion Man. PActE 11386 E151 CAB CALLOWAY ORCH. Is That Religion?/ MILLS BLUE RHYTHM BD. Red Devil. BrE 1226 E+ 152 Kickin’ The Gong Around/ Hot Toddy. BrE 1417 E-/E 40

153 CAROLINA COTTON PICKERS ORCH. It’s Our Business/ Let’s Get Together. Voc 03527 V++ sol Great black Territory Band!

154 CELESTIN’S ORIGINAL TUXEDO ORCH. Papa’s Got The Jim Jams/ Dear Almanzoer. Col 14220-D E+ Stunning copy of classic 1927 N.O sides!!

155 COON-SANDERS ORCH. Rhythm King/ Mississippi Here I Am. Vic 21891 E+ 156 FORD DABNEY’S SYNCOPATED ORCH. Doo Dah Blues/ Sweet Man O’ Mine. Pur 11120 E157 JOHNNY DODDS (Clarinet solos). Oh Lizzie/ New St. Louis Blues. Br 3585 E/E- several lt scfs and scrs s2 but little effect.

158 SEGER ELLIS (Stunning Louis Armstrong tpt!). To Be In Love/ S’posin’ (Arg) Od 193379 E+ 159 FIVE BIRMINGHAM BABIES. Copenhagen/ Deep Sea Blues. Silvertone 1294 EE+ Rare issue 160 JAY C. FLIPPEN & HIS GANG. How Many Times/ Who Wouldn’t. Per 12277 E Fine acc!

161 BENJAMIN FRANKLIN HOTEL ORCH. Lovable and Sweet/ Love is a Dreamer. Per 15213 E- T & J Dorsey solos s1 162 BUD FREEMAN SUMMA CUM LAUDE ORCH. The Eel/ China Boy. BB B10386 E Cardboard sleeve has Bud Freeman’s Autograph and dedication to Brian Rust!

163 EARL FULLER’S FAMOUS JAZZ BAND. Jazz De Luxe/ ALL STAR TRIO. Sensation. Ed 50541 E164 JAN GARNER & HIS ORCH. Since My Best Gal Turned Me Down/ Sister Kate. Col 1306-D E sol s2 Terrific sides!

165 GEORGIA MELODIANS. Wait Till U See My Gal (-C)/ ATLANTIC D.O. That’s The Tune. ED 51338 V+ 166 Tea Pot Dome Blues (-A)/ n.i. Ed 51347 E- lbl missing s2 167 ERNIE GOLDEN ORCH. Love Me Just Like I Luv U (-B)/ I’ll Take Her Back (-A). ED 51512 E- ef s1 0gvs. Don’t be put off by the title - this is red hot!

168 BENNY GOODMAN’S BOYS. Room 1411/ Jungle Blues. (Fr) Br E- rc s1 0gvs 169 THE GOOFUS FIVE. Everybody Luvs My Baby/ Oh How I Luv My Darling. PaE E5326 E 170 CLIFFORD HAYES LOUISVILLE STOMPERS. The Petter’s Stomp. 1/s vinyl Victor Master Test Pressing of mx 42388-2 E+ Superb sound!

171 JOE HAYMES & HIS ORCH. That’s A Plenty/Sister Kate. Voc 3307 EE- lt nr s1, sol s1 172 FLETCHER HENDERSON & HIS ORCH. Chicago Blues/ JEFFRIES RIALTO ORCH. Oh Eva. Homochord H670 E/E- rare issue!

173 A New Kind Of Man/ n.i. ACO G15651 E And another rare issue!

174 (DIXIE STOMPERS). Off To Buffalo/Brotherly Luv. Har 299H V+ 175 There’s a Rickety Rackety Shack/ RESER. You Sing That Song To Somebody Else. Imp 1858 EE176 Tiger Rag/Somebody Stole My Gal. Crown 3107 EE- Superb sides!

177 Singin’ The Blues. 1/s vinyl Victor Master Test Pressing of mx 53069-2 E+ Unissued on 78!

178 I Wanna Count Sheep. 1/s vinyl Victor Master Test Pressing of mx 71942-1 E+ Stunning sound!

179 Sugar Foot Stomp/ Hocus Pocus. BB B10247 E 180 Jangled Nerves/ Riffin’. HMV B8470 E 181 EDDIE HEYWOOD’S KANSAS CITY BLACKBIRDS. What Have I Done? 1/s styrene Master Test Pressing of OK mx 81452-C E+ Terrific Territory Band side, Unissued on 78!!

182 LES HITE & HIS ORCH. T-Bone Blues/ That’s The Lick. BB B11210 E 183 HUDSON - DE LANGE ORCH. Sophisticated Swing/The Maid’s Night Off. Mas MA103 E+ sol s2 184 PHIL HUGHES HIGH HATTERS (Reser). I’ll Fly To Hawaii/ Don’t U Remember. Per 14739 E 185 DEWEY JACKSON’S PEACOCK ORCH. She’s Crying For Me/ ROSA HENDERSON & 3 HOT ESKIMOS. Here Comes My Baby. (Eng) Oriole 1006 EE-/EE+ couple shallow scrs s1, don’t sound. Two great sides on very rare 1927 English issue!

186 THE JAZZ PILOTS. Rambling Wreck From Georgia Tech/ Sleepy Time Gal. OK 40502 VV+ plays better 2 hot sides!

187 Kentucky’s Way of Saying Good Morning/ Sitting On Top of The World. OK 40533 E- Hot sides!

188 JACK JENNEY & HIS ORCH. Got No Time/ What More Can I Give U. Voc 4803 E+ 189 CHARLIE JOHNSON’S ORIG PARADISE TEN. Birmingham Black Bottom/ Paradise Wobble. Vic 20551 E tiny rc s1 nap. Harlem Jazz Classics!

190 JAMES P. JOHNSON (Piano solos). You’ve Got To Be Modernistic/ Jingles. Br 4762 EE+ Essential Stride Piano sides!

191 Snowy Morning Blues/ PECK’S BAD BOYS. I Never Knew. Asch 350-3 E+ 192 ROGER WOLFE KAHN & HIS ORCH. Crazy Rhythm/ Imagination. Vic 21368 E+ Great Miff Mole solo s1 193 THE KEYSTONE SERENADERS. Where Can I Find You/Everything Is Hotsy Totsy Now. VoE X9735 E- Rare and fine 1925 mystery band sides!

194 LANIN’S SOUTHERN SERENADERS. Arkansas Bl (-3)/ Lonesome Lovesick Bl (-2). Re 9164 E extra spindle hole 195 SAM LANIN & HIS ORCH. Rollin’ Down the River. 1/s styrene Master Test Pressing of OK mx 490085-A E+ Terrific Teagarden feature, vurtually impossible to find on US Odeon!

196 JULES LEVY’S TRIO. My Honey’s Lovin’ Arms/ CASINO D.O. Teasin’. PAct 020748 V+ ruff start s2 197 LILL’S HOT SHOTS. Drop That Sack (-56)/ Georgia Bo Bo (-57). Eng Oriole 1009 EE+ 1926 Louis Armstrong classics on rare British issue!

198 LOUISIANA FIVE. Weeping Willow Blues (-2)/ Big Fat Ma (-1)/ Em 10172 EE-, noisy start s2 199 DICK McDONOUGH ORCH (Berigan). He Ain’t Got Rhythm/ Girl on the Police Gazette. Mel 7-03-11 E200 BUBBER MILEY & HIS MILEAGE MAKERS. Without You Emaline. 1/s vinyl Victor Master Test Pressing of mx 62233-3 EE+ few sm pits in surface, nothing serious.

201 EMMETT MILLER. Any Time/ St. Louis Blues. OK 41095 E 2 great and hot sides by celebrated Minstrel Man! 202 MILLS BLUE RHYTHM BAND. Let’s Have A Jubilee/Out Of a Dream. (Blue wax) Col 2963-D E/E- scrs to lbl s2 203 Harlem After Midnight/ JOE HAYMES ORCH. Christopher Columbus. (Swing) VoE 6 E+ 204 IRVING MILLS HOTSY TOTSY GANG. Railroad Man/ Crazy Bout My Gal. (Fr) Br 500147 E- Great Goodman features!

205 MOONLIGHT SERENADERS (Fred Hall O). Hot Stuff Bl/ Sitting On Top of World. Bell 383 E-/V+ blasty spots s2 206 CHAUNCEY MOREHOUSE SWING 6. My Gal Sal/I’ll Build A Stairway To Paradise. Voc 3837 E+ Excellent sides!

207 JELLY ROLL MORTON (Piano solo). The Pearls/ SOL WAGNER O. Dream Daddy. Gnt 5323 EE- Nice to see clean!

208 BENNIE MOTEN’S K.C. ORCH. Kater Street Rag/ Sister Honky Tonk. OK 8277 VV+ even wear and clear 209 Small Black. 1/s vinyl Victor Master Test Pressing of mx 57304-3 E This take Unissued on 78!

210 New Orleans. 1/s vinyl Victor Master Test Pressing of mx 74850-1 E+ Stunning crisp clear sound!

211 MOUND CITY BLUE BLOWERS. Tailspin Blues/ Never Had A Reason To Believe in U. Vic V38087 E Great Teagarden!

212 NAYLOR’S SEVEN ACES. Twilight Rose/ BAILEY’S LUCKY 7. It Had To Be U. Gnt 5432 E213 PAUL NERO’s VIOLIN JAZZ. The Hot Canary/ The Hip Hippo. Selmer 7128 E+ Fine sides by underrated violinist!

214 NEW ORLEANS OWLS. The Owls’ Hoot/ WARNER’S 7 ACES. Breakin’ The Leg. Col 605-D E- sol s2 215 KING OLIVER’S JAZZ BAND. Too Bad/ Snag It. (large lbl) Voc 1007 EE- plays E, few lt scrs nap 216 DIXIE SYNCOPATORS. Every Tub/ Showboat Shuffle. Br 3998 E rep rc s2 0 gvs 217 Got Everything/ 4 or 5 Times. Br 4028 EE+ sol 218 ORCH. Mule Face Blues/ Boogie Woogie. (Arg) Vic V38134 E few lt scfs nap 219 Stealing Love/ DIXIELAND JUG BLOWERS. Memphis Shake. (Ger) Electrola EG7853 E+ OS. Only 78 issue of side 1!

41

220 ORIGINAL DIXIELAND JAZZ BAND. Darktown Strutters’ Ball (-3)/ Indiana (-3) Col A2297 E221 Oriental Jazz/ DABNEY’S BAND. Indigo Blues. (Vert) Aeo Voc 12097 V plays better Now some cleaner than average ODJB Victors...

222 Tiger Rag/ Skeleton Jangle. Vic 18472 E 223 Fidgety Feet/ Lazy Daddy. Vic 18564 EE+ Clarinet Marmalade/ Mournin’ Blues. Vic 18513 E 224 225 ORIGINAL INDIANA FIVE. Heebie Jeebies/ My Baby Knows How. Bell 456 E-/V+ nr s2, lt tix in places 226 ANTHONY PARENTI’S LIBERTY SYNCOS. Be Yourself/ La Vida Medley. Vic 19698 EE+ N.O. 1925 227 JACK PETTIS & HIS BAND. I Gotta Get Myself Somebody To Luv/ FRED RICH O. Take Yr Finger Out of Yr Mouth. Re 8244 E 228 BEN POLLACK & HIS PARK CENTRAL O. My Kinda Love/ On With The Dance. Vic 21944 E+ Tea and BG! 229 THE RED HEADS. You Should See My Tootsie/ Here or There. PActE 11376 E+ superb copy!

230 THE RHYTHM WRECKERS. Blue Yodel No. 3/ Red Headed Music Maker. Voc 3670 V+ Muggsy and Irving Fazola!

231 EARL RICKARD AND THE DUBS. Sweet Child/ Where The Huckleberries Grow. PaE E5269 V+ tiny rc s1 nap. Hot Reser group acc, one of the nicest versions of Sweet Child!

232 JOE ROBECHAUX N.O. RHYTHM BOYS. Sleep Come On and Take Me/ Just Like A Falling Star. (Gold) Voc 2881 E great!

233 WILLARD ROBISON & HIS ORCH. The Devils is Afraid of Music/Music of a Mountain /Stream. PActE 11383 E 234 There Ain’t No Maybe In My Baby’s Eyes/ IRWIN ABRAMS O. Muddy Water. PACTE 11348 E good tpt s1 235 ARTHUR ROSS WESTERNERS (Selvin). Diga Diga Doo/ Crazy Rhythm. Har 755H E+ 2 hot sides!

236 LUIS RUSSELL & HIS ORCH. Goin’ To Town/ GENE KARDOS O. Sing - It’s Good 4 U. (Staff) BB B7367 E 237 ELMER SCHOEBEL & HIS FRIAR’S SOC. O. Copenhagen/ Prince of Wails. Br 4762 E+ Stunning copy of classic Tesch sides!

238 BEN SELVIN & HIS ORCH. Susquehanna Home/ AMBASSADORS. Follow The Swallow. Voc 14871 E-lt scrs Fine hot s1 239 OMER SIMEON (Clarinet solo). Beau-Koo Jack. 1/s vinyl Master Test Pressing of Voc mx C-4330-A E+ great sound!

240 SIX JUMPING JACKS. Charleston Ball/ Village Blacksmith Owns The Village Now. (Aus) Br 3064 E- lbl fade 241 JABBO SMITH & HIS RHYTHM ACES. Lina Blues/ Croonin’ The Blues. Br 7087 EE-/E lt scfs nap 2 classic sides!

242 HARRY SNODGRASS (Piano solos). Maple Leaf Rag/ Miami Shore. BrE 3239 EE+ 243 MIKE SPECIALE ORCH. Bam-Bam-Bammy Shore (-B)/ When You Sww That Aunt of Mine (-C). Ed 51635 E+ hot sides 244 SPIRITS OF RHYTHM. Shoutin In That Amen Corner/ Thats’ What I Hate About U. BrE 02058 E 245 ERNEST STEVENS DANCE ORCH. Learn To Do The Strut (-A)/ DON PARKER O. Ed 51267 EE+ Early Red Nichols solo s1!

246 REX STEWART HIS ORCH. Linger Awhile. 1/s vinyl Victor Master Test Pressing of mx 053610-1 E+ Unissued on 78!

247 Linger Awhile. 1/s vinyl Victor Master Test Pressing of mx 053610-2 E+ Ooops! Out of alphabetical order!

248 STATE STREET RAMBLERS. Endurance Stomp/ Tack It Down. (SB) Dec 7224 E 1928 Gennett masters 249 JESSE STONE & HIS ORCH. Sneaky Pete/ I Came Hiome Unexpectedly. Vic 20-2670 E+ sol s1 250 WILBUR SWEATMAN (Clarinet solo). Sweat Blues/ n.i. GG 1706 ENext, two Bix Beiderbecke classics in awesome sound quality...

251 FRANKIE TRUMBAUER & HIS ORCH. Singin’ The Blues. 1/s oversize vinyl Columbia Master Test Pressing of OK mx 80393-C E+ 252 Way Down Yonder in New Orleans. 1/s oversize vinyl Columbia Master Test Pressing of OK mx 81084-B E+ 253 SUGAR UNDERWOOD (Piano solos). Dew-Drop Alley Stomp/ Davis Street Blues. Vic 21538 E+ Superb copy of these Barrelhouse piano classics!

254 UNIVERSITY SIX. Fallin’ Down/ HARMONIANS. Roll ‘Em Girls. Har 106H E+ lovely copy!

255 THE VAGABONDS (California Ramblers). Somebody Like You/ I Can’t Stop Babying U. Gnt 5630 E+ fine copy, hot solos both sides!

256 TED WALLACE CAMPUS BOYS. Ro-Ro-Rollin Along/ Stein Song. PaE E6320 E/E- Jack Purvis tpt solos both sides!

257 THOMAS WALLER & THOMAS MORRIS HOT BABIES. Please Take Me Out of Jail/ He’s Gone Away. Vic 21202 E+ Great copy!

258 WASHBOARD RHYTHM BAND. Trust Me For A Hamburger. 1/s vinyl Master Test Pressing of Columbia mx 265089-2 E+ Unissued on 78!

259 WASHBOARD RHYTHM KINGS. Pepper Steak. 1/s vinyl Victor Master Test Pressing of mx 70596-1 E+ 260 If You Were Only Mine. 1/s vinyl Victor Master Test Pressing of mx 59030-1 E+ 261 TED WEEMS & HIS ORCH. Walkin’ My Baby Back Home. 1/s styrene Master Test Pressing of Victor mx 56897-1 E+ Unissued on 78!

262 WHOOPEE MAKERS. Railroad Man/ BROADWAY BROADCASTERS (Lanin). St. Louis Blues. Romeo 852 V+ Goodman s1 263 ZACH WHYTE’S CHOCOLATE BEAU BRUMMELS. West End Blues/ PAUL’S NOVELTY O. I Got Rhythm. Ch 40016 V+ 264 CLARENCE WILLIAMS. You Rascal You/ Michigan Water Blues. OK 8806 V+ 265 BLUE FIVE. Old Folks Shuffle. 1/s oversize vinyl Columbia Master Test Pressing of OK mx 80729-B E+ 266 Black Snake Blues. 1/s oversize vinyl Columbia Master Test Pressing of OK mx 80728-D E+ 267 ORCH. Watchin’ The Clock/ Feeeze Out. OK 8663 E- stress lames nap 268 BLUE FIVE. Thriller Blues/ Uncle Sammy Here I Am. BB B11368 EE+ 269 COOTIE WILLIAMS ORCH. Ain’t Misbehavin/ Blues in My Condition. OK 6224 E 270 DALE WIMBROW & HIS RUBEVILLE TUNERS. Country Bred and Chicken Fed/ It Takes A Good Woman. Col 821-D EE- Sylvester Ahola solos!

271 JIMMY YANCEY. Yancey Stomp. 1/s vinyl Victor Master Test Pressing of mx 044006-1 E+ 272 ZUTTY & HIS BAND. I Would Do Anything 4 U/Clarinet Marmalade. (SB) Dec 432 E

SECTION FIVE: JAZZ AND BLUES BOOKS.

273 THE DANCE BANDS. By Albert J. McCarthy. Studio Vista, 1971, 1st ed. 175pp hb, many photos. Dedicated and signed by author. E 274 BENNY: KING OF SWING. A Pictorial Biography with Intro. essay by Stanley Baron. Thames & Hudson 1979 1st ed, hb, profusely illustrated from Goodman’s own archives. E+ 275 NEW ORLEANS JAZZ - A FAMILY ALBUM. By Al Rose & Edmond Souchon. Louisiana State Uni Press, 1967 1st ed, hb, dj, 320+pp, illus. E, few marks to dj. A ‘must have’ book for all N.O. jazz lovers!

276 A THOUSAND GOLDEN HORNS. By Gene Fernett. The Pendell Co, 1967, 1st ed, hb, dj, 178pp, illus. E+ Great photobook on glossy paper covering the Big Band era, from the 1920s to 1960s.

277 DESTINATION CHICAGO JAZZ. By Sandor Demlinger & John Steiner. Arcadia, 2003, 2nd ed, hb, dj, 168, illus. Fantastic photo essay with many previously unpublished photos pertaing to the Chicago jazz scene. E+ 278 KING JOE OLIVER. By Walter C. Allen & Brian Rust. Jazz Monographs, 1956, 2nd ed, copy no. 468, 162pp, sb, ill. The first attempt to seriously catalogue and study King Oliver’s records. V+, grubby cover, clean inside.

279 JAZZWAYS. Ed. George Rosenthal & Frank Zachary. Musicians Press, 1946, 1st ed, 110pp, hb, dj, many great photos. E. Beautifully-produced photobook, amazingly produced to this high quality months after the end of WW2!

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JUAN MIGUEL CASTRO & BRUNO GIANNAULA RECORDS th Offers to: Bruno92@live.com.ar or to “Beruti 3724 6 floor, (C1425BBZ), Buenos Aires, Argentina” Bids in US$. Winners only notified. Long term closure. Shipping worldwide costs $50 for up to 4 records. Ask cost for shipping more records. No packing cost!! Payment via bank transfer or Paypal.

1 Br 7101 J.SMITH Tanguay Blues-Boston Skuffe V 2 Br 7127 DIXIE R.KINGS Easy Rider-Story Book Ball E3 Br 3361 S. SYNCOPATORS(K.O.) Snag It-Sugar Foot Stomp V+ 4 Br 3361 S. SYNCOPATORS(K.O.) Some day Sweet H..-Wa… V+ 5 Br 3406 F.HENDERSON Clarinet Marmalade-Hot Mustard E+/N6 Br 3407 RED NICHOLS That´s no Bargain-Washboard Blues N-/E 7 Br 3410 S. BONANO Blowin of Steam-Wash it Clean E8 Br 3460 F.HENDERSON Stock Holm-Hve it Ready E+ 9 Br 3477 RED NICHOLS Buddy´s Habits-Boneyard Shuffle N-/E+ 10 Br 3550 RED NICHOLS Alabama Stomp-Hurricane Scl E11 Br 3626 RED NICHOLS Ida-Feelin´No Pain V+ 12 Br 3480 D.ELLINGTON Birmingham Breackdown-East St.Loius…V++ 13 Br 3484 MOND CITY BLUE BLOWERS What Do I Care-Nervous Puppies E14 Br 3485 HARRY RESER Calling-Collete E15 Br 3519 CARL FENTON Delirium-Doll Dance V+/V 16 Br 4014 HOSTY TOSTY GANG-Doin the NEW…-Digga Digga Doo V+ 17 Br 4044 HOSTY TOSTY Don´T Mess Arro../D.ELLINGTON Jubilee Stomp E 18 Br 4122 HOSTY TOSTY Since you went away V++ 19 Br 4286 RED NICHOLS Rose of Picardy-Allah´s Holiday N20 Br 8141 TEDDY WILSON Sugar-More that you know E to E-/E21 Br 2934 A. LYMAN Mighty Blues-That´s all There is V 22 Br 2981 C. PICKERS Milemberg Joys –If You Hadn´t… V 23 ViAr 38010 J.R.MORTON Kansas City Stomp-Boogaboo V 24 ViAr 38055 J.R.MORTON Red Hot Pepper-Deep Creek V+ 25 Vi 38000 MC KINNEY'S C.P. Nobody´S Sweetheart-Crying And Siching N26 ViAr 38025 MC KINNEY'S C.P. Stop Kidding-Put it There N 27 ViAr 38051 MC KINNEY'S C.P. It´S A Precious Little Thing...-DoSomething V+ 28 ViAr 23012 MC KINNEY'S C.P. Cotton Picker´S Scat-Shust a S..(No Scroll)N29 ViAr 23000 MC KINNEY'S C.P. Okay Baby-I Want a Little Girl E+ 30 ViAr 23012 MC KINNEY'S C.P.Cotton Picker´S Scat-Shust a …(No Scroll)V+ 31 ViAr 38023 E.C.COBB .Barrell House Stomp-Transatlantic Stomp E+ 32 ViAr 38054 T.PARHAM Voodoo-Skag a Lag eb nap V 33 ViAr 38053 D.ELLINGTON Stevedore Stomp-The Dicty Glide N34 ViAr 38108 J.R.MORTON TRIO TURTLE Twist-Smilin´The Blues Away N 35 ViAr 38139 H.CARMICHAEL/BIX BARNACLE BILL he Sailor-Rockin´Chair V+ 36 ViAr 38086 F.WALLER BUDDIES Lookin´Good but Feelin..-I Need Som.. E+ 37 ViAr 38070 P.HOWARD Over Night Blues-Charlie’S Idea N38 ViAr 38079 D.ELLINGTON Cotton Club Stomp-Arabian Lover N39 ViAr 38080 H.ALLEN Feeling Drowsy-Swing Out N40 ViAr 38096 E.HINES Grand Piano Blues-Blue Nigths Erase lbl N 41 ViAr 38514 C.HAYES Shoestring-Frog Hop E42 ViAr 21827 B. POLLAK Sentimental Baby-The Came The Down N41 ViAr 21857 B. POLLAK Sally of my../W.PENNSYLVANIANS My Mo.. E 43 ViAr 21941 B. POLLAK Louise my Cherie V++ 44 Vi 22108 F.WALLER Sweet Savannah Sue-Ain´t Misbehavin E45 ViAr 22586 D.ELLINGTON Nine Little Miles-What Good Am I … V+ 46 ViAr 22985 D.ELLINGTON Blues I Love to Sing-Blue Bubbles sol N47 ViAr 24121 DUKE ELLINGTON Swnnee Shuffle V 48 ViAr 24414 C.CALLOWAY Harlem Hospitality-EvenIn´ E49 ViAr 24457 C.CALLOWAY Zaz-Zuh-Zaz –I Learned About Love V+ 50 ViAr 24622 D.ELLINGTON Ebony Rhapsody-I Met my Waterloo E 51 ViAr 24651 D.ELLINGTON My Old Flame-Troubled Waters V+ 52 ViAr 24755 D.ELLINGTON Delta Serenade-Solitude E 53 ViAr 24863 F.WALLER I'm a Hundred Percent For You-You Fit Into t.. sol N 54 ViAr 24888 F.WALLER I Ain´t Got Nobody-Oh Suzanna E 55 ViAr 24808 F.WALLER Believe It Belioved-If It Isn´T Love N 56 ViAr 24988 F.WALLER Dinah-When Somebody-Think You´Re Wonderf.. E+ 57 Vi 24846 F.WALLER Baby Brown-Because Of Once Upon a Time sol E 58 ViAr 24898 F.WALLER Louisiana Fairy Tale-Cinders N 59 ViAr 24738 F.WALLER Mandy-You´Re Not The Only Oyster In The S.. sol N 60 ViAr 24830 F.WALLER African Ripples-Alligator Crawl N 61 ViAr 24826 F.WALLER Honeysuckle Rose-Breakin' The Ice E 62 ViAr 24853 F.WALLER Nigth Wind-I Believe In Miracles E 63 ViAr 24714 F.WALLER Geogia May-Don't Let It Bother You E64 ViAr 24690 C.CALLOWAY Moonglow-Hotcha Razz Matazz E65 ViAr 24690 C.CALLOWAY Moonglow-Hotcha Razz Matazz sol E66 ViAr 24225 L.AMSTRONG I Wonder Who-Don't Play Me Cheap E67 ViAr 24442 MILLS BLUE R.B. Loves Serenade-Harlem After Mid… sol N/E68 ViAr 24946 J.VENUTI Fiddlesticks-Phantom Rhapsody sol N69 ViAr 24858 W.BRYANT A Vipers Moan-It´Sove Because We´Re Thought N70 ViAr 25317 F.HENDERSON Jangled Nerves-I Always Be in Love V+ 71 SW 8 E.SOUTH w/DYANGO Sweet Georgia Brown-Eddie´S Blues E 72 SW 9 B.COLLEMAN w/DYANGO Rose Room-The Merry Go Round Broke. E73 SW 9 B.COLLEMAN w/DYANGO Rose Room-The Merry Go Round Broke.. E 74 SW 22 B.COLLEMAN w/DYANGO After You´Ve Gone-Bill Street Blues V75 SW 49 M.GELDRAY Limehouse Blues-Mouth Organ Swing V 76 SW 88 5 HC FRANCE Nuages-Les Yeux Noir V+ 77 SW 227 A.COMBELLE Blues-Take The Last Note E78 SW 267 D.BYAS QUARTET Blue And Sentimental Ain T Misbehavin N 79 SW 230 D.ELLINGTON Midriff Esquire Swank N80 SW 310 C.WILLIAMS Delta Mood-The Boys From Harlem E/V 81 SW 312 B.BIGARD Honeyhush-Just Another Dream E82 SW 313 R.STEWART Tea And Trumperts The Back Room Romp sol N83 Ha 248 BLUE GRASS FOOT WARMERS(CW) Old Folks Shuffle tk-2 V+ 84 Ha 467 DIXIE STOMPERS St.Louis Shuffle-Have it Ready V+ 85 OK 41423 L.AMSTRONG Exactly Like You-Indian Cradle Song efs2nap E86 OdAr 193032 HARRY RADERMAN Halleluhjah Sweet Marie V 87 OdAr 193331 CAROLINA C.(H.KEMP) Walkinf Whith Susie-That´s You… V 88 OdAr 193245 S.LANIN Roses of Yesterday-Jumpin Jack V 89 OdAr 193246 D.BROTHERS Persian Rug-Mary ann E90 NRSS 193040 GOOFUS Five-Sister Kate-Farewell Blues “brown lbl” E+ 91 NRSS 193066 J. VENUTI BLUE FOUR Beatin The 006-Kickin´the Cat V 92 Or 2828 A. ROLLINI Ol´Pappy-On the Wrong Side of The Fence V93 Co 1229 CHARLESTON CHASERS Five Pennies-Feelin´no Pain V

94 Co 2578 EARL FULLER Smiles-Missouri Waltz E95 Lincoln 2061 CAROLINERS Carolina Mammy-That Tagoma Home Mine V+ 96 Lincoln 2641 THE RANGERS Georgeous-I´Áint That Kind of a Baby E 97 Co 2645 WILBUR SWEETMAN Rock-a-Bye-Those Drafting Blues V+ 98 Co 2851 PRINCE D. O. Dardanella-Wild Flower Rag V 99 Co 2906 PRINCE D.O. Oriental Stars Bound in Morocco V 100 Vo 2563 C. WILLAMS The right key-She Just…V 101 Vo 2788 C. WILLAMS Trouble-I Can´t Beat E 102 Vo 3353 S. BONANO Swing It-Mud Hole Blues N103 Vo 3378 M. BAILEY w/TW-ARTIE More Than You K..-Long About.. E-/E 104 Vo 3389 H. ALLEN When My Dream Boat-Here´s Love in Your Eyes V+ 105 Vo 3574 H. ALLEN Meet me in the Moon…-Don´t You Care hc 20mm E 106 Vo 3890 C. WILLAMS Icgyalb-Watching E 107 Vo 3922 C. WILLAMS Jubilesta-Piggeons And Peppers E 108 Vo 4086 C. WILLAMS Old Man River-A Lesson in C E 109 Vo 4139 M. BAILEY Washboard Blues-Round my Old… N110 De 342 F.HENDERSON Wild Party-Rug Cutters Swing E+ 111 De 401 N.ORLEANS RHYTHM K. Baby Brown-No Lovers Allowed E+/N 112 De 432 ZUTTY AND HIS BAND Clarinet Marmalade-Anything for You E/E+ 113 De 464 N.ORLEANS RHYTHM K. Sensation-Bluein´The Blues E 114 Ca 291 D. DAISIES Lovin´ Sam-What More Do You Want E- 115 Ca 401 L.HEGAMIN Some Early Morning-Land Of Cotton Blues E+/N116 Ca 450 L.HEGAMIN Reckless Daddy-Always Be Careful Mama E117 Ba 0626 H.TOWNERS What a Funny W../ IMPERIAL D. O.The Stein Song E 118 Ba 1145 J.SAMUELS Dumbel / HOLLYWOOD D.O. The Thieff E119 Ba 1155 HOLLYWOOD D.O. I Gave your Up / MAJESTIC D.O. Fate E120 Ba 1200 MISSOURI J.B. Oh Harold-No Bananas E121 Di 2795 J. Mc HUGH Baby/ J.MASON Don´t Hold Everything V+ 122 Ud Hr 193271 J. VENUTI The BLUE Room-Sensation V+ 123 Ud Hr 193238 D.ELLINGTON Diga Diga Doo-Doin The New Low Down V 124 Ud Hr 193255 F.HALL That Funny Melody-Everything We Like Alike E125 Ud Hr 193260 R. BLOOM Icgyalb-Because My Baby Don´t V+ 126 Ud Hr 193263 S.LANIN Sweetheartson Parade-Paradise E-/E 127 PaE R890 J.PURVIS When You´Re Feeling Blue/Ok.Rhythm Kings N128 PaE 1252 J.PURVIS Be Bo Bo/JOE VENUTI-Little Buttercup N129 PaE 1449 J.PURVIS Dismal Dan/The Harlem Foot Warmers-Rocky Mou.. N130 PaE R795 L.RUSSELL Louisiana Swing/F.TRUMBAUER-Hittin´The Bottle N131 PaE R963 L.RUSSELL Panama/THE CHOCOLATE DANDIES-GotAnot… N 132 PaE R1064 L.RUSSELL High Tension/L.ARMSTRONG-Knockin´A Jug N133 PaE R1645 L.RUSSELLTheNewCallof-The./CHOCOLATE BANDIES-Bug.NARGENTINIAN JAZZ 134 OrAr 23054 H.L.FIETTA One Step Original De Dixiland-Mi Corazon Perten...V 135 OrAr 23052 H.L.FIETTA El Boogie Salvaje-El Naranjero V 136 OrAr 45465 H.L.FIETTA Shoo Shoo Baby-Salto En La Noche E/E137 OrAr 45849 H.L.FIETTA Mascarada-El Entrenamiento V 138 OrAr 45931 H.L.FIETTA Allá Voy Virginia-3 Minutos De Boogie Woogie V+ 139 OrAr 55223 O.NORTON El Expreso A Buguilandia-De Aquí No Salgo V/V+ 140 OrAr 55199 O.NORTON Nana-Baion De Dos V+/V 141 OrAr 55353 O.NORTON Ten Pena De Mi-Pajaro Enjaulado N142 OrAr 45967 O.NORTON Nuestro Boogie-Estamos En La Gloria N143 OrAr 22624 O.NORTON Basta Besar Una Vez-Chibaba Chi Baba E144 OrAr 22003 B.MORAL Chau Chau Boogie-La Cancion Del Trole V 145 OrAr 22007 B.MORAL Dulce-El Frutero De Camaguey V 146 OrAr 22009 B.MORAL Concierto Para Clarinete-Boogie Woogie Na F.. V 147 OrAr 22011 B.MORRAL Paseo-Arabia Boogie V 148 BEMOL 8033 S. TIMERS Manhattan-Pequeña Flor E+ 149 CoAr 20723 E.HALL accRHYT w/Arg.Mus S'wonderfull-Sweet Georgia… N150 T.K 5050 ALL STAR ARGENTINOS Nigth And Day-The Contin..l rubs E151 OdAr 55533 ALL STAR ARGENTINOS I Never Knew-Enigma Para Bo… V 152 ViAr P-1218 OCTETO HOT C.BS.AIRES Star Dust-I Can´T Give You Any.. E 153 ALLEGRO 7018 HOT JAMMERS Susie-Ja-Da rubs nap E 154 M.HALL 15426 E.VILLEGAS Y SU RITMOHallelujah-ThatOldBlac.very rare N 155 M.HALL 15425 E.VILLEGAS Y SU RITMO HowHighTheMoon very rare N 156 M.HALL 15428 E.VILLEGAS Y SU RITMO Dinah-Smoke Rings very rare N 157 T.K 5234 GUARDA VIEJA J.B. Twelfh Street Rag-That's A Plenty N158 OdAR 45677 M. SALSAMENDI I Got Rhythm-In A Mist very rare N159 ViAr 80605 J. BOHR Miss Annabelle Lee-My Blue Heaven N160 ViAr 80845 A.CARABELLI Zoraida-Chispero E 161 ViAr 37552 A.CARABELLI Tres Momentitos-Gitana De Ojos M.. paso boble E 162 ViAr 79542 A.CARABELLI J.B. Noe Noe-Seu Patricio Maxixa E 163 PAMPA 14008 S. LEZORGEN SEXTETO Buena Suerte-Rosa De Pekin E 164 VIK 2004 M.COSENTINO A Summer Place-Summer Set E 165 ViAr 1A-2034 GEORGIANS JAZZ BAND Georgia Wsing-1919 March V 166 ViAr 1A-1548 GEORGIANS JAZZ BAND Dixie-Kansas City Stomp V+ 167 ViAr 60-539 L.VOLA IN ARG. 5 H.C.FRANCEThe Sheik-CaribeanClip.. rare V 168 ViAr 60-555 L.VOLA IN ARGENTINE It Had To Be..-Darktown Stru…rare N169 ViAr 60-601 L.VOLA IN ARGENTINE Happy Feet-In A Litlle Spanish.. rare N170 ViAr 60-721 L.VOLA IN ARGENTINE Tiger Rag-Just A Mood rare N171 ViAr 60-764 L.VOLA IN ARGENTINE Sunday-Jam Session Blues rare N172 ViAr 60-930 L.VOLA IN ARGENTINEAnything Goes-YesWeHaveNo.. rare V+ 173 OdAr 22301 O.ALEMAN Improv.On Boogie Woogie-Don'tThe New Low D. N174 OdAr 22302 O. ALEMAN Tea For Two-Swingin On A Star E175 OdAr 22306 O. ALEMAN Bugle Call Rag-Como Te Llamas N176 OdAr 45780 O. ALEMAN Sweet Geogia Brown-Marechiare N177 OdAr 45999 O. ALEMAN Cherokee-Me Voy De Fiesta al Campo N178 OdAr 45800 O. ALEMAN Man of Mine-Rezeze N179 OdAr 46013 O. ALEMAN Star Dust-Honeysuckle Rose N180 OdAr 55511 O. ALEMAN Daphne-Man of Mine Rubs N181 OdAr 55418 O. ALEMAN Ensayo A Las 3-Casita Pequeña V+ 182 OdAr 55437 O. ALEMAN Salón Rosado-Marechiare E183 OdAr 55906 O. ALEMAN Who Sorry Now-Ardiente Sol N184 OdAr 22115 E.ARMANI Caldonia-No Puede Ser E185 OdAr 22110 E.ARMANI Volveré A Verte-Dulces Sueños..rsol V+ 186 OdAr 22144 E.ARMANI Cuando La Música Cesa Besa a tu P...-Mi Carta V+

117

Hugo van der Laan

118

Van Beuningenstraat 53 D 2582 KK Den Haag the Netherlands

119

hugovdla@wxs.nl

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120 121

123 This is an auction of classic jazz 78’s, as issued in France. Disques 'Gramophone', Pathé's, Odéons and Swings are all laminated. The issues are masterpressings and are in the original American coupling of sides.

Bids can be made in any currency. Postage is extra, strictly at cost. Easy payments can be made by Eurotransfer, Bank transfer and Paypal.

Grading is aural: how they play, with a “0028 conical stylus. E+ is the highest grade. E-E and V+E- are borderline grades. 3' means three revolutions.

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France in the Thirties was, after the USA, the second most industrialized country in the world. It suffered likewise from the depression, but recovery, labour unions and strikes led in the second half to 30% higher wages. The working week was formally reduced from 48 hours to 40 after Léon Blum took office in 1936.

Paris was at the heart of excellent rail and road connections and drew many visitors, like today, also for dating and for its cultural and nightlife sector.

So, the demand for more and for new music rose in the City of Light. Caribbean styles had already been introduced and American jazzrecords became issued.

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The French industry produced these in superior quality. Lamination technology was and remained the standard of quality. When EMI closed the Wandsworth factory, its French unit continued to make laminated pressings on labels like Disque Gramophone and Odéon. Even Victor recordings were issued as laminates. To compete, I suppose, Brunswicks were pressed here on richer wax.

And then some of the jazzmen themselves came over.

100 101 102 103

104 105 106 107 108

109 110 111 112

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114 115 116

132 133 134

Henry Allen

It Should Be You/ Biff'ly Blues, laminated Disque 'Gramophone' K-6949 EE+/E+ (after Vi 38073) Louis Armstrong, Georgia Bo Bo/ Drop That Sack, Br 500319 E-E (after Vocalion 1037) Skip the Gutter/ Knee Drops, Odeon 165.578 EE+/E+ (after OK 8631) Tight Like This/ Heah Me Talkin' To Ya? Odeon 279.208 EE+/E+ (after OK 8649, fine scratches at the start of sA, not audible) Muggles/ Knocking a Jug, Odéon 165.913 E (OK 8703) Ain't Misbehavin'/ Black and Blue, Odeon 165.814 E+ (after OK 8714) Bessie Couldn't Hep It/ Dallas Blues, Odeon 279.485 E+ (after OK 8774) Saint Louis Blues/After You've Gone Odeon 165.975 E/E- (after OK 41350, looks E-) My Sweet/ I can't Believe that You're in Love With Me Odeon 238.287 E/EE+ (after OK 41415; light superficial scuff sA, not audible) Just a Gigolo/ Shine, Odeon 238.941 E+ (after OK 41486) On the Sunny Side of the Street, Part 1 and 2 Polydor 580.010 E-/V+ (Paris 1934, original sleeve) I've Got the World on a String/ Sittin'in The Dark Disque 'Gramophone' K-6941 E+ (after Vi 24245) Buster Bailey and his Seven Chocolate Dandies, Shanghaï Shuffle/ Call of the Delta, Br A 500.525 E (after Vo 2887) (2 tiny needle drops cause 3 + 3 moderate ticks, sA) Les Boswell Sisters, Down on the Delta/ Sentimental Gentleman from Georgia, Br A. 9329 E- (fine crack, restored, sounds very lightly first 30'/15'; pdig sB, 5 light ticks. After Br 6395) Bennie Carter Swing It/ Six Bells Stampede, Co DF 1304 E+/E (laminated, unlike the CB issue ) I'm Coming Virginia/ Playin'the Blues, Swing 20 V+ (24/12 bar Django solo's; plays better, as laminates do) Bill Coleman After You've Gone/ I'm in the Mood for Love

135 136 137 138 139 140 141 142 143 144

145 146

147 148 149 150 151 152

44

Disque Gramophone K-7764 EE+/E Putney Dandridge Orch, Chasing Shadows/ When I Grow Too Old to Dream, Br A 86033 E (after Vo 2982) Johnny Dodds as Louis Armstrong and his Dallas Dandies, Wild Man Blues (-25)/ Melancholy(-27) Polydor 580.003 E (after Br 3567) Duke Ellington, Yellow Dog Blues/ Tishomingo Blues, Br 500245 E+ (after Br 3987) Soliloquy/ Black and Tan Fantasy, Br 81254 E+ (after Br 3526) Rent Party Blues/ Doin' the Voom Voom Br 500.249 E+ (after Br 4345) It don't Mean a Thing/ Rose Room, Br 9230 E+ (after Br 6265) Echoes of the Jungle/ Limehouse Blues, Disque Gramophone K- 6429 E (after Vi 22547 but laminated; a little damage around the spindle hole, sA) Misty Mornin/ Saratoga Swing, Disque Gramophone K-8251 E/E+ (after Vi 38058 but laminated; sA also E+ but two ticks from a tiny needle drop) Chloë/ Across the Tracks Blues, laminated Green label Disque Gramophone S.G 32 E+ (after Vi 27235) Benny Goodman's Boys, After a While/ Muscrat Scramble Br 500318 EE+ (after Br 4968) Lionel Hampton, Buzzin'Around with the Bee/ WhoaBabe, Disque Gramophone K-8040 E+ (after Vi 25575 but laminated) It don't Mean a Thing/ Shufflin' at the Hollywood Disque Gramophone K-8388 E Central Avenue Breakdown/ Jack the Bellboy HMV (Fr) K-8646 E+ (small very fine scratch does not sound sA; after Vi 26652 but laminated) Coleman Hawkins avec l'Orchestre Michel Warlop et Arthur Briggs Blue Moon/ What a Difference a Day Made Disque 'Gramophone' K-7455 E Fletcher Henderson, Clarinet Marmalade/ Hot Mustard, Br 500.388 E+ (after Vocalion 1065) Fidgety Feet/Sensation, Br 500 321 E-E (after Vocalion 1092) Yeah Man/ King Porter Stomp, Br 500.377 V+E(after Vocalion 2527) What Will I Tell My Heart?/ Slumming on Park Avenue Br A 81157 E-E (after Vo 3485; light scr audible 5' sB) Alex Hill Ain't it Nice/ Functionizin', Br 500.495 EE+ (after Vo 2648) Earl Hines and his Orchestra, Oh You Sweet Thing/ Blue Drag Br A 500186 E/E-E (small label tear sA; after Br 6345) Pianology/ Flany Doodle Swing Br A 500.708 E- (after Vo 3501) Freddie Johnson, I've Got Rhytm/ Tiger Rag, Br 500.341 EE+/E (2 very soft ticks from needle drop, sA) Frenchie's Blues/ The Blue Room, Swing 66 E+ (three very soft ticks at start of sA) Ain't Misbehavin'/ Hi Diddle Diddle, Swing 218 E/E+ Andy Kirk Mess-A-Stomp/ Blue Clarinet Stomp, Br 500162 V+ (after Br 4694) Wingy Manone, Walkin'the Streets/ Send Me, Br 500.463 E (after Br 6940) Willie Lewis with Bennie Carter et al, All of Me/ Star Dust Pathé PA 817 EE+ Mills Blue Rhytm Boys, Savage Rhytm/ I'm Sorry I made You Blue, Br 500152 E (light label damage sB, small scratch sB, not audible; after Br 6229) Feeling Gay/ Jazz Martini, Br 500.376 E/EE+ (after Me 12793; 2 ticks from small pdig, sA) Le petit MIRSHA, Papa n'a pas voulu/ Petit homme, c'est l'heure...

Disque 'Gramophone' K-7437 E (2 ticks sA from tiny needle drop; with Django, Hawkins, Arthur Briggs on sB) King Oliver Someday Sweetheart/ Dead Man Blues, Br 81002 E/EE+ ( after Vo 1059; small pdig at start sA, audible for 3') The Original Wolverines, Royal Garden Blues/ A Good Man is Hard to Find, Br A 81001 E+ (after Br 3708) Danny Polo Blue Murder/ That's a Plenty, De F. 6550 E (tiny needle drop, 4 light ticks) Doin'the Gorgonzola/ Montparnasse Jump, De 6989 E You Made Me Love You/ Montmartre Moan, De 7039 E China Boy/ Polo-Naise, De 7126 E (the last three were recorded in Paris in 1939)

153 154 155 156 157 158 159

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Russell's Hot Six, 29th and Dearborn/ Sweet Mumtaz, Br A 81003 E(after Vo 1010; looks V+ because of not audible stain) Artie Shaw Adios, Marquita Linda/ Frenesie, La Voix de Son Maitre K-8668 E/E+ (after Vi 26542, but laminated) Frankie Trumbauer, I'm Coming Virginia/ Way Down Yonder in New Orleans, Odeon 165.134 E+ (after OK 40843) There'll Come a Day/ Mississippi Mud Odeon 165.330 E+ (after OK Take Your To-Morrow/ Love Affairs Odeon 165.526 E- (after OK 41145 Baby, Won't You Please Come Home/ I Like That Odeon 165.843 E (after OK 41286) Sophie Tucker with Miff Mole's Molers, Fifty Million Frenchmen Can't Be Wrong/ One Sweet Letter from You Odéon 165.137 E+ (after OK 40813) Fats Waller and His Buddies, The Minor Drag/ Harlem Fuss laminated 'Disque 'Gramophone' K-8196 EE+ Paul Whiteman, The Rhytm Rag (33331-5)/The Farmer Took Another Load Away (33333-6), Gramophone K 3185 E- to E/E (different takes?!)

Clarence Williams, Organ Grinder Blues/ Ain't Nobody's Business if I Do Br A 86009 EE+/E (after Vo 2871; tiny pdig aud 3' sA) Garland Wilson, Blues en Si BéMol/ Get Up Bessie, Br 500220 E/EE+ (pdig, 3 ticks sA; remains of record shop sticker sB) The Way I Feel/ You Rascal You, Br 500.359 EBlue Morning/ Blues I Love to Play, Swing 46 EE+/E

187 188 189 190

191

192 193 194 195 196

197 198 199

166 167 168

169 170 171 172 173 174 175 176 177

178

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Musette was well developed. In the Romani and Sinti cultures the reception of jazz gave new titles for the violin and guitars. It led to the only jazz style that originated in Europe. It is well alive today.

Gus Viseur Whispering/ Honeysuckle Rose, Co DF 2662 EE+ Flambée Montalbanaise/ Swing Walse, Co DF 2770 E+/E (label sB E-, a bit rubbed around the spindle hole) Je n'en Connais pas La Fin/ L'Orgue Chante Toujours Co DF 2789 E-/ E (needle run on label, sA, 2 small scuffs sound 4'+ 9' sA; 3 soft ticks start sB) Confession/ Tam-Tam, Co DF 2875 V+ (potential edge flake, restored, not in grooves) A Saute Mouton/ Nuages, Co DF 2915 E (ex-record owner's name written and stamped, sA) Une Valse d'un Sou/ J'ai qu'a l'regarder, Co DF 2955 E Différente/ Odette, Co DF 2983 E(small potential edge bite not in grooves, restored, stable) Docteur Swing/ Fading, Co DF 3021 EE+ (faint internal lamination crack sA, not audible) (with Sarane et Jean Ferret) Swing 39/ Dayde Crazy Blues Swing 116 ESarane Ferret et le Swing Quintette de Paris, Septembre/ Blue Guitare Odeon 281.484 E-E Tiger Rag/ Deux Guitares, Odeon 281.494 E(small needle drop s B causes 3 ticks) Djungo Reinhardt et le quintette du Hot Club de France avec Stéphan Grapelly, Lady Be Good/ Dinah (their first) Ultraphone AP 1422 E/EE+ I Saw Stars/ Tiger Rag, Ultraphone AP 1423 E

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205 206 207 208 209 210

Brown, Swing 8 E/E-E Bill Coleman Rose Room/ The Merry-Go-Round Broke Down Swing 9 E+/EE+ Dicky Wells Dicky Wells Blues/ Lady Be Good, Sw 10 E/E+ (long fine scratch sA, not audible) Alix Combelle, Hang Over Blues/ Alexander's Ragtime Band, Sw 11 V+ (label printing a bit weathered) Eddie South and Stéphane Grapelly avec Django Reinhardt et al Dinah/ Daphne, Swing 12 E+ (small record shop sticker sA; long Reinhardt solo) Bill Coleman I Ain't Got Nobody/Baby Won't You Please Come Home?

Swing 14 E+ (Django solo sB) Bill Street Blues/ After You've Gone, Swing 22 E+ Way Down in New Orleans/ Sister Kate, Swing 214 E+ Arthur Briggs Scatter Brain/ My Melancholy Baby, Swing 72 E- to E/E (faint traces of writing, not audible, sB) Braggin' the Briggs part 1 and 2, Swing 205 E(lamination crack s1 not audible) Big Boy Goodie, You and I Babe/ You in My Arms and Sweet Music Swing 62 EE+/E Who's Sorry Now/ Louis Bacon, Rhytm is Our Business Swing 222 EE+ (light label damage sB, small sticker sB, damaged record shop sticker sB) Big Boy Boogie/ Dizzy Boogie, Swing 240 E (looks E-) Blue Drag/ What is This Thing Called Love, Swing 252 E+ (nice record shop sticker) Dicky Wells Sweet Sue/ Hangin'Around Boudon, Swing 16 E+/EE+ (long Django solo sB) Japanese Sandman/ Trio de Trompettes, I Got Rhytm Swing 27 E+ (long Django solo sA) Dinah!/ Nobody's Blues but My Own, Swing 39 E (beautiful record shop sticker) Django's Music, Tears/ At the Jimmy's Bar, Swing 79 E(record shop sticker top sB) I can't Give You Anything but Love/ Blues Clair Swing 254 E+ Django Reinhardt, Naguine/ Echoes of Spain, Swing 65 E ( 3 light ticks from a very small scratch, sB. sA was recorded at a lower volume) Quintette du Hot Club de France, Minor's Swing/ Viper's Dream Swing 23 E Nuages/ Les Yeux Noirs, laminated Pathé PG 532 E+ (after Swing 88; original sleeve) Oui/ Manoir de Mes Rêves, Swing 158 E-/V+ (white label, lightly damaged sA) How High the Moon/ Lover Man, Swing 253 E-/E Mike/ Lady Be Good, Swing 287 E (record shop sticker on top sB) Oscar Aleman Trio, Dear Old Southland/ Just a Little Swing Swing 213 looks E- (plays better)

But let's not forget: The Caribbean Corner 211 212

New styles begin in creativity and surprises. In 1937, Delauney started the art-déco Swing label. He had the records pressed by the Compagnie Francaise du Gramophone and therefore they are all laminated.

Coleman Hawkins, Honeysuckle Rose/ Crazy Rhytm, Swing 1 EE+ (in superbe Benny Carter arrangements) Quintette du Hot Club de France, Chicago/ Charleston, Swing 2 E (first label type) Dicky Wells Orchestra, I've Found a New Baby/ Hot Club Blues Swing 3 EE+/E André Ekyan acc Django Reinhardt, Pennies from Heaven/Tiger Rag Swing 4 E-E (first label type, nice record shop sticker) Teddy Weatherford, Tea for Two/ Weather Beaten Blues, Sw 5 V+ (2 small pdigs sA, 3 soft and 6 moderate ticks; partly torn record shop sticker sB) Dicky Wells Bugle Call Rag/ Between the Devil and the Deep Blue Sea Swing 6 E+/EE+ (6 very light ticks from a tiny pressing bubble and a partially damaged small shop sticker, sB) Django Reinhardt, Saint-Louis Blues/ Bouncin' Around, Sw 7 EE+/E+ Eddie South with Django Reinhardt, Eddie's Blues/ Sweet Georgia

213 214 215

216 217 218 219

220

45

Cuarteto Caney, Cruel Tormento/ Bruca Manigua, Co 5641-X E (very fine scratches and lamination cracks, not audible) Los Jardineros, Por Ti Dirota Es styrene masterpressing of Mx 402568A E+ El Cuatro del Cuarteto styrene masterpressing of Mx 402588B E+ Mercedes, styrene masterpressing of Mx 402589C E+ Antiquo Seis Boriquen styrene masterpressing of Mx 402 587 B E+ (the above issued on OK 16392 and OK 16393) Manolo Castro et son Orchestre, Marta/ St-Louis Blues Disque 'Gramophone' K-6524 E- (looks V+, labels E-) Don Marino Barreto, Tumbando Cana/ Chiu Chiu La Voix de Son Maître B.D. 5870 E+/E Tomas et ses Merry Boys, Sol de Cuba/ Que Toi, Odeon Fr 163.628 E (1939; orchestre from Nice. In déco Odeon sleeve E-) Miss Joséphine Baker, Madiana (Mélodie Antillaise)/ Mon Rêve c' etait vous!, Co DF 711 V+ (in original sleeve with pictures of Lucienne Boyer and Miss Baker with their issued records) Carmen Miranda, Quem Canta, Seus Males Espanta!.../ Voce Nao Tem Pena, Odeon (Brasil) 11341 E (cheerful 1936 original; a little label damage sA)

OFFERS INVITED: Joe Lauro, 249 Main Street, Sag Harbor, New York, 11963 USA , 631 466-­‐ 2768 of bids to : Garoncollection@gmail.com BIDS IN US DOLLARS, BID WHAT IT IS WORTH TO YOU – ONLY WINNERS NOTIFIED via email or post if you do not have email – PAYMENT via PAYPAL ( fee charged), US CASH via registered mail or BANK CHECK IN US FUNDS DRAWN FROM AN AMERICAN BANK.. S&H EXTRA Standard VJM “visual” grading. If a record appears to have an issue such as a crack, bad lam, stressed groove or dig I play grade it.

1. Pm 12896 Meade Lux Lewis/CHARLES AVERY Honky Tonk Train /Dearborn St Breakdown VV+ 1 dig side B 1 skip 2 tics min $1500 2. Per 104 Duke Ellington Wash GEORGIA GRIND/Parlor Social EE-­‐/E-­‐ min $200 3. Crown TEST (Shellac) Benny Carter Or (1765-­‐1B)/Joel Shaw GET CANNIBAL E cross scratches side A some tics but plays nicely SUPER rare min $200 4. De 7128 PROF. HULL ANTHEMS OF JOY – Move This Wicked Race/Was Lost and Jesus Found Me V/VV+ amazing New Orleans stuff -­‐ Punch Miller? Min $150 5. Col 14630D Wiley & Wiley SWEET REEDIE BRWN/Jumpin’ Judy Blues E w 1”hc A only rc 6. Gnt 5416 Guy Lombardo RC So This Is Venice/CY E 1” hc not broken through 7. Col 14188D Dixie Wasb Band GIMME BLUES /Dark Eyes 1926 EE-­‐ internal lam nap 8. Col 14406D MUSICAL STEVED Honeycomb Har/Happy Rhythm EE-­‐ ½ moon lam A nap 9. Co 14363D Kid & Coot RASSIN’ TIL WAGON COMES/Key Hole Blues EE+ 10. Bruns 7207 Phillips Louisville Jug Bd LOVELY THING/SoldierBoy E/V 3” hc labl tear 11. Sunset 1128 Chas Hamp Cal Blue Boys RED HOT HENRY BROWN/Five Ft Two EE+/E 12. Crown 3362 Joel Shaw Or GET CANNIBAL/Basin Street Blues V+ even wear 13. Gem 3332 Joel Shaw Orch GETTING ALONG WITH GAL/Minnie Moocher’Wed V rcB 2 tic 14. Okeh 8404 St. Louis Levee Band SOAP SUDS / Arm Breaker -­‐Clarence Jones Wonder Or G+ w 1” hc 15. Bwy 1140 Wisconsin Roof Orch NEW ST LOUIS BLUES / TIGER RAG glossy E 16. Voc 1560 Lloyd Scott Gut Bucketeers WAKE UP SINNERS/Rub Me G+ rc B one tic 17. Radiex 1706 Wilbur Sweatman SWEAT BLUES / Weary River ( Hse Bd) V++ rc nap A 18. Chall 355 TOM GATES ORCH Bucket’s Got A Hole In It/CUBAN DO Ain’t No Maybe V+ 19. Bruns 7067 Ikey Robinson (Jabbo Smith) GOT BUTTER /ReadyHokum E-­‐ rc 10 tics B 20. Okeh 8378 Arthur Simms Creole Roof Or SOAPSTICK BLUES/How Do You Like It V/V-­‐ 21. Okeh 8105 JELLY ROLL MORTON JAZZ BAND London Blues / Someday Sweethrt V-­‐ 22. Superior 2578 Al Morris Playboys LONESOME LOVER/Lonesome & Blue EE-­‐ rare 23. Champion 16264 W Bradley & Her Orch STARDUST /Flpyd Mills 99 OUT OF 100 V+ 3 small potential hair cracks noe through to both sides and none sound 24. Gennett 6270 Walt Anderson Golden Pheasant Hoodlums RAIN/What’ll we Do E 25. Vocalion 2796 Joe Robechaux NO Rhythm Boys SAT NIGHT FISH FRY/Foot Scuffle EE-­‐ 26. Gnt 6112 Jimmy Carr Orch RED LIPS/Faberman Inst Qrt SUMMER NIGHT E-­‐ 27. Gnt 6393 KID BRADLEY’S CLT BD Lazybone Blues/EMBARASSMENT BL V+ hc 3 grv nap 28. QRS 7060 Wilson & Hinton STATION HOUSE RAG /FrogEye Stomp V++ 29. Bwy 1177 Wisconsin Roof Or READY FOR RIVER/Wob-­‐aly Walk EE+ hot 30. Co 1193D RED SPIKES Fight That Thing/MY MAMMY’S BLUES E a few scr light tics A&B 31. Co 1443D Donald Lindley Boys NOTHIN’ DOIN/Slidin’ Around EE+ 32. Vic 38098 Cecil Scott Bright Boys IN A CORNER/LAWD LAWD glossy E 33. Ok 4850 Sam Goold WHIPPIN’ THE KEYS/Harry Jentes CAT’S PAJAMAS paino rag E-­‐ sc 34. Ok 41100 Frankie Trumbauer Or (BIX) Bless You Sister/DUSKY STEVEDORE EE+ solA 35. Voc 1060 Jimmy Bertrand WbdWizards 47th St Stomp (33)/IDLE HOUR STOMP (31) E-­‐ 36. Bruns 7115 DIXIE RHYTHM KINGS The Chant/Congo Love Song G+/G label fade B 37. Pmt 12433 Kaai Serenaders HULA SHAKE THAT THING/Hula Mama Blues VV+/V+ 38. Ok 41041 Kalama’s Qrt MAMA E/Wahine Ui V+ side A super hot!!

39. Ok 41170 Kalamas Qrt KAENA/Maile Lau Liili V+++ better but suffy 40. Co 1022D Sol Hoopii Nov 3 HULA BLUES / TIN ROOF BLUES E—lam A lam B lite tics A 41. Co 1155D Sol Hoopii’s Nov 3 ST LOUIS BLUES/Chimes E scuffs 42. Voc 3060 J.H. Bragg Rhythm 5 PLEADING/ETHIOPIANN STOMP E-­‐/E-­‐ 43. Ok 41178 Tom Dorsey TIGER RAG/It’s Right Here For you EE-­‐/E sol B 44. Voc 15602 Red Nichols 5 Pennies CORNFED/Mean Dog Blues VV+ 45. VanDyke 74290 Hawaiian Beachcombers (NAWAHI) Queen Of SS Isles E-­‐ GREAT 46. Bruns 3351 Jackson’s Swanee Serendaers HEEBIE JEEBIES/Messin Around E scuffy

Helge Thygesen

040 Decca 7116 Kokomo Arnold: Milk Cow Blues No. 3/Big Leg Mama (John Russel Blues) EE-/E small label damage A-side 041 Decca 7160 Roosevelt Sykes: Dirty Mother For You (Don't You Know)/She Left Me Cold In Hand EE042 Decca 7198 Kokomo Arnold: The Mule Laid Down And Died/Model "T" Woman Blues E 043 Decca 7353 Uncle Skipper(Charley Jordan): Chifferobe/Cutting My ABC's E+ 044 Decca 7479 Peetie Wheatstraw: What More Can A Man Do?/Shack Bully Stomp E tiny pimple on B-side 045 HMV X 8210 Huddie Leadbelly T. B. Blues/Alberta E+ Unlisted Danish pressing of Bluebird 8559 – pressed for export in UK 046 Melotone 12037 Teddy Edwards: Them Things/Family Troubles E+ 047 Melotone 12617 Spark Plug Smith: Motherless Boy/Deserted Man Blues EE048 Melotone 12958 Poor Jim with Dan Jackson (Yank Rachel): Stack O'Dollars Blues/Sugar Farm Blues V+ label fade 049 Melotone 13342 Bessie Jackson (Lucille Bogan): Pig Iron Sally/My Man Is Boogan Me E/E- surface noise on B-side 050 Melotone 7-03-55 Mack Rhinehart and Brownie Stubblefield: T. P. N. Moaner (Down On The Santa Fe)/Broke And Hungry E-/V++ 051 Melotone 7-06-74 Guitar Slim: Ain't It A Shame/Katie May - Katie May E052 OKeh 8485 Sally Roberts (Sara Martin w. Sylvester Weaver): Teasing Brown Blues/Gonna Ramble Blues E+ 053 OKeh 8500 Sally Roberts (Sara Martin w. Sylvester Weaver): Useless Blues/Black Hearse Blues E 054 OKeh 8661 Martin - Weaver - Withers: I'm Happy In Jesus/Where Shall I Be EE- This is Sara Martin, Sylvester Weaver & Hayes Withers 055 OKeh 8750 Snitcher Roberts (James Stump Johnson): The Duck's Yas-YasYas/Low Moanin' Blues E+ 056 OKeh 8781 Snitcher Roberts (James Stump Johnson): Heart Is Right Blues/Snitcher's Blues E+ 057 OKeh 8787 Roosevelt Sykes: Black River Blues/Poor Boy Blues E058 OKeh 8853 Charlie McCoy & Bo Carter: The Northern Starvers Are Returning Home/Mississippi I'm Longing For You E+ 059 Paramount 12467 Charlie (Dad) Nelson: Traveling Daddy/Michigan Shoe Blues EE060 Paramount 12571 Banjo Joe (Gus Cannon): Poor Boy, Long Ways From Home/Can You Blame the Colored Man V+/E- slightly off center pressing, may need extra weight 061 Paramount 12598 Lucius Hardy: Jelly Bean Man/Mr. Blues EE+ 062 Paramount 12647 "Ma" Rainey and Her Georgia Band: Blues The World Forgot - Part I/Blues The World Forgot - Part II EE+ 063 Paramount 12956 Papa Charlie Jackson: You Got That Wrong/Self Experience V+ He plays guitar both sides.

064 Parlophone R2177 Victoria Spivey: How Do You Do It That Way?/Funny Feathers E- Excellent British master pressing of OKeh 8713 065 Perfect 7-06-65 Georgia Slim: Ocean Wide Blues/Separatin' Blues E-/V+ 066 Perfect 8-04-62 Blind Boy Fuller: Hungry Calf Blues/Mojo Hidin' Blues EEsmall label damage both sides 067 Romeo 5026 Georgia Tom/Sammy Sampson: My Texas Blues/Skoodle Do Do V+ 068 Romeo 6-05-65 Blind Gary (Davis): I Saw The Light/Lord Stand By Me V 069 Victor 21268 Jim Jackson: Policy Blues/Bootlegging Blues E 070 Victor 21271 Lonnie McIntorsh: The Lion And The Tribes Of Judah/Sleep On Mother, Sleep On EE071 Victor 21387 Jim Jackson: I Heard The Voice Of A Pork Chop/Old Dog Blue E+ 072 Victor 38581 Noah Lewis: Chickasaw Special/Devil In The Wood Pile E tiny pimple on B-side 073 Vocalion 1123 Blind Joe Taggart: God's Gonna Separate the Wheat from the Tares/The Storm is Passing Over E- may need extra weight to track well 074 Vocalion 1257: Frankie Half Pint Jaxon: How Can I Get It?/Fan It E some gray pressing blemish on both sides. Slightly audible 075 Vocalion 1258 Tampa Red: How Long How Long Blues/It's Tight Like That V Both sides are guitar soli by Tampa Red. Scarce!

076 Vocalion 1285 Frankie Half Pint Jaxon: Let's Knock A Jug/Can't You Wait? E+ 077 Vocalion 1288 Hound Head Henry (w. Cow Cow Davenport): My Silver Dollar Mama/Low Down Hound Blues E+ 078 Vocalion 03475 ROBERT JOHNSON: I Believe I'll Dust My Broom/Dead Shrimp Blues E- small label damage on B-side. It’s a great copy of this Robert Johnson classic. It plays like E Minimum bid: $2000 079 Vinyl Test DA-398-2 Robert Johnson: Me And The Devil Blues E- Old Vinyl pressing from Vocalion master. Plays like V+ 080 Vinyl Test SA 2633-1 Robert Johnson If I Had Possession Over Judgement Day EE+ Terrific vinyl pressing from Vocalion master. Unissued!

Egemosevej 26A 5882 Vejstrup Denmark

Patton@mail.dk

Auction of Classic Blues Payment can be made by bank transfer, Paypal, and cash. Postage is strictly at cost.

Visual grading with additional comments If you need scans just ask!

Prewar BLUES 001 Bluebird 5038 Walter Davis: Blue Sea Blues/Broke And Hungry E+ 02 Bluebird 5323 Roosevelt Sykes: New 44 Blues/Big Legs Ida Blues E/EE003 Bluebird 5325 Charlie McFadden: Low Down Rounders Blues/Last Journey Blues E+ 004 Bluebird 5898 Joe Pullum & Robert Cooper: Rack It Back And Tell It Right/Blues With Class E 005 Bluebird 6042 Oliver Brown: Oh You Devil You/I Ain't Got Nobody E-/E 006 Bluebird 8333 Sonny Boy Williamson: Good Gravy/T. B. Blues EE007 Bluebird 8408 Tommy McClennan: Baby, Don't You Want To Go?/Cotton Patch Blues E-/E 008 Bluebird 8550 Huddie Leadbelly: Sail On, Little Girl, Sail On/Don't You Love Your Daddy No More? E+ 009 Bluebird 8580 Sonny Boy Williamson: I Been Dealing With The Devil/War Time Blues E+ 010 Bluebird 8605 Tommy McClennan: She's Just Good Huggin' Size/My Little Girl EE011 Bluebird 8610 Sonny Boy Williamson: Welfare Store Bl/Train Fare Blues E 012 Bluebird 8689 Tommy McClennan: Katy Mae Bl./Love With Feeling EE+ 013 Bluebird B-8709 Huddie Leadbelly Roberta/The Red Cross Store Bl E+/E 014 Broadway 5033 Anna Bell acc. Clarence Williams Orch.: Kitchen Woman Blues/Lock Step Blues E scratch on A-side NAP RARE! 015 Broadway 5098 Slim Carter-Helen Gordon (Harum Scarums on Pm 13104): Come On In /Where Did You Stay Last Night V+ ½" crack & tiny half moon crack on A-side only RARE! ONLY KNOWN COPY! 016 Brunswick 7046 Mary Butler: Mary Blues/Bungalow Blues E 017 Brunswick 7089 Coletha Simpson: Riverside Blues/Lonesome Blues EE+ 018 Brunswick 7113 Arnold Wiley: Windy City/Arnold Wiley Rag E019 Brunswick 7156 Charles McCoy & Vincent: Your Valves Need Grinding /It's Hot Like That EE+ 020 Champion 50038 Hokum Boys & Jane Lucas: That's The Way She Likes It/Ain't Goin' There No More No. 2 EE021 Champion 50042 Jane Lucas & Geo. Tom: What's That I Smell/Fix It EE022 Champion 50059 Hokum Boys & Jane Lucas: Hokum Stomp/Hip Shakin' Strut E/V+ 023 Champion 50065 Curly Weaver: Sometime Mama/Two Faced Woman E+ 024 Columbia 14279 Hattie Hudson: Black Hand Blues/Doggone My Good Luck Soul EE025 Columbia 14293 "Billikin" Johnson & Adams: Sun Beam Bl /Interurban Blues E 026 Columbia 14331 Barecue Bob: Waycross Georgia Blues/Chocolate To The Bone V+ to E- small label damage. Plays fine 027 Columbia 14382 Peg Leg Howell: Banjo Blues/Turkey Buzzard Blues E 028 Columbia 14405 Billiken Johnson & Neal Roberts: Wild Jack Blues/Frisco Blues E+ 029 Columbia 14492 Sylvester Palmer: Lonesome Man Blues/Mean Blues EE+ 030 Columbia 14571 Sam Townsend: Lily Kimball Blues/I'm Missing That E031 Columbia 14610 Wiley and Wiley: Rootin' Bo Hog Blues/Irene's Baker Shop Blues E032 Columbia 14674 Lonnie Johnson: Unselfish Love/My Love Don't Belong To You EE- RARE! Columbia pressed only 400 copies!

033 Decca 7023 Memphis Minnie & Kansas Joe: Hole In The Wall/Give It To Me In My Hand (Can I Go Home With You) V+ to E034 Decca 7028 Alice Moore: Black Evil Blues/Riverside Blues E+ 035 Decca 7032 Lee Green: Doctorin' Fool Blues/Southern Blues E+/E 036 Decca 7056 Alice Moore: Lonesome Woman Blues/Trouble Blues E 037 Decca 7092 Kokomo Arnold: Slop Jar Blues/Black Annie EE-/E small label tear on B-side 038 Decca 7103 Kokomo Arnold: 'Cause You're Dirty/Tonic Head Blues E039 Decca 7113 Blind "Gussie" Nesbitt: He's The Joy Of My Salvation/God Is Worried At Your Wicked Ways V+ scratches RARE!

47

OFFERS INVITED: Joe Lauro, 249 Main Street, Sag Harbor, New York, 11963 USA , 631 466-­‐ 2768 of bids to : Garoncollection@gmail.com BIDS IN US DOLLARS, BID WHAT IT IS WORTH TO YOU – ONLY WINNERS NOTIFIED via email or post if you do not have email – PAYMENT via PAYPAL ( fee charged), US CASH via registered mail or BANK CHECK IN US FUNDS DRAWN FROM AN AMERICAN BANK.. S&H EXTRA Standard VJM “visual” grading. If a record appears to have an issue such as a crack, bad lam, stressed groove or dig I play grade it.

1. Pm 12896 Meade Lux Lewis/CHARLES AVERY Honky Tonk Train /Dearborn St Breakdown VV+ 1 dig side B 1 skip 2 tics min $1500 2. Per 104 Duke Ellington Wash GEORGIA GRIND/Parlor Social EE-­‐/E-­‐ min $200 3. Crown TEST (Shellac) Benny Carter Or (1765-­‐1B)/Joel Shaw GET CANNIBAL E cross scratches side A some tics but plays nicely SUPER rare min $200 4. De 7128 PROF. HULL ANTHEMS OF JOY – Move This Wicked Race/Was Lost and Jesus Found Me V/VV+ amazing New Orleans stuff -­‐ Punch Miller? Min $150 5. Col 14630D Wiley & Wiley SWEET REEDIE BRWN/Jumpin’ Judy Blues E w 1”hc A only rc 6. Gnt 5416 Guy Lombardo RC So This Is Venice/CY E 1” hc not broken through 7. Col 14188D Dixie Wasb Band GIMME BLUES /Dark Eyes 1926 EE-­‐ internal lam nap 8. Col 14406D MUSICAL STEVED Honeycomb Har/Happy Rhythm EE-­‐ ½ moon lam A nap 9. Co 14363D Kid & Coot RASSIN’ TIL WAGON COMES/Key Hole Blues EE+ 10. Bruns 7207 Phillips Louisville Jug Bd LOVELY THING/SoldierBoy E/V 3” hc labl tear 11. Sunset 1128 Chas Hamp Cal Blue Boys RED HOT HENRY BROWN/Five Ft Two EE+/E 12. Crown 3362 Joel Shaw Or GET CANNIBAL/Basin Street Blues V+ even wear 13. Gem 3332 Joel Shaw Orch GETTING ALONG WITH GAL/Minnie Moocher’Wed V rcB 2 tic 14. Okeh 8404 St. Louis Levee Band SOAP SUDS / Arm Breaker -­‐Clarence Jones Wonder Or G+ w 1” hc 15. Bwy 1140 Wisconsin Roof Orch NEW ST LOUIS BLUES / TIGER RAG glossy E 16. Voc 1560 Lloyd Scott Gut Bucketeers WAKE UP SINNERS/Rub Me G+ rc B one tic 17. Radiex 1706 Wilbur Sweatman SWEAT BLUES / Weary River ( Hse Bd) V++ rc nap A 18. Chall 355 TOM GATES ORCH Bucket’s Got A Hole In It/CUBAN DO Ain’t No Maybe V+ 19. Bruns 7067 Ikey Robinson (Jabbo Smith) GOT BUTTER /ReadyHokum E-­‐ rc 10 tics B 20. Okeh 8378 Arthur Simms Creole Roof Or SOAPSTICK BLUES/How Do You Like It V/V-­‐ 21. Okeh 8105 JELLY ROLL MORTON JAZZ BAND London Blues / Someday Sweethrt V-­‐ 22. Superior 2578 Al Morris Playboys LONESOME LOVER/Lonesome & Blue EE-­‐ rare 23. Champion 16264 W Bradley & Her Orch STARDUST /Flpyd Mills 99 OUT OF 100 V+ 3 small potential hair cracks noe through to both sides and none sound 24. Gennett 6270 Walt Anderson Golden Pheasant Hoodlums RAIN/What’ll we Do E 25. Vocalion 2796 Joe Robechaux NO Rhythm Boys SAT NIGHT FISH FRY/Foot Scuffle EE-­‐ 26. Gnt 6112 Jimmy Carr Orch RED LIPS/Faberman Inst Qrt SUMMER NIGHT E-­‐ 27. Gnt 6393 KID BRADLEY’S CLT BD Lazybone Blues/EMBARASSMENT BL V+ hc 3 grv nap 28. QRS 7060 Wilson & Hinton STATION HOUSE RAG /FrogEye Stomp V++ 29. Bwy 1177 Wisconsin Roof Or READY FOR RIVER/Wob-­‐aly Walk EE+ hot 30. Co 1193D RED SPIKES Fight That Thing/MY MAMMY’S BLUES E a few scr light tics A&B 31. Co 1443D Donald Lindley Boys NOTHIN’ DOIN/Slidin’ Around EE+ 32. Vic 38098 Cecil Scott Bright Boys IN A CORNER/LAWD LAWD glossy E 33. Ok 4850 Sam Goold WHIPPIN’ THE KEYS/Harry Jentes CAT’S PAJAMAS paino rag E-­‐ sc 34. Ok 41100 Frankie Trumbauer Or (BIX) Bless You Sister/DUSKY STEVEDORE EE+ solA 35. Voc 1060 Jimmy Bertrand WbdWizards 47th St Stomp (33)/IDLE HOUR STOMP (31) E-­‐ 36. Bruns 7115 DIXIE RHYTHM KINGS The Chant/Congo Love Song G+/G label fade B 37. Pmt 12433 Kaai Serenaders HULA SHAKE THAT THING/Hula Mama Blues VV+/V+ 38. Ok 41041 Kalama’s Qrt MAMA E/Wahine Ui V+ side A super hot!!

39. Ok 41170 Kalamas Qrt KAENA/Maile Lau Liili V+++ better but suffy 40. Co 1022D Sol Hoopii Nov 3 HULA BLUES / TIN ROOF BLUES E—lam A lam B lite tics A 41. Co 1155D Sol Hoopii’s Nov 3 ST LOUIS BLUES/Chimes E scuffs 42. Voc 3060 J.H. Bragg Rhythm 5 PLEADING/ETHIOPIANN STOMP E-­‐/E-­‐ 43. Ok 41178 Tom Dorsey TIGER RAG/It’s Right Here For you EE-­‐/E sol B 44. Voc 15602 Red Nichols 5 Pennies CORNFED/Mean Dog Blues VV+ 45. VanDyke 74290 Hawaiian Beachcombers (NAWAHI) Queen Of SS Isles E-­‐ GREAT 46. Bruns 3351 Jackson’s Swanee Serendaers HEEBIE JEEBIES/Messin Around E scuffy

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: July 29, 2018 Minimum bid on 78's is $ 3.00, LP’s is $6.00 1. Alabama Washboard Stompers – Voc(gl) 1587; Who Stole The Lock/Who Stole The Lock (pressing error?) VV+/V+ 2. Red Allen O. – Bb 10235; It Should Be You/Pleasing Paul E+ 3. Red Allen O. – Voc 3302; Algiers Stomp/When Did You Leave Heaven E+ 4. Ambassadors – Voc 14620; When You Walked Out/Tell Me A Story E 5. Angelic Gospel Singers – Gotham 717; Bread Of Heaven/Milky White Way V 6. Louis Armstrong O. – Col(Aust) DO-2215; Knockin’ A Jug/12th Street Rag E- sol 7. Louis Armstrong O. – Ok 8756; I Ain’t Got Nobody/Rockin’ Chair V ++ 8. Louis Armstrong O. – Ok 41504; You Rascal You/Sleepy Time Down South EE9. Louis Armstrong O. – Ok 41538; You Can Depend On Me/Lonesome Road V+ to E-

10. Louis Armstrong O. – De(sb) 1408; Alexander’s Ragtime Band/Heart Full Of Rhythm V++

12. Svend Asmussen O. – Odeon D5235; Crazy Rhythm/I Found A New Baby E+ 14. Gene Austin w/HOW Orch. – HOW L3; Now That You’re Gone + La Paloma E 15. Mildred Bailey Alley Cats – De(red lbl) 18108; Honeysuckle Rose (mx 60202-_, alternate take)/Willow Tree E+ wol 16. Josephine Baker – Pacific 3283; Minuit/Revoir Paris E+ 17. Count Basie O. – Clef 89162; April In Paris/Roll ‘Em Pete E 18. Bix Beiderbecke O. – Vi 23008; I’ll Be A Friend (-3)/I Don’t Mind Walkin’ In The Rain E 19. Birmingham Jubilee Singers – Col 14176; 4 & 20 Elders/Every Time I Feel The Spirit E+ 20. Birmingham Jubilee Singers – Col 14236; Walk In Jerusalem/A Hymn With Prayer V+ 21. The Blues Man – Juke Box 101; Kansas City Boogie/My Baby’s Blues E 22. Boots & His Buddies – Bb 7217; The Goo/The Weep E 23. Connee Boswell w/Lawson-Haggart JB – De 28498; It Made You Happy/Singin’ The Blues E

24. Cleo Brown – De(sb) 477; Boogie Woogie/Pelican Stomp E+ 25. Willie Bryant O. – Bb(buff) 6361; The Right Somebody To Love/All My Life EE+ 26. Chick Bullock LL – Ban 32365; Was That The Human Thing To Do/BTDATDBS V+ 27. Bumble Bee Slim – De(sb) 7127; My Old Pal Bls/Last Respects (both side “Dedicated to the Memory of Leroy Carr”) V 32. Josephine Byrd – Col 14349; Take It Away From Here/Mosquito Blues E 33. California Ramblers – Col 1148; Nothin Does Does/It Was Only A Sun Shower V+ to E34. Cab Calloway O. – Per 15457; Farewell Bls/Mood Indigo EE+ 35. Cab Calloway O. – Bb(buff) 6819; Father’s Got His Glasses On/Lady With The Fan E 36. Capitolians – MGM 1033-P; Nobody But You/Your Mother And Mine V+ 1” lam nap 37. Joe Candullo O. – Per 14643; Jackass Bls/Phil Hughes O.; Animal Crackers V+ 38. Joe Candullo O. (as Dixie JB) – Or 682; Jackass Bls (-2)/My Pal Jerry (not Candullo) E-/E

39. Carolina Club O. – Par R435; Some Sweet Day/S’posin’ EE40. Champion Dance Kings – Ch 15593; My Blackbirds Are Bluebirds Now/ Glenn Parks O.; I Still Keep Dreaming Of You V+ 41. Charleston Chasers – Col 909; Davenport Bls/Wabash Bls E42. Charleston Chasers – Col 1335; My Melancholy Baby/Mississippi Mud E43. Charleston Chasers – Col 1539; My Gal Sal/Farewell Bls EE-/E- sm rim bite nap 44. Chicago Blues Dance O. – Col A3923; Blue Grass Bls/House Of David Bls E 45. Chicago Footwarmers – Ok 8533; Ballin’ The Jack/Grandma’s Ball V++ 46. Don Clark La Monica Ballroom O. – Vi 19622; Big Bad Bill/Cheatin’ On Me E 48. Ann Cook – Vi 20579; Mama Cookie/He’s The Sweetest Black Man In Town V 49. Ann Cook w/Wooden Joe’s Band – AM 536; The Lord Will Make A Way/ Wooden Joe’s Band; Bye And Bye E+ 50. Coon-Sanders O. – Vi 20390; Brainstorm/My Baby Knows How V+ 51. Coon-Sanders O. – Vi 22972; ‘Round My Heart/I Want To Go Home E+ 52. Cotton Pickers – Br 2937; Milneberg Joys/If You Hadn’t Gone Away E 53. Ida Cox – Para 12064; Ida Cox’s Lawdy, Lawdy Bls (-3)/ Moanin’ Groanin’ Bls (-3) V rim flk nap, label fades 54. Ida Cox – Para 12085; Mama Doo Shee Bls (-1)/Worried Mama Bls (-1) V+ label fades 58. Frank Dailey O. – Bell 323; Prince Of Wails/Ben Selvin O.; O Katherina V+ to E60. Wild Bill’s Stompers – Esq(E ) 10-039; Hotter Than That/Big Butter And Egg Man E+ 61. Dixie Daisies – Cam 291; Lovin’ Sam/What More Do You Want E 62. Dixie Washboard Band – Col 14128; Wait Till You See My Baby/Livin’ High V++ 63. Dixie Washboard Band – Col 14141; My Own Bls/You For Me Me For You V++/V+ 64. Dorsey Brothers O. – Ok 41083; Was It A Dream/Pt. 2 V+ 65. Dorsey Brothers O. – De(sb) 115; Getting Sentimental Over You/Long May We Love E+ 66. Dorsey Brothers O. – De(sb) 117; Annie’s Cousin Fannie/Dr. Heckle And Mr. Jibe E+ 67. Dorsey Brothers O. – De(sb) 207; The Breeze/Don’t Let It Bother You EE+ 68. Dorsey Brothers O. – De(sb) 208; Heat Wave/Stop Look And Listen V+ to E69. Dorsey Brothers O. – De(sb) 258; Earful Of Music/Your Head On mY Shoulder E70. Dorsey Brothers O. – De(sb) 296; Honeysuckle Rose/Pt. 2 E+ sol 71. Dorsey Brothers O. – De(sb) 297; Missouri Misery/Sandman E+ 72. Dorsey Brothers O. – De(sb) 318; Anything Goes/All Through The Night E+ 73. Dorsey Brothers O. – De(sb) 321; I’d Love To Dunk You In My Coffee/If It’s Love E+

74. Dorsey Brothers O. – De(sb) 358; Rhythm Of The Rain/I Was Lucky E+ 75. Dorsey Brothers O. – De(sb) 370; Lullaby Of Broadway/The Words Are In My Heart E76. Dorsey Brothers O. – De(sb) 469; Weary Bls/Dese Dem Dose EE77. Dorsey Brothers O. – De(sb) 476; Chasing Shadows/Every Single Tingle Of Heart E+ 78. Dorsey Brothers O. – De(sb) 519; Very Good Friend The Milkman/Couldn’t Believe My Eyes E+

79. Dorsey Brothers O. – De(sb) 520; You’re So Darn Charming/You Saved My Life EE+ 80. Duke Ellington O. – Bilt 1004; The Creeper/Immigration Bls E+ 81. Duke Ellington O. – Br 3580; East St. Louis Toodle-Oo/Birmingham Breakdown E sm lbl tear/E

82. Duke Ellington O. – Br 3987; Tishomingo Bls/Yellow Dog Bls V++ 83. Duke Ellington O. (as Whoopee Makers) – Pathe 36923; Hottentot/Misty Mornin’ VV+ 84. Duke Ellington O. – Vi 38007; Bandanna Babies/I Must Have That Man V++/V+ 85. Duke Ellington O. – Vi 38053; Dicty Glide/Stevedore Stomp V+ 86. Duke Ellington O. – Vi 38058; Misty Mornin’/Saratoga Swing V+/VV+ 87. Duke Ellington O. – Vi 38089; Swanee Shuffles/Mississippi V++ 88. Duke Ellington O. – Vi 24057; Flaming Youth/Mississippi E+ 89. Duke Ellington O. – Vi 22938; Bugle Call Rag/Dinah EE90. Duke Ellington O. – HMV B4946; Brown Berries/It’s A Glory E+ 91. Duke Ellington O. (as Lonnie Johnson’s Harlem Footwarmers) – Ok 8638; Harlem Twist/Move Over VV+ 92. Duke Ellington O. – Par R1535; Syncopated Shuffle/Blues Of The Vagabonds E+ 93. Duke Ellington O. (as Washingtonians) – Cam 8188; Take It Easy/no int. V+ 94. Duke Ellington O. (10 Black Berries) – Ban 0594; Rent Party Bls (-1)/St. James Infirm. (-2) V+

95. Duke Ellington O. (10 Black Berries) – Or 1862; When You’re Smiling (-1)/no int. V++ 96. Duke Ellington O. (10 Black Berries) – Per 15272; St. James Infirm.(-1)/When UR Smiling (-1) VV+

97. Duke Ellington O. – Br 7625; No Greater Love/Isn’t Love The Strangest Thing E

98. Duke Ellington O. – Voc(E ) S-65; It Don’t Mean A Thing/In A Sentimental Mood E+ sm lbl tear/E+ 99. Duke Ellington O. – Br 8213; Exposition Swing/Will Hudson O.; I Haven’t Changed A Thing E+

100. Duke Ellington O. – Br 8411; Way Low/You Can Count On Me E+ 101. Duke Ellington O. – Vi(gl) 26644; Bojangles/Portrait Of Bert Williams E sol 102. Maureen Englin (rare Bechet, side 1) – Per 12135; Foolin’ Me (Bechet)/no int. E+ 104. Jay C. Flippin – Br 4289; Out Where Blues Begin/You’re Just A Little Bit Of Everything V++

105. Roy Fox Band – De(E ) F2716; Nobody’s Sweetheart/Guilty E sm lbl tear 106. Jay Freeman O. – Vri 511; Poor Robinson Crusoe/Good Night My Lucky Day EE+ 107. Al Friedman O. – Ed 52128; My Blue Heaven (-A)/no int. EE- sm rim flks nap 108. Bob Fuller (as NML Dance O.) – NML 1156; Dancin’ The Blues/Master Melody Makers; Hello Aloha How Are You E+ 109. Slim And Slam – Voc 4021; Chinatown My Chinatown/Flat Foot Floogee V+ 110. Cecil Gant – King 4231; Hogan’s Alley (piano solo)/Why E+ 111. Jan Garber O. – Vi 19708; Who Loved You Best/Cross Words Between Sweetie And Me E+

112. Georgians – Col 40; You Better Keep Babying Baby/I’ve Got A Cross-Eyed Papa V+ 113. Golden Gate O. – Diva 2690; Dusky Stevedore/Astorites; Blue Grass EE-/E- rim flk nap 114. Jean Goldkette O. – Vi 20270; Idolizing/Hush-A-Bye (w) E+ 115. Bennie Goodman’s Boys – Br 4968; Muskrat Scramble/After Awhile E/sm sol E 116. Benny Goodman O. – Col(E) CB730; Junk Man/Ol’ Pappy E+ 117. Benny Goodman O. – Col(E) DB5011; Down Home Rag/Music Hall Rag E+ 118. Benny Goodman O. – Col(E) FB1003; Nitwit Serenade/Bugle Call Rag E+ 119. Benny Goodman O. – Col(E) MC5005; Breakfast Ball/Char.Chasers; Someday Swthrt E+ sm lbl tear

120. Casa Loma O. – Br(E) 1279; Maniac’s Ball/Black Jazz E+ sm sol 121. Casa Loma O. – Br 6289; Smoke Rings/In The Still Of The Night E+ (AUTOGRAPHED BY GLEN GRAY) 122. Glen Gray O. – Vi 24224; Where Are You Tonight/Sittin’ By The Fire With You EE+ 125. Adelaide Hall w/Lew Leslie’s O. – Br 4031; I Must Have That Man/Baby V+ 126. Adelaide Hall w/Fats Waller – HMV(Aust) B8849; ICGYABL/That Old Feeling E+ (laminated pressing) sol 127. Fred Hall O. (as Ford Britten) – VT 2299; She’s My Baby Now/Lanin O.; 99 Out 100 V++

128. Sleepy Hall O. – Vri 583; That Old Oaken Bucket/Sleepy Time Gal E+ 130. Erskine Hawkins O. – Voc 4072; Carry Me Back To Old Virginny/Who’s Sorry Now E 131. Clifford Hayes’ Stompers – Vi 21583; Blue Harmony/McKinney’s CP; 4 Or 5 Times V++ 132. Fletcher Henderson O. – Voc 14726 vinyl test; You’ve Got To Get Hot E+ 133. Fletcher Henderson O. – Sil 1298; My Rose Marie/no int. V+ to E134. Fletcher Henderson O. (as Southern Serenaders – Har 5; Alone At Last/Manhattan Dance Makers; Are You Sorry V+ 135. Fletcher Henderson O. (Dixie Stompers) – Har 166; Tampeekoe/Jackass Bls V+

136. Fletcher Henderson O. (Dixie Stompers) – Har 299; Off To Buffalo/Brotherly Love V+ 137. Fletcher Henderson O. (as Roseland D.O.) – Dom 3445; I’ll See You In My Dreams (-6)/Gotham D.O.; My Sweet Annette E- lbl fade 138. Fletcher Henderson O. – Col 854; Sweet Thing/I Need Lovin’ V+/V++ 139. High Hatters – Vi 22810; Sugar/Bert Lown O.; Blues In My Heart V++ 140. High Steppers – Crown 3133; Roll On Mississippi Roll On/I Wanna Sing About You V+ 141. Earl Hines O. – Voc 4008; Please Be Kind/Good Night Sweet Dreams E+ 142. Art Hodes Six – Jazz Record 1006; Organ Grinder Bls/Chimes Bls E+ 143. Art Hodes Chicagoans – BN 507; Doctor Jazz/Shoe Shiner’s Drag E+ 144. Art Hodes Chicagoans – BN 508; There’ll Be Some Changes Made/Clark & Randolph E

145. Art Hodes Trio – BN 512; Blues ‘N’ Booze/ Eccentric V++ (AUTOGRTAPHED BY MAX KAMINSKY) 146. Art Hodes Trio – BN 512; Blues ‘N’ Booze/Eccentric EE+ 147. Art Hodes Backroom Boys – BN 526; Back-Room Bls/Low Down Bls E+ 148. Art Hodes Backroom Boys – BN 527; Jug Head Boogie/M.K. Bls E+ 149. Art Hodes Seven – BN Chicago Gal/Willie The Weeper E+ 151. Hotsy Totsy Gang – Br 4014; Doin’ The New Low Down/Digga Digga Do V++ 153. Jazz Club Mystery Hot Band – Jazs Club 120; Please Don’t Talk About Me When I’m Gone/Some Days Sweetheart E+ 154. Jazz Club Mystery Hot Band – Jazs Club 123; S’Wonderful/Stompin’ At Savoy E+ 155. Johnny Johnson (piano solos) – Bb(buff) 6451; On The Parkway/Moonstone E wol 156. Stella Johnson w/Dot Scott’s Rhythm Boys – De 7217; Hot Nuts Swing/Don’t Come E-/E

157. Isham Jones O. – Vi 24366; Louisville Lady/I Couldn’t Tell Them What To Do E/EE158. Isham Jones O. – Vi 24681; Say It/Fpr All We Know V+ slightly grainy, lbl tear 159. RW Kahn O. – Vi 20634; Just The Same (great Venuti-Lang)/Nat Shilkret O.; 50 Million E+

160. Max Kaminsky JB – Br 80137; Someday sweetheart/Wrap UR Troubles In Dreams E+ 161. Gene Kardos O. – Var 8025; Margie/Avalon E 162. Hal Kemp O. – Br(C) 6108; Moonlight Savings Time/Ho Hum V+ to E164. Ladd’s Black Aces – Ge 4933; Sister Kate (-_)/You Can Have Him… (-A) V++ 167. Sam Lanin O. – Col 396; Who Loved You Best/One Smile V+ to E172. Lanin’s Southern Serenaders – Emer 10439; Shake It (-1)/Aunt Hagar’s (-3) E-/V+ 173. Lanin’s Southern Serenaders – Re 9191; Eddie Leonard Bls (-1)/Satanic Bls (-2) V++ 174. Lawson-Haggart JB – Br 28577; While We Danced At Mardi Gras/2 Car Garage E 175. George E. Lee O. – Br 4684; St. James Infirmary/Ruff Scufflin’ E lbl fades/lite wear

176. Nate Leslie O. – Voc 3584; Shake Yo’ Bones/Shaggin’ At The Shore E+ sm sol 177. Ted Lewis Band – Col 2467; Dip Your Brush In Sunshine/(waltz) V++ bad lbl fades 178. Lido Venice O. – Per 14295; I Wonder What’s Become Of Sally/Lanin; June Night E+ 180. Little Ramblers – Col 346; Don’t Bring Lulu/Cross Words Between Sweetie And Me V+ 181. (Cripple Clarence) Lofton – Solo Art 12001; Streamline Train/Had A Dream E+ 183. Wingy Mannone O. – De 7425; Tar Paper Stomp/Tin Roof Bls E 184. Wingy Mannone O. – Voc 3158; Rhythm In My Nursery Rhymes/The Broken Record E 185. Wingy Mannone O. – Bb 10432; Limehouse Bls/Fare Thee Well My Baby E 186. Rudy Marlow O. – Har 1232; Three Little Words/Chester Leighton O.; I Am Words E187. McKenzie & Condon’s Chicagoans – Ok 41011; China Boy/Sugar V+ to E188. Red McKenzie – Columbia 11” shellac test; I Cried For You (mx M-271-1)(issued) EE+ 189. McKinney’s CP – Vi 21611; Milneberg Joys/Shim-Me-Sha-Wabble E190. McKinney’s CP – Vi 22511; BWYPCH/Hullabaloo V++ 191. McKinney’s CP – Vi 38013; There’s Rainbow Round My Shoulder/Tight Like That E/V+ 192. McKinney’s CP – Vi 38102; Miss Hannah/The Way I Feel Today V+ 193. McKinney’s CP – Vi 23000; Okay Baby/I Want A Little Girl E/EE+ 194. McKinney’s CP – Vi 23020; Never Swat A Fly/Laughing At Life V+ 195. McKinney’s CP – Vi 23024; After All You’re All I’m After/I Miss A Little Miss V+ store sol 196. Jay McShann O. – Vee-Jay 155; Another Night/Hands Off E 197. Jack McVea All Stars – B&W 750; Bartender Boogie/Ooh Mop E+ 198. Jack McVea All Stars – B&W 751; Wine-O/Frisco Bls E+ 199. Vic Meyers’ Music – Col 2026; Melancholy/Congratulations EE-/E200. Ray Miller O. – Br 2632; Mama’s Gone Goodbye/Where Is Girl E+ scr in run off nap/E+ 201. Ray Miller O. – Br 4233; Cradle Of Love/My Angeline V+ to E- wol 202. Irving Mills Hotsy Totsy Gang – Br 4920; High And Dry/Barbaric EE203. Mills Blue Rhythm Band – Col 3134; Jes’ Natch’ully Lazy/Everything Is Still Okay EE+ 204. Mills Merry Makers – VT 2104; St. James Infirmary/Julie Wintz O.; Harmonica Harry V+ to E-

205. Missouri Jazz Hounds – Re 9504; Long Lost Mama/Majestic D.O.; Pickles V++ 207. Miff Mole Molers – Voc(E) S-87; I Can’t Break The Habit Of You/How Could You E+ 208. Thomas Morris 7 Hot Babies – Vi 20179; Ham Gravy/Jackass Bls V++ lite lbl wear 209. Jelly Roll Morton RHP – Vi 20221; Black Bottom Stomp/The Chant E lite lbl wear 210. Jelly Roll Morton RHP – Vi 20252; Sidewalk Bls/Dead Man Bls E-/EE- ¼ “ hr crk nap 211. Jelly Roll Morton RHP – HMV B9220; Deep Creek/Shreveport E+ 212. Bennie Moten O. – Vi 38048; Sad Man Bls/Earl Hines O.; Have U Ever Felt This Way V++

213. Bennie Moten O. – Vi 22793; That To, Do/Luis Russell O.; You Rascal You E hr crk under lbl nap/EE- two 1” scrs 214. Phil Napoleon O. – HMV B5331; Go Joe Go/Take Your Finger Out Of Your Mouth E215. New England Ramblers – Voc 15589; Blue Heaven/Night Club O.; Do U Love Me E+ 216. New Orleans Wild Cats – Col 14599; Wild Cats On Parade/Harlem Baby EE217. Red Nichols 5 Pennies – Br 4373; Indiana/Dinah E 218. Red Nichols 5 Pennies – Br 6012; My Honey’s Lovin’ Arms/Rockin’ Chair EE219. Red Nichols 5 Pennies – Br 6198; Oh Peter/Honolulu Bls E220. Red Nichols 5 Pennies – Br 6266; Clarinet Marmalade/Sweet Sue E221. Red Nichols 5 Pennies – Br(E) 1213; Fan It/How Long How Long Bls E+ 222. Night Club O. – Voc 15031; Ah-Ha/The Flapper Wife V+ to E223. Ray Noble O. – Br 8180; Alexander’s Ragtime Band/Marching along With Time E 224. Red Norvo O. – Voc 4738; There’ll Never Be Another You/Toadie Toddle E+ 225. George Olsen Music – Vi 19761; Hot Aire/I’m Knee Deep In Daisies V+ 224. King Oliver Creole JB – Ge 5133; Canal Street Bls/Just Gone V rough start/VV+ 225. King Oliver O. – Br 3741; Sobbin’ Bls/Farewell Bls E 226. OI5 – Har 217; Spanish Mamma/Deep Henderson E227. OI5 – Har 387; The Chant/Stockholm Stomp V+ 228. Original Memphis Melody Boys – Ge 5157; There’s No Gal Like my Gal/ Blue Grass Bls E 229. OM5 – Pathe 020920; Farewell Bls/New Synco JB; Liza E- sol 230. OM5 – Col 2577; My Honey’s Lovin’ Arms/St. Louis Gal V++ sm rim bite nap 231. Original Wolverines – CMS 102; Shim-Me-Sha-Wabble/The New Twister E+ 232. Oscar’s Chicago Swingers – De(sb) 7201; My Gal’s Been Foolin’/Try Some That E 233. Harold Oxley O. – Ok 40180; I Don’t Know Why/Ace Brigode O.; Follow Swallow E234. Tiny Parham O. – Vi 38041; Subway Sobs/Blue Island Bls V+ 235. Pennsylvania Players – Bell 532; Bye Bye Pretty Baby/Stop You’re Cryin’ V+ to E236. Jack Pettis O. – Vri 558; Swing Session In Siberia/Hawaiian Heat Wave E+ 237. Bob Pope O. – Bb(buff) 6471; Let’s Get Hot And Truck/Swamp Fire V+ 238. Porter’s Blue Devils – Ge 5251; Somebody’s Wrong/Mamma Goes Where Papa Goes V++

239. Jimmy Blythe Jr. (Sammy Price) – King Jazz 145; Boogin’ w/Mezz/I Finally Gotcha E+ 240. Red Heads – Per 14568; Poor Papa/Mike Speciale O.; Tentin’ Down In Tennessee V+ 241. Don Redman Connie’s Inn O, - Col 35689; Chant Of The Weed/Two Time Man E+ 242. Don Redman O, - Mel 60709; Moonrise On Lowlands/Lazy Weather (vcls – Harlan Lattimore) EE243. Don Redman O. – Mel 60802; I Gotcha/A Little Bit Later On E+ sol 244. Don Redman O. – Vri 605; Sweet Sue/Stormy Weather V+ to E246. Leo Reisman O. – Vi 22306; Puttin’ On The Ritz/Shilkret O.; Singin’ Vagabond Song E+

247. Leo Reisman O. – Vi(C) 22757; It’s The Girl/Take It From Me (v-Lee Wiley) EE+ 248. Harry Reser O. – De(sb) 284; UR Not Only Oyster In Stew/No No 1000 Times No E249. Frankie Reynolds O. – Bb 7137; Paradise/Chicken On the Apple V++ wol 251. Harry Richman – De(sb) 700; Life Begins When You’re In Love/Let’s Go E252. Willard Robison – Per 12366; St. Louis Bls/Cottonfield V+ 253. Jimmie Rodgers – Vi 21142; Blue Yodel/Away Out On The Mt. V++ 254. Wally Rose – GTJ 25; Frog Legs Rag/Gladiolus Rag E+ 255. Wally Rose – GTJ 26; The Pearls/Red Pepper Rag E+ 256. Wally Rose – GTJ 27; Pineapple Rag/Cascades Rag E+ 257. Wally Rose – GTJ 28; King Porter Stomp/Easy Winners E+ 258. Ross Rhythm Rascals – De(sb) 5446; I Never Knew/Lulu’s Back In Town E259. Pee Wee Russell Band – Manhattan 302; Clarinet Marmalade/Mama’s In Groove E+ 260. Jan Savitt O. – Vri 585; Cross Country Hop/Yonkel Doodle Goes Steppin’ E+ 261. Savoy Orpheans – HMV(Fr) K5319; Yale Bls/C’est Vous (w) V+ pdig/V+ 262. Elmer Schoebel’s Dixieband – National 9133; Maple Leaf Rag/(feat. Billy Banks); Train’s Comin’ E+

263. Gene Schroeder – B&W 5; Tea For Two/Sweet Georgia Brown E+ 264. Gene Schroeder – B&W 33; I Ain’t Got Nobody/Liza E+ 265. Gene Sedric O. – Harmonia 1807; Forget It/Music To My Sorrow E 266. Ben Selvin O. – Br 3504; Hoosier Sweetheart/Close To Your Heart EE-/E270. Six Hayseeds – Voc 15578; Positively Absolutely/Vanderbilt O.; Sa-lu-ta! V+ 271. Bessie Smith – Col A3888; BWYPCH/Oh Daddy Bls E273. Bessie Smith – Col 14042; Weeping Willow Bls/The Bye Bye Bls V+ 274. Harl Smith O. – Per 14339; Rose Marie/Bring Back Those Rock-A-Bye Baby Days E275. Mamie Smith Jazz Hounds – Ok 4305; You Can’t Keep a Good Man Down/Baby You Made Me Fall For You V++ lbl scrs/V++ 276. Willie Smith Cubs – De(sb) 1291; Swampland/I Can See U All Over The Place E+ 277. Jesse Stafford O. – Br 4658; Only Love Is Real/Should I EE278. Rex Stewart O. – Voc 5448; I’ll Come Back For More/Fat Stuff Serenade E+ 279. Eddie Stone O. – Voc 3585; Rhythm On The Loose/Up Popped The Devil E+ 280. Lew Stone Band – De(E) F3953; Milneberg Joys/Call Of The Freaks E 281. Lew Stone Band – De(E) F5152; Judy/Miss Otis Regrets E 282. Charlie Straight O. – Br 3136; What A Man/Hi-Diddle-Diddle V++ 283. Jack Teagarden All Stars – Omega 112; Parasol/Matty Matlock All Stars; Don’t You Think It’s About Time E+ 284. Tennessee Tooters – Voc 15004; Those Panama Mamas/Red Hot Henry Brown E 285. Tennessee Tooters – Voc 15068; What-Cha-Call ‘Em Bls/Milneberg Joys V+

286. Henry Theis O. – Vi 21507; Don’t Wait Till Lights Are Low/RW Kahn O.; Say Yes Today V++

287. Walter Thomas Jump Cats – Celebrity 8125; Broke But Happy/Blues On The Delta E+ 288. Claude Thornhill O. – Br 7957; Don’t Save Your Love (v-Maxine Sullivan)/Ebb Tide V+ 289. Three’s A Crowd – Bb 10051; S’posin’/Rosetta E+ 290. Three Peppers – De 2239; Fuzzy Wuzzy/Down By The Old Mill Stream E 291. Pinky Tomlin – Br 7897; With Love And Kisses/Sittin’ On The Edge Of My Chair V+ 292. Pinky Tomlin – Br 8091; My First Impression Of You/Lost And Found E293. Frankie Trumbauer O. – Ok 41145; Take Your Tomorrow/Love Affairs V+ 294. Frankie Trumbauer O. – Br 7663; The Mayor Of Alabam’/S’Wonderful V+ 295. University 6 – Diva 2534; The Beggar/Is She My Girl Friend V+ 296. Paul Van Loan O. – Cam 591; Where’s My Sweetie Hiding/Bob Haring O.; Go Long Mule E

297. Varsity 8 – Cam 588; Hard Hearted Hannah/Henry Santry O.; Blue Eyed Sally E-

298. Varsity 8 – Cam 602. A New Kind Of Man/Arthur Lange O.; Never Care About Tomorrow V+

299. Joe Venuti O. – Vi 23039; Getting’ Hot/Dave Nelson King’s Men; Some Of These Days E/rim flk nap E

300. Joe Venuti Blue 5 – Par R2083; Vibraphonia/Claude Hopkins O.; California Here I Come E+

301. Frank Victor & Harry Volpe (guitar duet) – De(sb) 1124; Sweet Strings/Easy Like E+ 302. Frank Victor & Harry Volpe (guitar duet) – De(sb) 1290; Pagan Fantasy/ Swingin’ The Scale EE+ sm lbl tear 303. Wabash D.O. – Duophone 4006; Chloe/Harry Paul O.; If You Don’t Love Me V++ 304. Fats Waller Buddies – HMV(Aust) EA3265 (laminated); Minor Drag/Ridin’ But Walkin’ E+ 305. Fats Waller Rhythm – Vi 24826; Breakin’ The Ice/Honeysuckle Rose V+ sol 307. Waring’s Pa. – RCA 22978; Rhymes/How Am I Doin’ E (great fidelity) 308. Warner’s Seven Aces – Col 305; When My Sugar Walks Down the St./Cheatin’ On Me V++

309. WRK – Columbia vinyl test (issued); Going, Going, Gone (mx W-265088-1) E+ 310. Washboard Rhythm Kings – Br(E) 01504; Yes Suh!/Syncopate Your Sins Away E+ 311. Steve Washington O. – Voc(gl) 2598; Sing A Little Low Down Tune/ We Were The Best of Friends E

• Vi(C )40-0114; Shim-Me-Sha-Wabble/Cherry E+ • Vi(C )40-0115; Plain Dirt/Zonky E+ • Vi(C )40-0116; Blues Sure Have Got Me/BWYPCH E+ • Vi(C )40-0117; Rocky Road/Never Swat A Fly E+ 333. Glenn Miller Concert (Live performances), Vol. 1 – Victor Album PT25 • Vi 42-0107; One O’Clock Jump/My Blue Heaven EE+ • Vi 42-0108; Going Home/Jersey Bounce EE+ • Vi 42-0109; St. Louis Bls/Georgia On My Mind EE+ • Vi 42-0110; Tiger Rag/Everybody Loves My Baby EE+ 334. Glenn Miller Concert (Live performances), Vol. 2 – Victor Album PT39 • Vi 42-0452; Anchors Aweigh/My Buddy E+ • Vi 42-0453; I Got Rhythm/I Dream Of Jeanie E+ • Vi 42-0454; Vilia/Limehouse Bls E+ • Vi 42-0455; On The Alamo/On Army Team E+ 335. Montana Taylor – Barrel House Blues; Circle Album S-2 • Cir 1008; Indiana Ave. Stomp/In The Bottom E+ • Cir 1009; Low Down Bugle/I Can’t Sleep E+ • Cir 1010; Sweet Sue/Fo’ Day Blues E+ 336. Charlie Venturo – Lamplighter Jazz Gems, Vol. 1 (with photo of Venturo) • Lamp 105/107; Stompin’ At The Savoy, Pt. 1/The Man I Love, Pt. 1 E+ • Lamp 105/107; Stompin’ At The Savoy, Pt. 2/The Man I Love, Pt. 2 E+ • Lamp 106; Charlie Boy/I Don’t Know Why E+ 337. Mary Lou Williams Trio – Asch Album 351 • Asch 3511; Russian Lullaby/Blue Skies E+ • Asch 3512; Persian Rug/Night And Day E+ • Asch 3513; You Know Baby/I Found A New Baby E+ 338. Giants of Jazz: Music from “A Song Is Born” feat. Armstrong, Goodman, Barnet, Tommy Dorsey, Mel Powell; Capitol Album 106 (lite wear) • Cap 10172; A Song Is Born (w/BG, TD, Barnet, Louis, Golden Gate Qt./Pt. 2 E+ •

312. Chick Webb O. (as Jungle Band) – Br(E) 01235; Dog Bottom/Duke Ellington O.; The Mooche E+

313. Ted Weems O. – Vi 20846; Miss Annabelle Lee/Barbara E+

314. Ester White w/Tampa Blue Pianist – Par R183; I Still Remember/Tampa Blue 5; Chloe E+/E

315. Paul Whiteman O. – Vi(gl) 24078; San/Poor Butterfly EE316. Jack Whitney O. – VT 2430; There’s No Other Girl/So Sure Of You V++

317. Jack Whitney O. – VT 2442; Life Is Just A Bowl Of Cherries/This Is The Misses V+ 318. Clarence Williams Stompers – Ok 40541; Dinah/Spanish Shawl V/sm rim bite nap VV+ 319. Clarence Williams Stompers – Ok 40598; What’s The Matter Now/Jackass Bls V++ wol 320. Clarence Williams Bottomland O. – Br(E) 3667; Zulu Wail/Slow River E+ 321. Clarence Williams Jazz Kings – Col 14422; Mountain City Bls/Breeze E-sm lbl tears

323. Teddy Wilson Trio – Merc 89029; Darn That Dream/Oh Lady Be Good E+ 324. Wolverines – Br 3332; You’re Burnin’ Me Up/Crazy Quilt E 325. Yale Collegians (as Missouri Collegians) – Har 1272; Blue Again/ Jack Albin O.; Eyes Of Blue EE+ 10” 78RPM Albums

326. Carnival Three (Omer Simeon Trio) w/James P. – Disc Album 708 (sm tear top of spine)

• •

Disc 205/6; Lorenzo’s Bls/Harlem Hotcha E+ Disc 207/8; Bandanna Days/Creole Lullaby E+

327. Bud Freeman Summa Cum Laude O. – Fashions In Swing; Decca Album 133 (w/Booklet)

• De 18064; Copenhagen/Big Boy E+ • De 18065; Sensation/Oh Baby E+ • De 18066; Tia Juana/I Need Some Pettin’ E+ • De 18067; Fidgety Feet/Susie E+ 328. Bud Freeman O. – Jazz Concert, Town Hall, New York; Keynote Album 127 • Key 636; Tea For Two/Midnight At Eddie Condon’s E+ • Key 637; Sentimental Baby/Honeysuckle Rose E+ • Key 638; Inside On The Southside/Town Hall Bls E+ 329. Johnny Guarnieri Trio – Hot Piano; Savoy Album 501 • Sav 554; That Old Black Magic/I’m In The Mood For Love E+ • Sav 555; Firebird/Hangover E+ • Sav 556; My Blue Heaven/Exercise In Swing E+ • Sav 557; Deuces Wild/Deuces Mild E+ 330. Johnnie Guarnieri – Majestic Album 11 (lite cover wear, small tear top rear seam) • Maj 1094; My Gal Sal/Beyond The Moon E+ • Maj 1095; Flying Home/Believe It Beloved E+ sol • Maj 1096; Stars Fell On Alabama/Temptation E+ 331. Coleman Hawkins – Asch Album 355 (Cover Autographed by Hawkins!!!!!)

• Asch 3551; Leave My Heart Alone/Bean Stalking E+ • Asch 3552; Ladies’ Lullaby/Night Ramble E+ • Asch 3553; Ready For Love/Sportsman’s Hop E+ 332. McKinney’s Cotton Pickers – Victor (Canada) Album HJ-4 (w/Booklet) NOTE: All records are Master pressings, unlike the American issue)

•

C ap 10173; Mel Powell 7; Muskrat Ramble/Benny Goodman 7; Stealin’ Apples E+ Cap 10174; Pete Cavanaugh Trio; Daddy-O/Charlie Barnet O.; Redskin Rhumba E+

339. The All Star Stompers – This Is Jazz; Circle Album 7 • Cir 1023; Eccentric/Tishomingo Bls E+ • Cir 1024; BWYPCH/Big Butter And Egg Man E+ • Cir 1025; Sensation/Hotter Than That E+ 340. Boogie Woogie Music – Vol. 2; Decca Album 235 (w/Booklet) • Pete Johnson – De 3830; Basement Boogie/Death Ray Boogie E+ • Meade Lux Lewis – De 3831; Mr. Freddie Bls/Celeste Bls E+ • Turner Parrish – De 3832; Trenches/Charlie Segar; Boogie Woogie E+ • Woody Herman’s 4 Chips – De 3833; Chips’ Boogie Woogie/ Franz Jackson Band; Boogie Woogie Camp Meetin’ E+ •

Bob Crosby O. – De 3834; Yancey Special/Dot Rice & Frankie Black; Texas Stomp E+

341. Gems of Jazz, Vol. 4 – Decca Album 249 (w/Booklet) • Coleman Hawkins – De 18251; Star Dust/Well, All Right Then E+ • Coleman Hawkins – De 18252; Lost In A Fog/I Ain’t Got Nobody E+ • Fletcher Henderson O. – De 18253; It’s The Talk of The Town/Nagasaki E+ • Fletcher Henderson O. – De 18254; I’ve Got To Sing Torch Song/Night Life E+ • Chocolate Dandies – De 18255; Blue Interlude/Once Upon A Time E+ • Benny Carter O. – De 18256; Somebody Loves Me/Pardon Me Pretty Baby E+ 342. Midnight Piano – Don Frye + Cliff Jackson; Disc Album 706 (lite wear) • C liff Jackson – Disc 6008; U Took Advantage Of Me/Don Frye; Man In Moon E+ • Cliff Jackson – Disc 6009; Tea For Two/Don Frye; Voulez-Vous E+ • Cliff Jackson – Disc 6010; Memphis Bls/Don Frye; Let’s Get Together E+ 343. Tenor Sax – Savoy Album 500 •

C oleman Hawkins w/Cozy Cole – Sav 550; Sunny Side Of St./Stompin’ At Savoy E+

Lester Young – Sav 551; Ghost of A Chance/Lester’s Savoy Jump E+ Don Byas Quintet – Sav 552; Don’s Idea/What Do You Want With My Heart E+ • Ben Webster – Sav 553; Blue Skies/Honeysuckle Rose E+ 344. Tenor Sax Stylists – Savoy Album 503 • I llinois Jacquet – Sav 620; Don’t Blame Me/Ike Quebec; Girl Of My Dreams E+ • Don Byas Qt. – Sav 621; September In The Rain/Allen Eager Qt.; Vot’s Dot E+ • Vido Musso Big 7 – Sav 622; My Jo-Ann/Charlie Ventura Qt.; Big Deal E+ • Charlie Kennedy 5 – Sav 623; ICGYABL/Dexter Gordon 5; Dexter Rides Again E+ 12” LP’s – Part 1 (ss) = still sealed) 345. Gus Arnheim O. – From Film and Records (1928-29); Take Two TT101 N346. Fred Elizalde O – 1927-29; TOM 30 N• •

347. Goofus Five – 1924-25; Retrieval FJ-118 N348. Coleman Hawkins O. – 1954 (feat. Emmett Berry, Joe Jones, etc.); Jazz Anthology 30 JA5186 (ss)

349. Erskine Hawkins O. – Vol. 1 (1938-40 Bluebirds); RCA(Fr) 730 708 N350. Erskine Hawkins O. – Vol. 2 (1938-40 Bluebirds); RCA(Fr) 741116 N351. Illinois Jacquet & Ben Webster – The Kid and The Brute; Clef MGC-680 N- 1” top seam split (AUTOGRAPHED BY JACQUET) 352. James P. Johnson – Father of the Stride Piano; Columbia CL1780 N353. Isham Jones – Swingin’ Down The Lane (1930-31); Ace of Hearts AH 110 N354. Peck Kelley – Out of Obscurity (w/12 page Booklet); Arcadia 2018 (2 LP’s) N355. Hal Kemp O. – 1927-31; TOM 24 N356. Glenn Miller O. – Complete Original Film Sound Tracks; 20th Fox TCF-100-2 (2 LP’s) N-

357. Jimmy Noone, Jr. w/John RT Davies’ Rhythmic 5&6 – Jimmy Remembers Jimmie; Stomp Off 1121 N-

358. Red Norvo and His All Stars – 1933-38; Epic JEE 22009 (cutout) N359. George Olsen & His Music – 1924-26; Grannyphone 03310 N360. Hot Lips Page – After Hours In Harlem (1940-41); Onyx 207 N361. Pam Pameijer Duet-Trio-Quartet – Jelly Roll Morton-100 Years; Stomp Off 1134 N362. Pam Pameijer Trio (Wally Fawkes & Butch Thompson) – London Blues; Stomp Off 1172 N-

363. Tony Parenti And His New Orleanians – Jazzology J-1 N- ½” top seam split 364. Charlie Parker – First Recordings (1940-45); Onyx 221 N365. Charlie Parker – In Sweden, 1950; Alamac 2431 (ss) 366. Charlie Parker – Bird Is Free; Charlie Parker PLP-401-S (ss) 367. The (Quintet) Hot Club Of France – (1940-43); Capitol T2045 N368. Charlie Rasch – Ragtime Down The Line; Ragtime Society RSR-4 N369. Ralph Sharon Sextet – Kazz Around The World; Rama RLP 1001 N370. Willie The Lion Smith and His Cubs – 1935-37l Gardenia 4004 N371. Willie The Lion Smith – GNP Crescendo GNPS-9011 N372. Willie The Lion Smith – Live At Blues Alley; Chiaroscuro 104 N373. State Street Aces – Pass Out Lightly; Stomp Off 1041 N374. Mark White presents Jazz Club – Dixie-London Style; London LL 1337 N375. Fess Williams Royal Flush O. – Gennett, Okeh & Harmony sides + 2 unissued Victors (1925-27); Fountain FJ-116 N376. Fess Williams – The Complete Victors (1929), Vol. 1; Harlequin 2039 N377. Fess Williams – The Complete Victors (1929-30), Vol. 2; Harlequin 2040 NCompilations 378. New Orleans Jazz – At The Kitty Halls (1960-62)(Punch Miller Band, Kid Thomas Band, Billie & De De Pierce, Kid Sheik, Kid Howard, Jane’s Alley Six, etc.); Arhoolie 1013 N379. Jazz At The Philharmonic – New Volume 5 (Prez, Ventura, Flip, Howard McGhee, Dizzy, etc.); Clef MG-Vol. 5 E+ (AUTOGRAPHED BY ILLINOIS JACQUET) 380. Dixieland Main Stem – New Orleans (feat. Ed Hall, Vic Dickenson, Ruby Braff, Ken Kersey, etc.); Regent 6076 N381. Swing – The Black Tradition (Henderson on Crown, + Stuff Smith, ML Williams, Buster Bailey (Varsity) & Hot Lips Page + Buck Ram (Savoy); Savoy SJL 2246 (2 LP’s) N382. Giants of Traditional Jazz – Bechet, Carey, Wild Bill, Ed Hall, Pollack, Lyttleton, etc.; Savoy SJL 2251 (2 LP’s) N383. Dixieland Bands: Jazz Sounds of the Twenties (from Okeh): ODJB, de Droit, Bayersdorffer, Crescent City Jazzers, Parenti, Half Way House,, Brownlee, NORK; Swaggie 1254 N384. Swing Street – Vol. 1 (Gene Sedric, 3 Peppers, Marsala, Kyle (Variety & Vocalions)); Tax 8026 N385. Great Jazz from 1930 – Rube Bloom, Red Nichols 5 Pennies, Gil Rodin, Casa Loma; TOM 4 N386. College Jazz Bands–Yale Collegians, Fred Gardner, Barbary Coast O. Purple Pirate O.; TOM 11 N-

387. Hot Jazz – 1927-29 (Fenton, Meroff, Belshaw, Weidoeft, Herman Waldman, Harris Bros, Texans, Henry Lange, Hale Byers, etc.); TOM 19 N389. The Soul of Jazz – Bill Harris, Joe Wilder, Pepper Adams, Eddie Costa, etc.

World Wide MGS-20002 N- 2” bottom seam split 390. James P. Johnson – Feelin’ Blue (solos and band sides, 1927-31); Halcyon 107 N391. James P. Johnson – Father of Stride Piano (from piano rolls); Sounds 1204 N392. James P. Johnson – Ain’tcha Got Music (Previously unissued solos & band sides feat.: T. Dorsey, Harry Carney, Hackett, Wild Bill, Brunis, Lips Page, etc.); Pumpkin 117 N393. James P. Johnson – The Original: Original recordings by Moses Asch, Never Previously Released; Folkways FJ 2850 (w/Booklet) N394. James P. Johnson Blue Note Jazzmen + Sidney deParis BN Jazzmen; BN B-6506 (cutout) N-

395. James P. Johnson – New York Jazz; Stinson BLP 21 N396. Katherine Handy Lewis (W.C. Handy’s daughter) acc. James P. Johnson – W. C. Handy Blues; Folkways FJG 3540 w/Booklet N397. Dill Jones – Davenport Blues (The Music of Bix and Others); Chiaroscuro 112 N398. Gene Kardos and His Orch. – 1931-32 Victors; Parklane 100 w/Booklet (2 LP’s) N399. Gene Kardos O. – 1931-33; TOM 21 N400. Tommy Ladnier – with Ollie Powers & Lovie Austin (1923-26); BYG 529072 N401. Donald Lambert – Classics In Stride; Pumpkin 110 N402. Eddie Lang and Lonnie Johnson – solos and duets, 1927-29; Swaggie 1229 N403. Eddie Lang – Guitar Virtuoso (Okeh & Brunswick solos); Yazoo 1059 N404. Yank Lawson – That’s A Plenty (1943-44); Doctor Jazz (dj) 40064 N405. Harlan Leonard and His Rockets – 1940 Bluebirds; RCA LPV-531 N406. Vic Lewis & His American Jazzmen – New York ’38 (feat. Pee Wee, Hackett, Marsala, Zutty Singleton); Esquire 313 N-

408. Jimmie Lunceford O. – Lunceford Special (1933, 1939-40); Columbia CS 9515 N409. Abe Lyman Californians – Vol. 1, 1923-26; Grannyphone 03308 N-

410. Humphrey Lyttelton Band – Tribute To Humph, Vol. 1 (1949-50 Parlophones); Dormouse DM1 N411. Humphrey Lyttelton Band – Tribute To Humph, Vol. 2 (1950-51 Parlophones); Dormouse DM2 N412. Humphrey Lyttelton Band – Tribute To Humph, Vol. 3 (1951 Parlophones); Dormouse DM3 N-

413. Shelly Manne and His Friends – featured with Barney Bigard Trio, Eddie Heywood O, & Trio (all 1944); Doctor Jazz(dj) 38728 N414. Wingy Mannone – Vol. 3 (Vocalions, 1935); Flutegrove 5 N415. Wingy Mannone – Vol. 4 (Vocalions, 1935-36); Little Gem 1073/384 N416. Wingy Mannone – Vol. 5 (Vocalions, 1936); Little Gem 74 N417. Dick McDonough and Carl Kress – Guitar Genius In the 1930’s (includes two 1934 McDonough solos); Jazz Archive 32 N418. Gene Mayl’s Dixieland Rhythm Kings – Dixieland In Hi-Fi; Riverside RLP 12-210 N419. Gene Mayl’s Dixieland Rhy. Kings – At The Hi-Fi Jazz Band Ball; Riverside RLP 12-259 N-

420. Gene Mayl’s Dixieland Rhythm Kings – Jazz In Retrospect; Riverside RLP 12-289 N422. Frank Melrose (1929-30) + Cassino Simpson (1942) – Chicago Piano; Chicago Piano 12-001 N-

Back to 78’s

Darky Stories, Coon Songs, Black Face, Minstrels, & Ragtime 423. Minstrels – Col A480; The Old Log Cabin/Billy Murray; He Goes To Church On Sunday E-

424. Minstrels – The Rambler Minstrel Co./Geo. Alexander; Dearie V+ 425. Rambler Minstrels – Oxford 741; No. 2 E- slight rough start 426. Rambler Minstrels – Oxford 1056; No. 8 E slight rough start 427. Rambler Minstrels – Oxford 1146; No. 10 E slight rough start 428. Negro Shout – Col 1101 (silver & black lbl); Turkey In The Straw E- slight rough start 429. Amos & Andy – Vi(C) 22234; The Dairy/At The Bull-Fight E+ 430. Ralph Bingham – Vi 18231; Mrs. Rastus Johnson At The Wedding (“Darky Story”)/ Goldstein Behind The Bars EE431. Shelton Brooks & Co. – Ok 4428; Darktown Court Room/Miller & Lyles; U Can’t Come In E432. Brown Brothers Saxophone Quintette – Col A1041; Bullfrog and the Coon/American Patrol E

433. Harry C. Browne – Col A2430; Climbing Up The Golden Stairs (“Great Jubilee Song”)/ Johnny Get Your Gun E 434. Harry C. Browne w/Peerless Qt. – Col A2922; Razors In The Air/Hi Jenny Ho Jenny Johnson V+

435. Maurice Burkhart – Col A1106; The Ragtime Violin/Ed Morton; Bill From Louisville E 436. Christy Minstrels No. 3 – Vi 5122; Goodbye New York Town + My Creole Saidee V+ 437. Carroll C. Clark – Col A696; De Little Old Log Cabin In De Lane/Stanley & Harlan; Dixie E

438. Arthur Collins – Vi 4431; The Preacher And The Bear (“Coon Song”) E439. Arthur Collins – United A1059; Railroad Rag/Campbell & Burr; Waiting Down By The Mississippi Shore E 440. Arthur Collins – Standard A1136; The Ragtime Goblin Man/Standard Qt.; Hear The Pickaninny Band EE441. Collins & Harlan – Standard A401; Susan Kiss Me Good And Hard (“Coon Song”)/ Cal Stewart; The Eclipse Of The Sun In Pumpkin Center E442. Collins & Harlan – Col A443; That Welcome On The Mat Ain’t Meant For Me (“Coon Song”)/Harry Tally; Good Bye Sweet Old Manhattan Isle V++ sol 443. Collins & Harlan – Col A1525; Celebrating Day In Tennessee/Ed Morton; He’s A Devil In His Own Home Town V+ 444. Collins & Harlan – Vi 17925; Emancipation Handicap/At The Old Plantation Ball V++ 445. Conway’s Band – Vi 17850; Ragging The Scale/Flirting Whistler E 446. Conway’s Band – Ok 4208; Ragtime In A Toy Shop/Christmas Eve In The Toy Shop E447. Cook & Fleming (“Two Wise Owls”) – Re 8494; Pullman Porters/All At Sea E 448. El Cota (xylo) – United A1149; Red Pepper Rag/Standard O.; The Gaby Glide E 449. Gold Dust Twins (Goldy & Dusty) – Col 820; Susan Jane/Stop That Knocking At The Door E

450. Golden & Hughes – Vi 17612; The Servant Girls (“Darky Specialty”)I’se Gwine Back To Arkansaw (“Darky Specialty”) E+ 451. Golden & Hughes – Col A1193; Jimmy Trigger or the Boy Hero (Vaudeville Sketch)/ Fred Duprez; Desperate Desmond V++ 452. Golden & Hughes – Col A2235; Darky’s Oration On Women/The Hospital Patient E+ 453. ‘Gene Greene – Vi 18266; King Of the Bungaloos/Ruff Johnson’s Harmony Band V+ 454. Handy’s Orch. Of Memphis – Col A2421; Fuzzy Wuzzy Rag/The Shaky Bls V+ 455. Harlan & Collins – D&R 3711; Chanticleer Rag/Cal Stewart; I’m Old But I’m Awfully Tough E

456. Ernest Hare–Al Bernard – Ok 40011; Samuel Johnson/Cindy It Am Wedding Time V++ 457. Haydn Qt. – Vi 1952; Little Alabama Coon EE+

458. Heidelberg Qt. – Vi 17360; Ragtime Regiment Band/Floating Down River On The Alabam’ V+ to E-

459. Honey Gal & Smoke (“Black Face Comedy”) – Spt 9383; Social Functions/Pt. 2 V lite lbl wear

460. Ada Jones – Vi 17205; I’ve Got the Finest Man (“Coon Song”)/Row! Row! Row! E461. Walter C. Kelly – Vi 20136; Virginia Judge: Virginia Court Room Scene, 4/Pt. 2 E+ 462. Walter C. Kelly – Vi 20388; Virginia Judge: Virginia Court Room Scene, 5/Pt. 2 E 463. ‘Lasses and Honey – Bb(buff) 5940; One-Eyed Sam/Taxi Jim E- lite lbl scrs 464. Marconi Bros. (accordions) – Col A3341; Bugle Calls In Ragtime/Imp March E+ 465. Moran & Mack – Col 1652; Two Black Crows In Hades/Pt. 2 E+ 466. Moran & Mack – Col 1929; Esau Buck/Foolishments E+

467. Sam Moore-Horace Davis – Vi 18849; Laughing Rag/Ferera & Franchini; Dream Kiss (w) E+

468. Moore & Freed (banjo & harmonica) – Voc 14865; Dixie Medley/Harmonica Bls E+ 469. Corrine Morgan & Frank Stanley – Sil 1832; Nobody’s Lookin’ But De Owl And De Moon EE+

470. Arthur Moss-Ed Frye – Vi 19081; How High Is Up/Pt. 2 E 471. Moss & Frye – Per 12383; A Couple Of Blackbirds/Pt. 2 E+

472. Will Oakland & Billy Murray – Vi 17819; Ma Pickaninny Rose/Will Oakland; Moonlight In Mayo E

473. Vess Ossman – Standard A227; Motor March/Victor Sorlin; The Rosary E+ 474. Vess Ossman – Col A937; St. Louis Tickle/Prince’s Military Band; Silver Bell E475. Peerless Qt. – Vi 16526; Negro Wedding In Southern Georgia (“Darky Specialty”)/ Byron Harlan; School Days E+ 476. Prince’s Band – Col A1307; Too Much Mustard/On The Mississippi E+ 477. Prince’s O. – Col A2054; A Southern Wedding/Marshall Lufsky; Woodland Echoes E 478. Prince’s Band – Col A2499; Rigoletto Rag/Rag-A-Minor E 479. Arthur Pryor’s Band – Vi 16821; The King Of Rags/Murray-Dudley; Whistling Coon E+ 480. William Reitz (xylo) – Vi 16678; Dill Pickles Rag/Sunbeam Dance E+ sol 481. Bob Roberts – Monarch 4044; Truscalina Brown (“Coon Song”) VV+ 482. Sam ‘N Henry – Vi 20032; Sam ‘Phoning Sweetheart ‘Liza/Sam ‘n’ Henry At Dentist E+ 483. Sam ‘N Henry – Vi 20093; Sam ‘n’ Henry At Fortune Tellers/Sam’s Speech At Colored Lodge EE+

484. Sam ‘N Henry – Vi 20788; The Morning After/Sam’s Big Night EE485. Carl Sandburg – Vi 20135; Negro Spirituals/The Boll Weevil E+ sol 486. Seven Musical Magpies – Vi 19544; Calliope Song/Laughing Song V+ lite lbl wear 487. Victor Staub (piano solo) – Par R3544; Minstrels/Golliwog’s Cake Walk E 488. Three Rascals – Jumbo(E) 1099; Malinda’s Wedding Day/Someone Is Coming To My House V+

489. Two Dark Knights – Ed 52133; Motoring (“A Darkey Sketch”)/In Jail (“A Darkey Sketch”) E+

491. Fred Van Eps – Col A1989; Pearl Of The Harem/The Motor March E 492. Fred Van Eps – Br 2018; Chinese Picnic/Daly’s Reel E 493. Victor Band – Vi 18356; Old Zip Coon/Lady Of The Lake EE494. Victor Minstrels No. 10 – Vi 16149; Bye Bye My Sailor Boy + Good Bye Honey Good Bye/Peerless Qt.; Moonlight on the Lake E+ 495. Victor Minstrels No. 12 – Vi 16415; Dixie And The Girl I Love + H-A-S-H – Dat Am The Word I Love/Minstrels No. 13; My Dream Of The USA + Moonbeams E496. Victor Minstrel Co. – Vi 17293; Mobile Minstrels: Down Where The Band Is Playing + Honey You are My Lady Love/Collins & Harlan; Pickin’ Cotton (“Minstrel Speicalty”) E+ 497. Victor Military Band – Vi 17292; Too Much Mustard/Gertrude Hoffman Glide E 498. Victor Military Band – Vi 17340; Down Home Rag/The Horse Trot V++ 499. Victor O. – Vi 4489; The Minstrel Parade V+ slight rough start 500. Nat M. Wills – Vi 17768; Darky Stories/Too Much Dog E+ 12” 78’s 501. Matinee Minstrel Series – No. 1 – Vi 31488; “Containing dialogue on Poets and the favorite Irish Minstrel ballad “Eileen Alanna”” EE502. Ralph Bingham – Vi 35490; My Possom Hunt (“Darky Story”)/Boys In The Bleachers EE-

503. Columbia Minstrels – Col A5614; I Don’t Care If You Never Come + Push Dem Clouds Away + Goodbye Manhattan Isle/ Golden & Hughes; Clammy Green V+ to E504. Fisk Univ. Jubilee Qt. – Vi 35097; Old Black Joe/Rev. J.A. Myers; When Malindy Sings E+

505. Golden & Hughes – Vi 35280; Unlucky Mose (“Darky Specialty”)/Victor Minstrel Co.; New Orleans Minstrels; At A Georgia Camp Meeting + All I Wants Is My Black Baby Back + On Emancipation Day E506. Golden & Hughes – Vi 35504; Henry Attempts Suicide (“Darky Specialty”)/ The Insect Powder Agent V++ sol 507. Prince’s Band – Col A5702; Ragging The Scale/Kinky V+ 1” lam nap/V++ 508. Prince’s Band – Col A5772; St. Louis Bls/Hesitation Bls E509. Prince’s Band – Col A5851; Pretty Baby/Walkin’ The Dog E+ 510. Victor Minstrel Co. – Vi 35202; Carolina Minstrels No. 20: In The Morning By The Bright Light + Everybody Has A Whistle Like Mine + Melancholy Mose/Golden & Hughes; Whistling Pete-Minstrel Specialty E-/EE511. Victor Minstrels – Vi 35961; Minstrel Show Of 1929/Pt. 2 V++ 512. Bert Williams – Col A5031; All In Down And Out/Billy Golden; Turkey In The Straw V++ Back to 10” 78’s – Jazz, Dance, Blues, etc.

513. Red Allen O. – Voc 2965; Body And Soul/Rosetta E+/E515. Ambassadors – Voc 14956; Sun-Kist Cottage In California/That’s My Girl E 518. Gene Austin – Vi 22299; St. James Infirmary/After You’ve Gone E+ 519. Bailey’s Lucky 7 – Ge 4980; Toot Toot Tootsie (-A)/Stuttering (-A) V+ 520. Mildred Bailey – Bb 6945; Georgia On my Mind/Rockin’ Chair E+ 522. Bar Harbor Soc. O. – Voc 14412; Chicago/Ji-Ji-Boo V+ to E523. Lloyd Barber Green Mill O. – Ge 4851; Wigwam Bls/Tee Pee Bls E 524. Roy Bargy – Vi 18969; Pianoflage/Knice And Knifty E+ 525. Roy Bargy – Vi 19320; Rufenreddy/Sunshine Capers EE-

526. Cappy Barra Harmonica Swing Ensemble – Master 122; Casa Loma Stomp/Solitude E+ 527. Beale Street 5 – Lin 2093; Saint Louis Gal/University 6; Last Night on The Back Porch V++

528. Benson O. – Vi 18874; Blue Eyed Bls/Tee-Pee Bls E+ 529. Bunny Berigan O. – HMV(Aust) EA2298; Livery Stable Bls/High Society E+

530. Al Bernard – Br 2045; Why Don’t You Drive My Blues Away/Ernest Hare; My Little Bimbo V+ 531. Al Bernard – Pathe 032106; Let Me Be The First To Kiss You/Moonlight In Waikiki V+ to E-

532. Barney Bigard O. – Vri 596; Get It Southern Style/If Your Ever In My Arms Again E-/E

535. Boots & His Buddies – Bb 7187; The Raggle-Taggle/Blues Of Avalon V++ lbl tears 536. Fanny Brice – Vi 21211; Mrs. Cohen At The Beach/Pt. 2 E+ 538. Chick Bullock LL – Per 15743; Low Down Upon The Harlem River/Going Going Gone V++

541. California Ramblers – Voc 14384; Hot Lips/Nobody Lied E+ 542. Cab Calloway O. – Per 15791; Dixie Doorway/Wah-Dee-Dah V++ 543. Floyd Campbell Gang Busters – Bb 10852; What U Want Poor Me To Do/Blow Blues Away E

544. Joe Candullo O. – Har 211; She Belongs To Me/Turkish Towel E+/EE+ 545. Eddie Cantor – Col A3754; Sophie/He Loves It E+ 546. Eddie Cantor – Vi 21982; Hello Sunshine Hello/If I Give Up Th Saxophone E+ 547. Hoagy Carmichael O. – Vi(gl) 25371; Barnacle Bill The Sailor/Bessie Couldn’t Help It E+

548. Hoagy Carmichael O. – Vi(sc) 25494; Rockin’ Chair/Georgia On My Mind E+ 549. Hoagy Carmichael O. – Vi(sc) 24182; Thanksgiving/Sing It Way Down Low E-/EE550. Hoagy Carmichael O. – Vi(sc) 24505; One Morning In May/D. Bestor O.; Armful V+ to E552. Checker Box Boys – Bwy 1251; Cradle Of Love/Weary River V++ 553. Herman Chittison – Bb 11333; Flamingo/The Man I Love E+ 554. Buddy Clark – Ok 6170; G’Bye Now/Lamplight E+ lite lams nap 555. Buck Clayton Big 4 – HRS 1024; Dawn Dance/It’s Dizzy E 556. Buck Clayton Big 4 – HRS 1025; Basie’s Morning Bluesicale/Wells-A-Poppin’ E 557. Jack & Loretta Clemens – Vi 25574; The Lady Is A Tramp/Way Out West E 558. Clicquot Club Eskimos – Col 1936; Marianne/There Must Be…(w) V+ 566. Cotton Pickers – Br 2461; Duck’s Quack/My Sweetie Went Away V+ to E570. Clay Custer – Ok 4809; The Rocks/Henry Lange; Chopiano EE575. Duke Ellington O. – Br 8204; Lambeth Walk/Prelude To A Kiss E-/E+ 576. Leonard Feather All Stars – Com 547; Esquire Bounce/Esquire Bls EE+ 577. Leonard Feather All Stars – Com 548; Mop Mop/My Ideal E 579. Four Squires – Voc 5389; BWYPCH/Old Black Joe E580. Carl Freed Harmonica Band – De(sb) 748; Ridin’ The Reeds/Spring Tonic E 581. Jan Garber O. – Col 1334; Back In Your Own Back Yard/Cass Hagan O.; Golden Gate EE-

582. Jan Garber O. – Col 1452; Washington And Lee Swing/VMI Spirit E+ 583. Al Goering O. – Ban 7001; Once Over Lightly/Sam Lanin O.; My Ohio Home E 584. Lou Gold O. – Har 770; You’re The Cream In My Coffee/Ed Blossom O.; Jane EE+ 585. Jean Goldkette O. – Vi 21150; Just A Little Kiss…/So Tired E 587. Slim Green – De(sb) 7104; With Every Breath I Take/Cocktails For Two E 588. Slim Green – De(sb) 7120; What’s The Reason/Shine EE589. W.C. Handy O. – Davis 22; St. Louis Bls/Loveless Love E+ 590. Bob Haring O. – Cam 643; Prince Of Wails/Laff It Off EE-

591. Bob Haring O. – Cam 740; Steppin’ In Society/Broadway Broadcasters; Flag That Train E

596. Fletcher Henderson (as Connie’s Inn O.) – Var 8042; 12th St. Rag/Milneberg Joys E+ 597. Tal Henry O. – Vi 40133; I Know Why I Think Of You/Shame On You V++/V+ slightly grainy

598. Joe Herbert – Diva 2833; That’s The Good Old Sunny South/That’s Her Now E 601. Hudson-DeLange O. – Br 7715; Mr. Ghost Goes To Town/Mint Julip E+ 602. Hylton Sisters – Var 8071; Tin Roof Bls/Three Little Maids V+/V++ 605. Nat Jaffe – Sig 28111; Black And Blue/Zonky E606. George Jessel – De(sb) Hello Momma/Pt. 2 E+ 607. Johnny Johnson O. – Vi 21058; We/Waring’s Pa.; Way Back When E+ 608. Jimmie Joy O. – Ok 40484; Spring Time Is Love Time/Mighty Blue V610. Henry Lange – Br 2344; Rufenreddy/Pianoflage E 611. Henry Lange – Actuelle 020671; Kitten On The Keys/Cho-Piano E+ 612. Lange Trio – Actuelle 020722; Lonesome Hours/Symphonola V+ 613. Henry Lange – Ed 50959; Who/Ernest Stevens; Swaying (w) E+ 614. Henry Lange O. – Ed 51270; Regret/Nathan Glantz O.; Every Night E+ 615. Henry Lange O. – Br 4161; I Want You More/On Th Road To Samarkand V++ sol 616. Lanin’s Arcadians – Per 14192; Lovey Come Back/Roamin’ To Wyomin’ E+ 617. Ted Lewis Band – Col A3879; Wet Yo’ Thumb/Aunt Hagar’s Bls E 618. Ted Lewis Band – De(sb) 240; Sweetie Pie/I’ll Close My eyes To Everyone Else E+ 619. Little Ramblers – Bb(buff) 6045; Cotton/Truckin’ E rim flk nap 620. Vincent Lopez O. – Ok 4706; Toot Toot Tootsie/Homesick EE624. Jimmy McHugh’s Bostonians – Diva 2795; Baby/Jerry Mason O.; Don’t Hold Everything EE-

625. Marion McKay O. – Ge 3045; Doo Wacka Doo/Honest And Truly E+ 626. Marion McKay O. (as Harold Ross) – Ch 15385; My Blue Heaven/The Beggar V

628. Whitey McPherson w/Rhythm Wreckers – Voc 03937; Old Fashioned Love/Brakeman Bls V+

629. Borrah Minevitch Harmonica Rascals – Br 6507; Ghost Walk/Rhapsody In Blue E630. Borrah Minevitch Harmonica Rascals – De(sb) 174; Daybreak Express/Moonglow E631. Borrah Minevitch Harmonica Rascals – De 301; Chinatown My Chinatown/Bugle Call Rag E- sol

633. Monkey Joe – Voc 04618; Just Out The Big House/New York Central V++ lbl tear 634. Moran & Feldkamp (piano duet) – Col 434; Nola/Classicana E 635. Jelly Roll Morton – Ge 5218; Kansas City Stomps/Grandpa’s Spells V+ hr crk to lbl + 1” hr crk

636. Bennie Moten O. – Vi(gl) 24893; She’s No Trouble/South E+ 637. Bennie Moten O. – Bb 5585; Milneberg Joys/Blue Room E+ sol 638. Gus Mulcay – Har 408; Farewell Bls/St. Louis Bls EE+ 639. Mustang Band So. Methodist Univ. – De(sb) 705; Peruna/College Medley E 640. Phil Napoleon O. – Vi 20647; Clarinet Marmalade/Chas. Dornberger O.; Tiger Rag V++ 641. Willie Red Newman – Bb(buff) 6625; St., Louis Bls/Shine On Harvest Moon E- sol

642. Ruby Newman O. – Vi 22931; Can’t We Talk It Over/Because I Worship You E sol 643. Ray Noble O. – Vi(gl) 25223; Dinah/Bugle Call Rag E+ 644. King Oliver O. – Bb 7705; Call Of The Freaks/Trumpet’s Prayer E+ 645. OM5 – Pathe 020842; Ji-Ji-Bo/You Can Have Him….V+ 646. Hot Lips Page O. – Har 1069; St. James Infirmary/Take Your Shoes Off Baby E 648. Jack Penewell (“Twin-Six Guitar”) – Bwy 8018; Hello Aloha/Last Night I Was Dreaming V+

649. Bob Pope O. – Bb(buff) 6471; Let’s Get Hot And Truck/Swamp Fire V+ sol 650. Sam Price Bluesicians – De 7732; Cow Cow Bls/Swing Out In The Groove E-/E

651. Louis Prima N.O. Band – Voc 3388; Mr. Ghost Goes To Town/Goose Hangs High V++ sm lbl tear

652. Louis Prima N.O. Band – Br 7657; Darktown Strutter’s Ball/Alice Blue Gown E+ lbl tears

653. Mae Questel (Betty Boop) – De(sb) 1544; In Our Little Wooden Shoes/ Want You For Christmas V+ wol 654. Ramona & Roy Bargy – Vi 24260; My Cousin In Milwaukee/A Penny For Your Thoughts E 655. Ramona & Roy Bargy – Vi 24268; What Have We Got To Lose/Ramona; Tony’s Wife EE656. Razaf (The Melody Man) – Ge 3102; I’m Gonna Charleston Back To Charleston/Cecelia VV+

657. Croonin’ Andy (Razaf) – Har 76; Give Me Just A Little Bit/Falling For You E+ 660. Doris Rhodes w/Joe Sullivan O. – Col 35449; Let There Be Love/Serra Sue E+ 661. Fred Rich O. – Col 1751; I’ll Tell The World/Ben Selvin O.; He She And Me E662. Fred Rich O. – Col 1878; Why Can’t You/Used To You E sm rim flk nap 666. Mabel Robinson w/4 Blackamoors – De 8568; Don’t Give Up The Old Love/Search Your Heart And See E sol 667. Harry Roy Band – Par F2387; Original Dixieland One Step/Leicester Square Rag E+ 668. Lillian Russell (“Privately Recorded March 12, 1912”) – Collector’s Record Shop 8; Come Down Ma Evenin’ Star E 672. Simmons’ University Cowboy Band – Vi 40168; Simmons University Medley/ The Whistling Farmer Boy E store sol, lbl fades 673. Singing Strings – MacGregor 1226; Mr. Ghost Goes To Town/Two Guitars E675. Roy Smeck – Re 8547; Laughing Rag/Ramona E- rim flk nap 676. Roy Smeck – De(sb) 1089; Slippery Fingers/Guitarese E- sol 678. Willie Smith Quintet – Key 620; Willie Weep For Me/September In The Rain E679. Joe Sullivan – Par R1686; Gin Mill Bls/Honeysuckle Rose E+ 680. Joe Sullivan – Par R2006; Onyx Bringdown/Little Rock Getaway E+ 681. John Sylvester O. – Per 14335; I Wanna Jazz Some More/Temperamental Papa V++ 682. Art Tatum – Private acetate (live performance); Dark Eyes/St. Louis Bls V+ 688. Frankie Trumbauer O. – Par R2644; High Up On A Hill Top/Raisin’ The Roof E+ 689. Frankie Trumbauer O. – Br 6146; In Merry Month of Maybe/Crazy Quilt V+ lbl scr 692. Varsity 8 – Cam 444; Take Oh Take Those Lips Away/Jos. Franklin O.; Somebody Else E

694. Virginians – Vi 18881; My Honey’s Lovin’ Arms/Cuddle Up Bls V+ to E697. Virginians – Vi 18965; Sister Kate/Gee But I Hate To Go Home Alone EE698. Virginians – Vi 18978; Kiss Mama Kiss Papa/Choo-Choo Bls E

699. Virginians – Vi 19018; Da-Da Strain + I’ve Got To Cool My Doggies/He May Be Your Man E

706. Waring’s Pa. – Vi 21508; Farewell Bls/Stack O’ Lee Bls E 709. Washboard Sam – Bb 34-0705; Good Old Cabbage Greens/Stop And Fix It E 710. Ted Weems O. – Vi 22137; Miss Wonderful/no int. E 713. Frank Westphal O. – Col 22; Oh Sister Ain’t That Hot/Art Kahn O.; Foolish Child E714. Josh White – Br(E) 03749; House of The Rising Sun/Strange Fruit E+ 715. Josh White – Asch 358; St. James Infirmary/No. 12 Train V+ 720. Paul Whiteman O. – Col 1974; Waiting At The End Of The Road/Love Me (w) V+ 721. Paul Whiteman O. – Vi 24322; The Gold Digger’s Song/Pettin’ In The Park E722. Whoopee Makers – Per 15126; St. Louis Bls/Bugle Call Rag V+ 723. George Williams & Bessie Brown – Col 14033; If You Hit My Dog…/No Second Handed Lovin’ For Mine E-/lite scrs E724. Sandy Williams Big 8 – HRS 1022; Tea For Me/Sandy’s Bls E 725. Teddy Wilson – Br 7543; Every Now And Then/It Never Dawned On Me EE+ 726. Julie Wintz O. – Diva 2438; Magnolia/Astorites; One O’ Clock Baby V++ 734. Bob Zurke O. – Vi 26420; Fit To Be Tied/Peach Tree Street E- sol

Special 735. Hank Williams – MGM 10696; Why Don’t You Love Me/A House Without Love EE+ 736. Hank Williams – MGM 11202; Let’s Turn Back The Years/Half As Much E 737. Hank Williams – MGM 11479; Ramblin’ Man/Take These Chains From My Heart E 738. Hank Williams – MGM 11533; I Won’t Be Home No More/My Love For You V++ 739. Elvis Presley – RCA 20-6383; Baby Let’s Play House/I’m Left, You’re Right E sol 740. Elvis Presley – RCA 20-6420; Heartbreak Hotel/I Was The One EE- sol 741. Elvis Presley – RCA 20-6604; Hound Dog/Don’t Be Cruel EE-/E742. Elvis Presley – RCA 20-6637; I’ve Got A Woman/I’m Counting On You E 743. Elvis Presley – RCA 20-6870; All Shook Up/That’s When UR Heartaches Begin EE-/E Modern Jazz 744. unknown (sounds like Nat King Cole Trio wanna-be) – red lbl shellac test; Groovy/Drifting V+

745. Jazz At The Philharmonic – Arco 1218; Crazy Rhythm/Pt. 2 (Prez, Bird, Dizzy, etc.)

E+ 746. Wilbert Baranco Rhythm Bombardiers – B&W 41; Night And Day/Weeping Willie E 747. Miles Davis All Stars – Savoy 977; Little Willie Leaps/Charlie Parker All Stars; Chasing Bird E-

748. Gaucho O. – Savoy 783; Jungle Mambo/Tequilla E

749. Clyde Hart All Stars (feat. Diz & Bird) – Cont 6013; That’s The Bls/What’s The Matter Now E

750. Screamin’ Jay Hawkins – Ok 7072; I Put A Spell On You/Little Demon E-/E 751. Jon Hendricks with Dave Lambert Singers – De 29572; Cloudburst/Four Brothers E 752. Illinois Jacquet All stars – Apollo 756; Bottoms Up/Ghost Of A Chance E 753. Howard McGee Afro Cuboppers – Roost 502; Cubop City/Pt. 2 E+ 754. Don Senay w/Charles Mingus O. – Debut 112; Edge Of Love/Fanny E+ 755. Thelonious Monk Quintet – BN 1589; Four In One/Straight No Chaser V++ 756. Thelonious Monk Trio – Prestige(dj) 838; Trinkle Tinkle/These Foolish Things E wol 757. Bob Mosely All Stars – Bel-Tone 751; Baggin’ The Boogie/Voot Rhythm V++/E758. Charlie Parker O. – Merc 11058; Bloomdido/Melancholy Baby E 759. Charlie Parker Septet – Dial 1002; Ornithology/A Night In Tunisia E 760. Charlie Parker Qt. – Dial 1019; This Is Always/Charlie Parker Quintet; Dewey Square V+

761. Charlie Parker Qt. – Clef 89129; Cosmic Rays/Kim E+ ½” hr crk nap 762. Sarah Vaughn w/Dizzy Gillespie O. (feat. Bird) – Cont 6024; Mean To Me/ Signing Off E- some lbl wear 763. Rubberlegs Williams w/Clyde Hart O. (feat Diz & Bird) – Cont 6020; 4-F Blues/ I Want Every Bit Of it V+ Some Country and Western Swing 766. Al Dexter – Voc 03636; Broken Hearted Bls/Car Hoppin’ Mama V++ 769. Light Crust Doughboys – Voc 05201; Oh Baby Bls/Beer Drinkin’ Mama V+ 771. Modern Mountaineers – Bb(buff) 6911; Who’s Cryin’ Sweet Papa Now/ Everybody’s Truckin’ V+ to E- sol 773. Roy Newman Boys – Voc 03999; Tamiami Trail/Everywhere You Go E774. Riley Puckett – Col 15250; All Bound ‘Round The Mason Dixon Line/MOTHER E+ 775. Sons Of The Pioneers – De 5222; A Melody From The Sky/Hills Of Old Wyomin’ E777. Bob Will Playboys – Voc 04275; Gambling Polka Dot Bls/Alexander’s Ragtime Band V+ to 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

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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.

STORYVILLE mag n° 68 – 69. Babs Gonzales Ok 7079 – Ap 469 – Crazy 1002 & 1003 – London 575 & 578 – End 1008 – Prest 45-204 – AJ 906 – Tina 004 – Exp 001 – 004 - 010 LEON TERJANIAN 14, rue de l’Elmerforst 67200 Strasbourg, FRANCE – email: leon.terjanian@sfr.fr

EMILIO CACERES: Tus Ojos Lindos / Adios, Mi Chaparrita on Victor 32245 or Bluebird B-2505; Amor y Misterio / The Last Round Up on Victor 32206 or Bluebird B-2230. These issues only. Decent condition. ANTHONY BARNETT, 14 Mount Street, Lewes, East Sussex BN7 1HL ENGLAND. email: ab@abar.net WANTED: ORIGINAL MEMPHIS FIVE EMERSON 10741 31st Street Blues. Your price, or really excellent trades offered. RALPH WONDRASCHEK, Kaiserstr. 54, 69115 Heidelberg, GERMANY. Email: rwondraschek@yahoo.de

FRED ELIZALDE - Wanted on Neovox cassettes 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

WANTED: Pre-war Cajun records, especially Blind Uncle Gaspard and Amédé (sometimes spelled Amadé, Amédée or Amadie) Ardoin. Please state condition and price. Or, I have many jazz records to trade for Cajun. PHILIP FUKUDA, P.O. Box 190071, San Francisco, CA 94119-0071, U.S.A. Email: 78rpm@sbcglobal.net.

TOP PRICES PAID for Flexo Records (colored flexible plastic 78's and 33's manufactured by the Pacific Coast Record Corporation in San Francisco, 1930-1933) and MacGregor and Sollie / MacGregor and Ingram 78's and radio transcriptions with dance band content, particularly those featuring the orchestras of Anson Weeks and Tom Coakley. Also wanted: photographs, ephemera, and 78rpm records related to San Francisco Bay Area dance bands, 1920's-1930's, and ANY Victor 78's featuring Cole McElroy's Spanish Ballroom Orchestra. HENRY PARSONS, (510) 388-1282, Email: ambassadonian@gmail.com.

WANTED FOR IRVING PESKIN PROJECT: Carl Fenton's New Yorkers on Gennett, George Hall and Klein’s Serenading 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 unplayable. LARS WALTER, Halsingegatan 31, 113 31 Stockholm, SWEDEN. Email: lars.h.walter@gmail.com

JAZZ/BLUES MAGAZINES: Many thanks to those people who have already helped me out. I’m endeavouring to find the following:- Dobell’s News (any copies), Jefferson blues mag 1-5, 10 & 41 (Sweden), Little Sandy Review (any copies), Record Changer (1942, 5 issues). LES ONG, 13 Kent Drive, Teddington, TW11 0PD, ENGLAND. Email: lesong@blueyonder.co.uk

55

WANTED: PRICILLA STEWART, Paramount 12224. E or better! Hank Williams, MGM 12077, E+. Cash or trade? PHIL HAWKINS, 55 Guadlajara Drive, Sonoma, Ca 95476-7341.

Tel: 707 509 9621. Email: philhawkins@earthlink.net

WANTED: HOTCHKISS SCHOOL JAZZ BAND, Dance Band, Choir, or any musical group with "Hotchkiss" on 78rpm personal labels. Need for School project. Any information on them would also be appreciated, but would like to buy the records. Also, would like to buy copy of Jimmy Dorsey's 7 minute "Bugle Call Rag" Reader's Digest CD 056C. FRED OLLISON, P.O. Box 36384, Grosse Pointe Farms, MI 46236, USA. Email: fothree@aol.com.

WANTED: YOUR BROKEN 78s! If you have any really rare jazz, blues or country 78's that are broken in 2, 3 or even 4 pieces, but don't know what to do with them (and have not touched 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 what you have, and I will make you an offer. WILLIAM DESJARDINS, 807 Meech Lake Rd, Chelsea, Quebec, J9B 1H9, CANADA. Email: willdesjardins@gmail.com

HELP! CANTRELL & WILLIAMS G&Ts, Zonophones, Nicoles (latter as Ed. Cantrell) or cylinders - Has ANYBODY got them? Ask your non-jazz collecting friends as well! Also 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, Vess Ossman - many, esp. pre-1902 on Berliner/Zon-OPhone/G&T/cylinder, Frisco J.B. Ed 50440, 50950, 51081, Sophie Tucker on cylinder (a few), Aeolians (any in E- or better), Sophie Tucker Record 1000. 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). £100 PAID FOR A VIDEO OR DVD of “Stan Kenton on Parade” (a Canadian TV Show). Other Stan Kenton TV and Radio shows required, especially Kenton on the 1957 Nat King Cole TV Show. ROY HOLMES, 18 Rutland Drive, Morden, Surrey, SM4 5QH, ENGLAND. Tel. (0208) 648 8858. Email: 450RCD@gmail.com

PROGRAMMES, FLYERS etc., for Africa Freedom Day concerts in London, or other events featuring Nigerian bands such as Ambrose Campbell, Brewster Hughes, West African Rhythm Brothers etc. Also photographs of these musicians.

Trumpet Young on Viennola. VAL WILMER, 10 Sydner Road, London, N16 7UG, ENGLAND 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, ENGLAND WILLIE LEWIS ‘AVALON’ Elite Special, Zurich 1941. Good price paid for E- or better copy, or a trade from my Jazz/Swing/Dance 78 collection. Please state your wants.

JOHN HALLBERG PRISING, Loftv. 17, 142 35 Skogas, SWEDEN. FATS WALLER ORGAN RECORDS Vic 20492, 20655, 20890. E or better condition please. PHIL TAYLOR, 3 Silver Lane, Billingshurst, W.Sussex, RH14 9RP, ENGLAND

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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

MBRR Advert_Layout 1 08/01/2012 14:40 Page 1

BUYING OR SELLING RARE JAZZ AND BLUES 78s?

I have 20000 Rare 78s plus Cylinders, Gramophones and associated Ephemera in a constantly changing stock - Jazz - Blues - British, European and American Dance Bands - Personality - Music Hall - Ethnic - Opera - Historic Recording - Spoken Word Rare and Unusual Labels... .... and I’m always looking for more!

If you have quality 78s to sell call me first - cash waiting for ‘The Right Stuff!’

Distance no object.

As well as our regular auctions in VJM, I run listings of a wide range of musical genres every 2 or 3 weeks on eBay - check out my lists under Seller ID ‘mr.jelly’

Mark Berresford Rare Records The Chequers, Chequer Lane Shottle, Derbyshire DE56 2DR

Tel: 01773 550275 Mobile: 07811 358711 Email: mark@jazzhound.net www.jazzhound.net

A high quality audio appreciation of Bobbie Leecan’s recorded work has long been overdue and as usual, we, at Frog Records, are most proud of the sonic results achieved.

This guitar maestro can be heard with his own Need More Band and South Street Trio as well as his only solo coupling recorded as Blind Bobby Baker for Pathe/Perfect in 1927 plus a supporting role with Eddie Edinborough, Fats Waller, Alberta Hunter, Margaret Johnson and others. Already a best seller! New detail on Leecan and full notes from Guido van Rijn.

‘Do That Thing’ is the first of two proposed Frog volumes of recordings made by ‘Fletcher Henderson & His Orchestra’ for the Vocalion and Pathé labels, presented in sublime sound quality. The recordings in this volume were made between March 1924 and April 1925, and feature a nucleus of solid musicians from the early jazz age, including rising stars like Coleman Hawkins and Louis Armstrong alongside other players who would later slip into obscurity.

Sound restoration by Nick Dellow, extensive notes by Brian Goggin.

Red Hot Jazz Rarities, Alternate Takes, Sleepers and Unissued Masters The latest in our popular series of red hot jazz rarities, alternate takes, sleepers and unissued masters. Featuring the talents of Eddie Deas & His Boston Brownies, Bennie Moten, Ellington and Handy’s Orchestras, Tiny Parham and Jimmy O’Bryant among many others. Sound restoration by Nick Dellow, Re pitching by Frank Nus, Notes by Brian Goggin, Compiled and produced by Paul Swinton.

Contained in this latest issue are 25 of the finest examples of Jazz, Hot dance & Blues vocals performed by residents and visitors to 1920s New Orleans. (This is the long awaited companion volume to Frog CD DGF 5 ‘Sizzling The Blues’) All to be heard in glorious sound and all originally recorded in the City that was the cradle of Jazz.

From Bayersdorffer, Papalia and the Scranton Sirens to the classic blues vocals of Lillian Glinn and Alberta Brown.

Volumes 1 ,2, 3, and 5 of The Frog Blues and Jazz Annual can still be purchased, but they won’t be around for long - get your copies now to avoid future disappointment.

The Frog Blues and Jazz Annual Volume 4 is currently out of print.

We accept PayPal, all major credit cards (except Amex), cash, or trades for Sam Morgan & Robert Johnson test pressings and photographs! contact: FROG RECORDS LTD, The Paddock, Waverley Avenue, Fleet, Hants, GU51 4NW UK Telephone: 01252 620814 e-mail: paul@frog-records.co.uk web: www.frog-records.co.uk

VJM may 2018.indd 1

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