Vintage Jazz Mart Issue 182 Autumn 2018 by Vintage Jazz Mart

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

No: 182

AUTUMN 2018

In This Issue... Benton Overstreet - Musical Nomad... Victor in Oakland 1924 - 1928... Reviews, Ramblings, and a Stupendous Selection of Jazz & Blues 78s!

VINTAGE JAZZ MART ISSUE No. 182 AUTUMN 2018

We are living in interesting times, to quote the Chinese curse, Trump and Brexit aside, not least the seismic shift in how information is disseminated. One would have to have been living under a stone, or in an anchorite’s cave to not notice that the settled world of publishing and news broadcasting has changed forever - familiar local newspapers, some more that two hundred years old, have quietly slipped into history, taking with them an important voice for and scrutiny of local democratic accountability. Closer to our hobby, many familiar magazines such as the IAJRC Journal have ceased publication - in fact in the UK of the dozens of small and not-so-small publications that catered to fans of vintage jazz and dance music on 78, only VJM and Memory Lane remain, the latter recently celebrating its 50th Anniversary and VJM about to enter its 66th year of publication! Where does the future lie for such specialist publications as VJM? The obvious answer is online, with a digital edition priced at the same rate irrespective of whether the reader lives in Reading, PA or Reading, Berkshire. However ‘obvious’ doesn’t always equate with ‘popular’. Amazingly, a small but significant number of VJM readers have yet to embrace the world of computers and emails, and when I have mooted the subject of ‘going digital’ in the recent past I have been met with a barrage of letters (remember those?) making very plain the writers’ strong objection to such a move. There are also web-savvy readers who remind me on a regular basis that nothing beats the tactile experience of a physical magazine or book, and I confess I fall into that category - much to the annoyance of my wife when reading at bedtime with the light on while she peers at her Kindle. The answer to the question posed above is that - for the time being - VJM will continue to be published as a printed magazine. From 2019 this will be augmented by a digital edition available at a fixed per-issue price on a single or three-issue subscription basis. The ultimate form of the

digital edition has not yet been decided on - it may be a downloadable pdf, or it may be a third-party hosted ‘page turner’ format which, while visually more attractive, will be more expensive, given the additional work and costs involved. Your input on this question is appreciated. The decline in sales of CDs is a constant worry to many of the advertisers in these pages, especially now that iTunes and Spotify will no longer allow companies to upload their reissues of Public Domain recordings - which to you and me means the majority of music that VJM readers enjoy. This means that the only viable options for these companies to stay in business is to continue to produce CDs in the face of ever-declining sales, or to host their own streaming website. The vast majority of vintage recordings on YouTube are of appalling quality and cannot be in any way regarded as a suitable means of preservation of historically important recordings, so it’s up to you, dear readers, to support the companies continuing to provide high quality reissues, more often than not for minimal financial gain, because the alternatives do not bear thinking about. This issue sees two very fine, well-researched articles, and we have more in the pipeline, not least the concluding part of Ralph Wondraschek’s remarkable story of the Original Memphis Five, but we’re always keen on keeping a store of quality articles for future issues. If you’d like to contribute drop us an email outlining the details of your research we’d love to hear from you! Finally, Russ Shor has informed me that his bank will no longer accept checks made out to VJM, so could US and Canadian subscribers paying by check note that they must be made payable to VINTAGE JAZZ MART - nothing else, not even VJM - or it will be returned. Better still, why not subscribe online using Paypal via www.vjm.biz - it takes less than 30 seconds!

Cover: Sheet Music for W. Benton Overstreet’s The “Jazz” Dance, 1917. Courtesy John Wilby and Brenda Miller.

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COPY/ADVERT DEADLINE FOR THE NEXT ISSUE WILL POSITIVELY BE: 27th JANUARY 2019 WE CANNOT GUARANTEE PUBLICATION OF ANY ADVERTS RECEIVED AFTER THIS DATE! IN THIS ISSUE: Benton Overstreet, 3; Victor in Oakland, 12; Ate’s Discographical Ramblings, 18; Reviews, 19. Auctions begin page 27, Wants Section page 46.

INDEX OF ADVERTISERS Beasley Books 23 M. Berresford 28, 46 Birmingham Record Fair 48 W. Bor 33 J.M. Castro 27

CLPGS 48 Dr. Jazz Magazine 44 Frog Records Inside Back Cover Chris Hillman Books 23 H. van der Laan 34

Memory Lane Magazine 48 J. Prohaska 38 D. Reiss 47 Rivermont Records Back Cover J. Tefteller Inside Front Cover

VINTAGE JAZZ MART

The World’s Oldest Jazz and Blues Magazine - Founded in 1953 by Trevor Benwell

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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

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Online Subscriptions By Paypal are preferred via the VJM website www.vjm.biz/Subscribe.html UK, Europe and Australasian subscribers may remit in £ Sterling cheques payable to VJM or £ Sterling or Euros cash. European readers may also pay via Electronic Bank Transfer in £ Sterling funds only. Readers paying by Bank Electronic Transfer MUST ensure that commission fees are paid by the sender or payment may be returned at sender’s expense! USA, Canada and rest of world may remit in US$ to R. Shor, cheques payable to Vintage Jazz Mart, thank you. ADVERTISING RATES: £50 or US $85 per A4 size page (297 x 210mm) for NEATLY TYPEWRITTEN LISTS which can be used 'as is'. Ads of less than one page are charged pro-rata. Please note we no longer offer a retyping service. Non-subscriber rates are double above. WEBSITE RATES are 50% of the above, providing the same ad appears in the magazine. Website only ads are charged at full magazine rate. IMPORTANT! We reserve the right to decline website advertisements that cannot be easily converted to HTML for uploading onto the website. Preferred choice is Microsoft Word as a basic document, with auto formatting/numbering etc. turned OFF (This is most Important!). TRADE ADVERTISING RATES: £100/$170 per A4 page for artwork supplied ads, pro rata for less than one page. PDF or Word document files preferred. Artwork can be produced from your rough copy at a 100% surcharge. TYPES OF ADVERTS: 'Offers Invited' - wherein the lots are for disposal to the highest bidder at closing date. 'Set Price' - wherein the lots are sold at the prices indicated on a 'first come first served' basis. This is an excellent and highly effective way of disposing of lower value or lesser condition items. ADVERTISERS PLEASE NOTE: state in your preamble such extras as postage, packing and other terms. Closing dates for auctions are set by the editor, usually 6 weeks from publication date.

VJM CONDITION CODES: 78 descriptions in plain type, LP's in bold italic. N (78) M (LP). As new and unplayed (there are virtually no 78's that can categorically be claimed to be unplayed). N-/M- (LP) Nearly same as N/M but played a few times. E+/VG+ (LP) plays like new with very, very few signs of handling, such as tiny scuffs from being slipped in and out of jackets, etc. E/VG (LP) Still very shiny, near new looking with no visible signs of wear but with a few inaudible scuffs and scratches. E-/VG- Still shiny but without the lustre of a new record (78). Very little wear, plays distortion-free. LP: Some wear, scratches and scuffs, but no skips or repeats. V+/G+ (LP) An 'average' looking 78 in which scuffs and general use has dulled finish somewhat. Wear is moderate but PLAYING IS GENERALLY FREE OF DISTORTION. Surface noise still not pronounced. LP: Below average with scuffs and scratches on fewer than half the tracks. No skips or repeat grooves. V/G (LP) Moderate, even wear throughout but STILL VERY PLAYABLE. Surface noise and scratches audible but not intrusive. V- Quite playable (78). Some distortion in louder passages but music remains loud in most places. Surface noise from wear and scratches well below music level. LP: Lowest grade. Audible scratches, etc. on more than half the tracks. Listening begins to get uncomfortable. G+ (78 only) Grey throughout but still serviceable. Music begins to sound muffled. G Quite worn/damaged, but surface noise still below music level. Listenable. G- Music muffled from wear but still exceeds surface noise. F+ Most of record remains audible over surface noise but listening uncomfortable. F Further deterioration but still generally audible. P Unplayable. Note: damage to labels and LP jackets should be noted as well. STANDARD ABBREVIATIONS: sfc = surface; lbl = label; nap = not affecting play; scr = scratch; lc = lamination crack; cr = crack; hc/hlc = hairline crack; wol = writing on label; sol = sticker on label; fade = faded label; g r= groove; eb = edge bite; ec = edge chip; ef = edge flake; dig=needle dig in surface followed by the number of grooves affected, e.g. dig 5gvs nap, cvr = cover; s = Stereo; rf = rough; aud/inaud = aubible/inaudible. IMPORTANT: PLEASE KEEP TO THE GRADING CODE. The collector who consistently overgrades his records get progressively worse results and increasingly frequent disputes and complaints which undermines the trust between us all. THE PUBLISHERS OF VJM'S JAZZ AND BLUES MART accept no responsibility for the veracity of advertisers and are not prepared to intercede in disputes. UNSUITABLE ADVERT MATERIAL: The Editor reserves the right to reject unsuitable material including classical music, rock, post-war pop, etc. VINTAGE JAZZ MART - Founded in 1953 by Trevor Benwell, and published by Mark Berresford on the basis of friendship and camaraderie and the love of music which knows no international boundaries.

Benton Overstreet - Musical Nomad By John Wilby of Bizness, which was registered on December 26, 1914. He joined comedian Billy King’s Stock Company in January 1914,[5], and probably travelled with King’s company until early 1915.[6] He was music director for a show appearing at the Lyric Theater in Kansas City from May until at least July 1915. The orchestra was comprised of Overstreet (piano and leader), Joe Sudler (cornet), Chas. Washington (trombone), Geo. Wilks [Wilkson] (clarinet), Hamp Harper (violin) and Curtis Mosby (drums).[7] A report in the Indianapolis Freeman noted that, in addition to “his new composition, ‘My Place of Bizness,’” Overstreet “has others too numerous to mention, which he intends to put on the market soon.”[8] The Freeman subsequently reported that the team of Mills & Frisbee was singing his I Am Going Home at the Crown Garden Theater in Indianapolis in September 1915 and characterized the song as “one of Benton Overstreet’s late successes,”[9] an indication of his growing reputation as a composer. By October 1915 he had renewed his association with Billy King, appearing as part of King’s Stock Company in the show “Hearts of Men” at Chicago’s Grand Theater.[10] In March 1916, King’s company appeared at the Howard Theater in Washington, presenting the show “Neighbors” which featured Overstreet and King as two bickering neighbors. The Freeman reported that “King and Overstreet are natural comedians and kept the house in a roar from start to finish,”[11] confirming that Overstreet’s talents as a performer went well beyond his musical and compositional contributions. By late April, King’s Company had returned to Chicago to present “The Last Rehearsal” at the Grand Theater, this one featuring three songs by Overstreet, New Dance (later renamed The Jazz Dance), Alabama Todelo (sic) and Hello Everybody.[12] Later in 1916 he served as music director for two shows presented by King at Chicago’s Grand Theater, “A Mother-in-Law’s Disposition” and “Now I Am a Mason,” both featuring some Overstreet-King songs.[13] Another of King’s performers was the singer Estelle (or Estella or Stella) Harris, whom Overstreet married, probably late in 1916 or early 1917.[14]

Photo: Roger Misiewicz

William Benton Overstreet led a nomadic life working in vaudeville — from the heyday of the 1910s to the late 1920s — and writing songs that spanned popular music, jazz and blues. His compositions, numbering more than fifty, included There’ll Be Some Changes Made and A Jazz Holiday, both still recognized as standards in traditional jazz circles today. As a pianist, he led jazz bands in vaudeville throughout the United States, accompanied singers on recordings for Brunswick and Black Patti, and even participated in a “cutting contest” witnessed by no less than Jelly Roll Morton. Yet he remains a shadowy figure; an important composer in the history of jazz and popular music, but little known today. Overstreet, an African-American, was born on April 3, 1888 in Atchison, Kansas, a small town on the Missouri River, approximately 50 miles northwest of Kansas City. Nothing is known of his early years, though they must have included musical studies as he was active leading bands and playing piano by the time he was in his early twenties. Pianist Norman (sometimes known as Norma) Thomas recalled in a letter to the Chicago Defender [1] that he first met Overstreet when the two were working with William McCabe’s Georgia Troubadours, a travelling variety troupe active from 1900 to at least 1913. A November 1910 report in the New York Age [2] noted that “Professors Norma Thomas and W.M. (sic) Overstreet” were the “kings of ivory manipulators” with the Richards and Pringles Minstrels, then appearing in Kansas, with William McCabe and Edna McCabe in the cast, as well as another Overstreet, Carrie, a dancer whose relationship to Benton is not known. By September 1911, both Overstreets were in Iowa with McCabe’s Georgia Troubadours, Benton as the troupe’s orchestra leader.[3]

Overstreet continued to move around the country on his own, serving as music director for an ensemble at the Lincoln Theater in Galveston, Texas, in the summer of 1913,[4] and living in Mobile, Alabama, when he made his first submission The ‘new’ Grand Theater, South State Street, Chicago, a familiar to the Library of Congress for copyright protection, My Place venue to scores of early jazz and blues performers.

performed as a duo in Philadelphia; with the Defender reporting in July 1917 that they “were a real sensation at the Standard theater last week,” adding that “[Harris’] rendition of Overstreet’s new number ‘The Alabamalevi [Alabama Levi] Glide,’ was a near riot and called for so many encores that the show was virtually stopped. The act will open in New York soon, where they will feature the great hit, ‘The Jazz Dance.’”[26] It again is clear that other artists were by this time taking notice of Overstreet’s compositions; The Jazz Dance was recorded for Columbia by W.C. Handy’s orchestra in September, and by Blake’s Jazzone Orchestra in November 1917. In a letter to the Defender dated July 23, 1917 sent from the Howard Theater, Washington, DC, Overstreet reported that he was working on a play called “The Grocery Man,” and had completed the third of what he intended to be five acts.[27] The letter also revealed his wariness with respect to the music business, the result of seeing some of his work “used considerably without my permission,” and of being determined to keep his compositions “out of the hands of the music pirates.” He noted that “I have just received evidence that a certain one of my numbers was sold to an ‘Ofay [white] act.’” While 1917 was a busy year for Overstreet the composer, with five known songs, only one, The Jazz Dance, appears in the Library of Congress Catalogue of Copyright Mark Berresford Collection Entries. Another, On The Rockin’ Rosa Lee, was published by Frank Root of Chicago and recorded by two white artists, Jelly Roll Morton recalled hearing Overstreet at a “cutting” Arthur Collins and Byron G. Harlan, later that year;[28] contest in Chicago; while the date is uncertain, it probably perhaps this was the song sold to the “Ofay act” to which happened in 1915 or 1916. “Will Overstreet was a newcomer Overstreet had referred. in Chicago, coming with Billy King’s stock company. He was Harris and Overstreet appeared at the Ivy Theater in rated as a great pianist,” Morton wrote later,[15] substantiating Overstreet’s reputation among musicians, and Newport News, Virginia during December 1917 [29] and his fellow pianists in particular. Overstreet himself had January 1918 [30]. In 1918, Overstreet wrote That Alabama cryptically reported that he “was the originator of the long Jazbo Band, which was published by Will Rositer of Chicago. bass which was introduced in K.C. some years ago.”[16] By May 1919, he and Harris were in Philadelphia, where they Morton, however, was not impressed. “He was carved the appeared at the Standard Theater;[31] Overstreet was still first day he came in town by every decent pianist in town and there in September according to the Defender, which does not, however, mention Harris,[32] perhaps a sign that their reduced down to his natural size.”[17] partnership, both professional and personal, had ended Harris and Overstreet left Billy King’s company after the around this time. Indeed, in August 1920, the Defender summer season and were back at the Grand in early October announced that Overstreet, “leader of the Standard theater 1916, this time appearing in their own show, “Walking The orchestra of Philadelphia,” was to marry Miss Eva Walker “of Dog,” featuring the musical numbers Shima Sha Wabble the Mills & Frisby stock company” on September 1.[33] (Shim-Me-Sha-Wabble), Don’t Leave Me, Daddy and Seven years later, the Defender reported that “Overstreet and Overstreet’s I Wonder If Your Loving Heart Still Pines for Me, Harris” were part of six “all-star acts” appearing in a Happy Shout and New Dance [18]. Columnist Bob Hayes, in vaudeville show held at the Washington Theater in a tribute to Harris following her death in 1934, noted that she Indianapolis during July 1927;[34] it is likely that this reunion “was at one time regarded as one of the greatest of our was a one-time event or, at best, short-lived. ragtime singers, a mode of singing that preceded the present During 1921 and 1922, Overstreet remained in day blues singers.”[19] For his part, Overstreet’s compositions from this period were very much popular songs and novelty Philadelphia, “still plunking along in the Old Quaker city,” as numbers appropriate to the vaudeville stages on which the he put it in letter to the Defender in 1921.[35] By December of that year he was directing the house orchestra at the bands he was leading regularly appeared. Dunbar Theater there.[36] It was also during 1921 that he While Harris and Overstreet were at the Grand, another composed his most famous song, There’ll Be Some Changes company, led by Butler “String Beans” May and Baby Made, with fellow vaudevillian, the popular comedian Billy Benbow, were appearing at another Chicago venue, The Higgins, providing the lyrics. It was submitted to the Library Monogram.[20] By mid-October, the String Beans and of Congress on Overstreet’s behalf by Harry Pace of the Pace Benbow company was appearing at the Washington Theatre Phonograph Corp, producer of Black Swan records, on in Indianapolis. Overstreet joined that company for a very September 16, 1921, just after it had been recorded for the brief period and, in addition to playing piano, was first time by Ethel Waters for Black Swan. The song was responsible for composing most of the music.[21] Soon he published by Edward B. Marks Music Co. of New York in was back in Chicago, appearing again at the Grand with 1923, and became a jazz standard, recorded over the Harris in “Walking The Dog.”[22] They also appeared at the following decades by such diverse artists as Josie Miles, Edith Wilson, Eddie Lang, Fats Waller, the Boswell Sisters, Benny Lido theater and Victoria theater in late 1916.[23] Goodman, Eddie Condon, Art Tatum, Oscar Peterson, and Early 1917 found Overstreet directing the orchestras, and Billie Holiday. Harris also appearing, at two benefits held at Chicago’s States Overstreet and Higgins collaborated on another important Theater.[24] The first was on either February 16 or 23 in honour of actor Billy Caldwell, and the next a March 24 composition in 1922, Early Every Morn’ (I Want My Lovin’). charity event where Overstreet conducted Curtis Mosby’s This song, published by Harry Pace, is well known for the orchestra. After a stint at the Washington Theater in 1924 recordings made by urban blues singers Alberta Hunter Indianapolis in May 1917,[25] Overstreet and Harris and Maggie Jones, with Hunter’s version featuring the cornet 4

of a young Louis Armstrong. While in Philadelphia, Overstreet renewed his association with Billy King’s company. He admired King’s shows for their energy and humour, and referred to King in a letter to the Defender as the “old wizard.”[37] King’s show “Moonshine,” with Overstreet leading the “Famous Dark Day Orchestra,” appeared during September 1922 in small towns in the east, including Reading, Pennsylvania, Penn Yan, New York, and Batavia, New York.[38] Overstreet’s success as a songwriter brought him to the attention of the Clarence Williams Publishing Company, which published six of his songs in 1923: I’m Boss of The Shimmie Gang, Shakin’, Do It, Way down Home upon the Swanee Shore, Play It [or Do It] A Long Time Papa, and Happy Shout (co-composed by Virginia Liston). Overstreet also wrote arrangements of songs by other composers published by Williams, including Mistreated Blues (by Donald Heywood), King Tut Blues (by Eddie Green), Yodeling Blues (by Clarence Williams) and The Bachelor Blues (by Howard Giels Thomas).[39] Another four Overstreet compositions were published by Williams in 1924: Easy Ridin’ Papa, Mandy O’Mine, Hide and Go Seek Blues and It’s Gonna Take a Long Time Papa. By this time his writing had taken on a decidedly urban blues style. By late 1923, Overstreet had renewed his association with theater owner John Trusty Gibson, a prominent AfricanAmerican entrepreneur who owned the North Pole, the New Standard (also known as the Standard, where Overstreet and Estelle Harris had appeared in 1919) and the Dunbar Theater (later renamed the Gibson) in Philadelphia and the New Dunbar in Pittsburgh. The show, “Swanee River Home,” with music by Overstreet, played the New Dunbar for two weeks in December 1923.[40] By January 1924, Overstreet had returned from Pittsburgh to Philadelphia to direct the orchestra at the Dunbar [41], and later that year he toured with yet another show, “Creole Follies,” which played Chicago’s Grand Theater [42] and Gibson’s New Dunbar [43] in September. Despite the numerous reports in the African-American press relating to Overstreet’s activities, there are few indications as to his personality. His frequent touring and prolific songwriting suggest a driven man who fully embraced the

Mark Berresford Collection

“show business” and “entertainer’s” lifestyle. Perhaps this lifestyle explains a cryptic 1924 item in the Defender that reported Overstreet as saying that “he has forgotten the ‘goods’ and is now riding the well known water-wagon.”[44] The term “water wagon” meant then what “the wagon” came to mean in later years, suggesting that Overstreet was an alcoholic, and that his loss of the “goods” was an allusion to a deterioration of his skill at the keyboard. Nonetheless, his constant touring continued unabated. In August 1925, Overstreet was jailed in Hot Springs, Arkansas on a charge of grand larceny leveled against him by a former partner, William Sellman. The Defender reported that the charge was based on Sellman’s discovery that costumes and other items had gone missing after the closing of an un-named touring show in Graysonia, Arkansas, and before the next opening in Arkadelphia, Arkansas.[45] Overstreet was bailed out by his Philadelphia employer, John T. Gibson; it appears that the charges were soon dropped, as Overstreet continued to tour during the Fall of 1925, now with the S.H. Gray and Virginia Liston Company. Overstreet’s association with Liston, a blues singer, dated back to at least 1923, when the two composed Happy Shout, recorded that year by Liston with Clarence Williams at the piano. The Gray and Liston tour included stops in September 1925 at the Ella B. Moore Theater in Dallas, Texas,[46] and in December in Oklahoma.[47] By mid-1926, Overstreet had returned to Chicago and was directing a troupe called Wharton’s Snappy Gingers.[48] Dave Peyton, a bandleader and a columnist with the Defender, wrote in July that Overstreet was “spending the summer in Chicago,” and went on to say that he was “recording for the Paramount company.”[49] There are no known recordings by Overstreet for Paramount, however, although at least two of his songs had been recorded by Paramount artists in 1925: Brand New Charleston by clarinetist Jimmie O’Bryant and He Likes It Slow by blues singer Trixie Smith. The latter title is best known for the 1926 version by Butterbeans & Susie, featuring Louis Armstrong. Another of Overstreet’s 1926 compositions, What’s that Thing They Are Shaking, was recorded by Jeanette James for Paramount in 1927.

Photo: John Wilby

Later that year Overstreet left Chicago, and by December was in Kansas City.[50] However, he returned to Chicago in 1927 and made his first recordings, accompanying blues singer Elnora Johnson on four titles issued on the Black Patti 5

Photo: John Wilby

returned to Chicago in September “looking like a million bucks,” according to the Defender columnist Bob Hayes,[54] and accompanied blues singer Lovin’ Sam Theard in a recording session on September 9th that produced two titles, I’m Goin’ Back and Get Some More and Huggin’ and Kissin’ and Gwine on. He was back in Chicago for a second session with Theard on October 10, completing two more sides, Ain’t Nobody Got Nothin’ and Get it in Front, the latter, a doubleentendre song typical of the period, one of his own compositions. His playing, as with the Elnora Johnson sides from two years earlier, is competent but not particularly impressive. By November 1929, he had moved on again to Milwaukee, where he served as music director of a show at the Columbia Theater [55] and taught piano from his own studio.[56] Despite his constant involvement with music and stage shows dating back to 1910, Overstreet’s first known gig as a sideman with a jazz band occurred only in 1930, when he was hired by Jimmy Wade while the Chicago trumpeter’s band was working in Milwaukee. The Defender’s Bob Hayes noted in May, with regard to this engagement, that Overstreet had been advised by his doctor that “it was either the water label.[51] All were Overstreet compositions: Blue Black wagon or an eternal rest in some soft spot.”[57] Whether he Bottom Blues, Freakish Papa, I Like that Thing and Red Cap was able to stay on the “water wagon” is unknown, but he Porter Blues. The piano playing on these recordings supports continued working with Wade until late 1930. Jelly Roll Morton’s assessment; it is competent but shows no evidence of the sort of virtuoso player who would frequent Overstreet probably returned to Milwaukee after the Wade “cutting” contests. band appeared between September 25 and October 27, 1930, at the Recreation Music Box Ballroom in Toledo, In January 1928, Overstreet submitted another important Ohio.[58] In 1931 he co-composed two songs, Bound by song to the Library of Congress, A Jazz Holiday, featuring his Love and Fair Weather Baby, the second of which was a melody with words by Walter Melrose. The song was collaboration with one Louis Rich of Milwaukee. Overstreet published by the Melrose Bros. Music Co. Inc. of Chicago, was still in that city in 1932 and residing at 1428 N. Sixth and was recorded first by Benny Goodman’s Boys on January Street, according to the Defender, which noted in January that 23, 1928. It was later a hit for popular bandleader Ted Lewis he was recovering from an operation and in October that he and remains a jazz standard. Overstreet noted the song’s early was appearing with Rankford Holly’s Holly Hocks.[59] success to the Defender’s Dave Peyton in a letter dated April 7, 1928, and written while travelling with yet another show. By May 1933 he appears to have moved to Detroit. He gave his address at the time as the Lincoln Theater in According to the Defender, he was the orchestra leader for Winston-Salem, North Carolina.[52] David Wiles and his Lucky Girl Company at the Castle Theater and the M.D.L. club.[60] While the Defender did not By the middle of 1929, Overstreet seems to have settled in name the city, Detroit is known to have had venues by those Madison, Wisconsin, where he was reported by the Defender names. He was definitely there by February 1934, playing at to be “quietly resting.”[53] This may have been an attempt to the New Villa café.[61] The Defender’s Bob Hayes referred deal with his apparent drinking problem by avoiding the in 1934 to a letter from Buddy DeLoach in which the inevitable temptations associated with the touring shows and comedian, then appearing in Windsor, Ontario, mentioned life as a working musician in Chicago. Nonetheless, he seeing Overstreet, among several other entertainers, on a trip 6

across the Detroit River.[62] Also in 1934, a new Overstreet song, Just Say Hello, with words by J. Franklyn Frye, was published by Frye-Ryan-Frankel Inc. of Detroit; Frye submitted another Overstreet song, Tap Dancers on Parade, to the Library of Congress after Overstreet’s death. After a nomadic life dating back to at least 1910, Benton Overstreet made what was probably his final move, this time to New York City, in late 1934 or 1935. His last known compositions (aside from Tap Dancers On Parade), were published there by the Clarence Williams Publishing Company in 1935: Down Georgee Way, From Now on I’m Lovin’ Nobody but You and I’m So Glad I Never Had the Blues. Overstreet died in Manhattan on June 23, 1935. Thanks to Mark Miller for his encouragement and assistance with the research for this article.

Notes 1 “Norma Writes,” Chicago Defender, December 8, 1923, 6 2 Lester A. Walton, “Music and The Stage,” New York Age, November 10, 1910 3 Lester A. Walton, “Music and The Stage,” New York Age, September 7, 1911 4 “W. Benton Overstreet,” Indianapolis Freeman, August 30, 1913 5 “New Additions to the Billy King Stock Company,” Savannah Tribune, January 31, 1914, 1 6 “W. Benton Overstreet to Go in Vaudeville Coming Season,” Indianapolis Freeman, April 24, 1915, 6. This report, ascribed to Overstreet himself, states that he was “formerly musical director with Billy King’s incomparable stock company.” 7 “The Lyric Theater, Kansas City, MO. ” Indianapolis Freeman, May 22, 1915, 5 and June 5, 1915, 5. The show opened on May 3, 1915, and will still running at the time of the July 3, 1915 report in the Freeman. 8 “Lyric Theater,” Indianapolis Freeman, July 3, 1915 9 “Mills & Frisbie,” Indianapolis Freeman, September 4, 1915 10 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman, October 9, 1915, 5 11 R.W. Thompson, “The Passing Show in Washington,” Indianapolis Freeman, March 11, 1916, 7 12 Sylvester Russell, “Billy King Returns to Grand,” Indianapolis Freeman, May 6, 1916, 5. This article gives the title of Overstreet’s composition as Alabama Todelo; however it was submitted to the Library of Congress in 1916 as The Alabama Toledo. 13 Tony Langston, “Theatrical Review,” Chicago Defender, August 26, 1916, 4 14 Overstreet’s draft registration card, dated June 5, 1917, states that he was married. 15 Jelly Roll Morton, “History of the Elite No. 2” in William Russell Oh,

Photo: Roger Misiewicz

Mister Jelly, 58-59 16 “W. Benton Overstreet to Go in Vaudeville Coming Season,” Indianapolis Freeman, April 24, 1915, 6 17 Jelly Roll Morton, “History of the Elite No. 2” in William Russell Oh, Mister Jelly, 58-59 18 Tony Langston, “Theatrical Review,” Chicago Defender, October 7, 1916, 4 19 Bob Hayes, “Here and There,” Chicago Defender, August 25, 1934, 8. Hayes refers to Harris as “widow of Benton Overstreet;” this is erroneous as Overstreet did not die until June 23, 1935. 20 Tony Langston, “Theatrical Review,” Chicago Defender, October 7, 1916, 4 21 “String Beans and Benbow,” Indianapolis Freeman, October 14, 1916, 5 22 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman, October 14, 1916, 5. 23 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman, November 25, 1916, 5. 24 “Caldwell Benefit,” Chicago Defender, February 24, 1917, 7 25 Lynn Abbott and Doug Seroff, The Original Blues (Jackson, University Press of Mississippi 2017), 227 26 “Harris & Overstreet,” Chicago Defender, July 7, 1917, 14 27 “Overstreet Kicks,” Chicago Defender, July 28, 1917, 8 28 On October 22, 1917 for the Victor Talking Machine Company. 29 “A Note or Two,” Chicago Defender, December 8, 1917, 4 and December 22, 1917, 9 30 “A Note or Two,” Chicago Defender, January 19, 1918, 4 31 “New Song Hit,” Chicago Defender, May 24, 1919, 8 32 “A Note or Two,” Chicago Defender, September 20, 1919, 7 33 “To Wed,” Chicago Defender, August 28, 1920, 4 34 “Naptown Doings,” Chicago Defender, July 23, 1927, 7 35 “Letters,” Chicago Defender, April 30, 1921, 7 36 “Lafayette Players,” The Billboard, December 3, 1921, 65 37 “Letters,” Chicago Defender, April 8, 1922, 6 38 “Moonshine,” Reading Eagle, August 28, 1922; Advertisement, Penn Yan Democrat, September 15, 1922, 8; Advertisement, Batavia Times, September 16, 1922 39 Library of Congress Catalogue of Copyright Entries, Music, 1923-1924 40 Advertisement, Pittsburgh Courier, December 15, 1923, 12 41 “Overstreet”, Chicago Defender, January 26, 1924, 7 42 “Creole Follies at the Grand”, Chicago Defender, September 13, 1924, 6 43 “Gibson’s New Dunbar Re-Opens for Season,” Pittsburgh Courier, September 15, 1924, 12 44 “Overstreet”, Chicago Defender, January 26, 1924, 7 45 “Benton Overstreet Out of Jail; Claims False Charge”, Chicago Defender, August 15, 1925, 6 46 “A Note or Two,” Chicago Defender, September 5, 1925, 7; “Texas Tattles,” Chicago Defender, September 12, 1925, 6 47 Dave Peyton, “The Musical Bunch,” Chicago Defender, January 2, 1926, 7 48 “Shots From the Lake Shore,” Pittsburgh Courier, July 3, 1926 49 Dave Peyton, “The Musical Bunch,” Chicago Defender, July 10, 1926, 7 50 “Wm. Benton Overstreet”, Chicago Defender, December 4, 1926, 5 51 A Black Patti advertisement in the Defender on August 13, 1927 includes a caricature of Johnson and Overstreet. 52 Dave Peyton, “The Musical Bunch,” Chicago Defender, April 7, 1928, 7 53 “Hits and Bits”, Chicago Defender, September 7, 1929, 6 54 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender, September 14, 1929, 6 55 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender, November 23, 1929, 6 56 Lynn Abbott and Doug Seroff, The Original Blues (Jackson, University Press of Mississippi 2017), 228 57 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender, May 24, 1930, 10 58 “Orchestras” and “Hits and Bits,” Chicago Defender, October 25, 1930, 5. The dates for this engagement are included in online database jazztourdatabase.com. 59 “Hits and Bits,” Chicago Defender, January 30, 1932, 5; “Hits and Bits,” Chicago Defender, October 29, 1932, 5 60 “Hits and Bits,” Chicago Defender, May 20, 1933, 5 61 “The Orchestras,” Chicago Defender, February 24, 1934, 8 62 Bob Hayes, “Here and There,” Chicago Defender, September 1, 1934, 9

Photo: John Wilby

Courtesy Brenda Miller

Appendix A W. Benton Overstreet Compositions Sources: Library of Congress Catalogue of Copyright Entries, Music, 1910-1945 Various periodicals Copyright Date or Year Composed Song Title /Remarks December 26, 1914 My Place Of Bizness Words and music, W. Benton Overstreet, Mobile, Ala. May 20, 1915 (The) Grocery Man Words and music, W. Benton Overstreet, Kansas City, Mo. 1915 I Am Going Home Words and music, W. Benton Overstreet. Not found in L of C. March 9, 1916 (The) Alabama Toledo Words and music, W. Benton Overstreet, Kansas City, Mo. March 9, 1916 To The Front For The Good Old U.S.A. Words by Estelle Harris. Music by W. Benton Overstreet, Kansas City, Mo. November 25, 1916 I Wonder If Your Loving Heart Still Pines For Me Words by Pasquale Forte, music by W. Benton Overstreet and Jas. Altiere. Published by Royal Music Co., Chicago. Used in show “A Mother-In-Law’s Disposition” 1916 Hello Everybody Not found in L of C. See Freeman, May 26/16. Used in show “The Last Rehearsal” 1916 If I Said I Would Marry You, I Must Have Been Out of My Head Not found in L of C. See Abbott & Seroff, p. 223. Used in show “The Undertaker’s Daughter” 1916 A Mother-In-Law’s Disposition Not found in L of C. See Defender, Aug 26/16. Co-composed by Billy King. Used in show “A Mother-In-Law’s Disposition” 1916 Now I Am A Mason Not found in L of C. See Chicago Defender, Aug 26/16. Co-composed by Billy King. Used in show “Now I Am A Mason” 1917 On The Rockin’ Rosa Lee Words and music by W. Benton Overstreet. Published by Frank Root, Chicago. Not found in L of C. 1917 The Alabama Levi Glide See Defender, July 28/17. Co-composed by Estella Harris 1917 1917 May 14, 1917

Pre-1943 Recordings

Collins and Harlan (1917)

Loving Man See Defender, July 28/17. Co-composed by Estella Harris Here Comes The Boat From New Orleans See Defender, July 28/17. Co-composed by Estella Harris (The) Jazz Dance (The Little Jazz Dance Ev’rybodys Crazy ‘Bout) Words and music, W. Benton Overstreet. Published by Will Rositer, Chicago.

Blake’s Jazzone Orch (1917) W.C. Handy (1917)

Dec 4, 1918 Sept 16, 1921

That Alabama Jazbo Band Words and melody by W. Benton Overstreet. Published by Will Rositer, Chicago. There’ll Be Some Changes Made Words by William (Billy) Higgins, melody by Benton Overstreet. Arranged by Fletcher Hamilton Henderson, Jr. Filed by Harry Herbert Pace, NY; Published by Edward B. Marks Music Co., NY in 1923

Ethel Waters (1921) Amanda Randolph (1923) Josie Miles (1924) Ben Selvin (1924) Ted Lewis (1924) Edith Wilson (1925) Red McKenzie (1927) Chicago Rhythm Kings (1928) Ed Lang (1928) Eddie & Sugar Lou (1929) Boswell Sisters (1932) Arthur Briggs (1935) Fats Waller (1935) Benny Carter (1936) Ocie Stockard (1937) Pee Wee Russell (1938) Mildred Bailey (1939) Bunny Berigan (1939) Eddie Condon (1939) Benny Goodman (1939) Clarence Profit (1939) Chick Bullock (1941)

Mark Berresford Collection

Una Mae Carlisle (1941) Gene Krupa (1941)

Oct 18, 1921

July 26, 1922

Jazbo Johnson’ Syncopating Band Words and music by W. Benton Overstreet. Published by Handy Bros. Music Co. Inc., NY Early Every Morn’ (I Want My Lovin’) Words by Billie Higgins, melody by W. Benton Overstreet. Published by Harry H. Pace, NY

Katherine Handy (1922) Etta Mooney (1922) Alberta Hunter (1924)

March 26, 1923 March 26, 1923 April 27, 1923 July 9, 1923 July 13, 1923

September 15, 1923

Maggie Jones (1924) I’m Boss Of The Shimmie Gang Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY Shakin’ Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY Do It Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY When Elder Greene Does The Shimmey (sic) With Sister Brown Words and melody by W. Benton Overstreet, arranged by George R. Holman. Published by Fred Fisher Inc., NY Way Down Home Upon The Swanee Shore Words and music by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY Georgia Blues (Lovesick Moan) Words by Billy Higgins, music by W. Benton Overstreet. Published by Edward B. Marks Music Co., NY

Ethel Waters (1922) Clara Smith (1923) Arkansas Travelers (1924)

October 4, 1923

Play It A Long Time Papa (Blues) [Do It A Long Time Papa]

Words and music by W. Benton Overstreet.

Published by Clarence Williams Pub. Co., NY.

Maggie Jones (1923) Clara Smith (1923) Eva Taylor (1923)

December 17, 1923

Happy Shout Words and melody by Virginia Liston and W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY

January 14, 1924

Easy Ridin’ Papa

Words by Dorothy Ling, music by W. Benton Overstreet.

Published by Clarence Williams Pub. Co., NY

Virginia Liston (1923)

January 14, 1924

Mandy O’ Mine

Words by Dorothy Ling, music by W. Benton Overstreet.

Published by Clarence Williams Pub. Co., NY March 12, 1924

Hide And Go Seek Blues

Words and melody by W. Benton Overstreet.

March 12, 1924

It’s Gonna Take A Long Time Papa

Published by Clarence Williams Pub. Co., NY Words and melody by W. Benton Overstreet.

Published by Clarence Williams Pub. Co., NY March 20, 1924

Plug Ugly, The Worst Lookin’ Man In Town

August 12, 1924

Published by Rainbow Music Corp., NY Hazel Meyers (1924) Take It Easy Words and melody by W. Benton Overstreet. Published by Joe Davis Music Co., NY. Copyrighted again on Oct 19, 1925 with words and music by Joe Davis and W. Benton Overstreet, published by Triangle

January 24, 1925 March 23, 1925 August 11, 1926 August 11, 1926 August 11, 1926

Words and music by Benton Overstreet and George Baquet.

Music Pub. Co. Inc., NY. Monette Moore (1925) I’m (Just) A Cabaret Nightingale Words and melody by Benton Overstreet. Published by Triangle Music Pub. Co. Inc., NY Josie Miles (1924) Brand New Charleston Words and melody by Benton W. Overstreet. Published by Chicago Music Pub. Co., Chicago. Jimmie O’Bryant (1925) Any Kinda Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. I’ve Just Found Out How To Keep My Man Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. What’s That Thing They Are Shaking Words and melody by Benton W. Overstreet. Published by Chicago Music Pub. Co., Chicago.

August 13, 1926

Jeanette James (1927)

? Papa Charlie Jackson (1934) He Likes It Slow (My Daddy Likes It Slow) Words and melody by William Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. Trixie Smith (1925) Butterbeans and Susie (1926)

August 23, 1926 August 23, 1926 December 1, 1927 December 1, 1927 December 1, 1927 December 1, 1927

January 30, 1928

Got Nobody Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. South Carolina Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. Blue Black Bottom Blues Words and melody by Benton Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Freakish Papa Words and melody by Benton W. Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora I Like That Thing Words and melody by Benton W. Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Red Cap Porter Blues Words by Elnora Johnson, melody by Benton Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora A Jazz Holiday

Johnson (1927) with Overstreet-p Johnson (1927) with Overstreet-p Johnson (1927) with Overstreet-p Johnson (1927) with Overstreet-p

Words by Walter Melrose, music by W. Benton Overstreet. Arranged by Mel Stitzel.

Published by Melrose Bros. Music Co. Inc., Chicago.

Benny Goodman (1928) Joe Candullo (1928 Ted Lewis (1928) Abe Lyman (1928)

First recording is by Goodman’s Boys on January 23, 1928 March 19, 1930 Huggin’ And Kissin’ And Gwine On Words and melody by Sam Theard. Published by State Street Music Pub. Co. Inc, Chicago. Sam Theard (1929) with Overstreet-p. The composer credit on Brunswick 7117 includes both Theard and Overstreet; however, the Library of Congress entry does not mention Overstreet. March 19, 1930 Get It In Front Words and melody by Benton Overstreet, arranged by James Alston. Published by State Street Music Pub. Co. Inc, Chicago. Sam Theard (1929) with Overstreet-p October 17, 1931 Bound By Love Words and melody by William Austin, Louis Rich (Milwaukee) and Benton Overstreet. Dec 28, 1931 Fair Weather Baby Words and melody by William Austin, Louis Rich (Milwaukee) and Benton Overstreet. Dec 12, 1934 Just Say Hello Words by J. Franklyn Frye, melody by Benton Overstreet. Published by Frye-Ryan-Frankel Inc., Detroit. Apr 19, 1935 Down Georgee WayWords and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY Apr 19, 1935 Apr 19, 1935 Feb 20, 1936

From Now On I’m Lovin’ Nobody But You Words and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY I’m So Glad I Never Had The Blues Words and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY Tap Dancers On Parade Music by Benton Overstreet. Unpublished, John Franklin Frye, Detroit.

Appendix B W. Benton Overstreet Arrangements Source: Library of Congress Catalogue of Copyright Entries, Music, 1910-1945

Remarks

Feb 26, 1917 Mar 10, 1917 May 23, 1917

Midnight Dreams Music by Leroy Edwards (Chicago), arranged by Benton Overstreet. I Don’t Want That Big Boy Words and music by Porter P. Grainger (Chicago), arranged by W. Benton Overstreet. When The Boys Of Uncle Sam Come Home From War Words and music by Porter P. Grainger (Chicago), arranged by W. Benton Overstreet June 23, 1917 That Jazz Melody Words and music by Carrie Webster Bell (Chicago), arranged by W. Benton Overstreet. Jan 2, 1920 You Can’t Keep A Good Man Down Words and music by Perry Bradford (New York), arranged by Benton Overstreet. Jan 26, 1920 You Can’t Keep A Good Girl Down Words and music by Perry Bradford (New York), arranged by Benton Overstreet. March 30, 1923 King Tut Blues Words and melody by Eddie Green, arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 31, 1923 Yodeling Blues Words and melody by Clarence Williams, arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY July 3, 1923 Mistreated Blues Words and music by Donald Heywood, arranged by Benton Overstreet. Published by Clarence Williams Pub. Co., NY May 10, 1924 (The) Bachelor Blues Words and melody by Howard Giels Thomas (Philadelphia), arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY November 10, 1924 How You Think I Am Going To Miss You Words and melody by Hezekiah Jenkins (Washington), arranged by W. Benton Overstreet.

Appendix C Known Recordings of W. Benton Overstreet Elnora Johnson Elnora Johnson (v), accompanied by W. Benton Overstreet (p). Chicago, c. July 13, 1927 12921 12922

Blue Black Bottom Blues Red Cap Porter Blues

BP 8039 BP 8039

85390-A

Freakish Papa I Like That Thing (Called The Black Bottom)

BP 8033 BP 8033

Chicago, July, 1927

Lovin’ Sam From Down In ‘Bam (Sam Theard) Sam Theard (v), accompanied by W. Benton Overstreet (p). Chicago, September 9, 1929 C-4400 C-4401

I’m Goin’ Back And Get Some More Huggin’ And Kissin’ And Gwine On

Brunswick 7117 Brunswick 7117 Chicago, October 10, 1929

C-4635 C-4636

Ain’t Nobody Got Nothin’ Get It In Front

Brunswick 7131 Brunswick 7131

Victor in Oakland 1924 -1928 by Björn Englund and Mark Berresford

Perry with piano and Mr. A. W. Sperry with piano.

he early 1920s was a period of optimism in the American record industry. Gross record sales for 1921 had been the highest to date (and would not be equalled for another 20 years). This was partly do to the fact that Victor and Columbia no longer had a monopoly on the lateral recording system. In early 1923 Victor announced that they planned to build a pressing plant and recording studio on the West Coast.

Oakland pressings are identifiable by the small “o” on the upper part of the label under the word “copyright” and between Nipper and the horn of the gramophone. (See photo). Regional issues of local artists were probably only pressed in Oakland. Sometimes the Oakland pressing used a different take than the Camden pressing: a good example is Helen Gone, Victor 19398 by Vincent Rose and his Montmartre Orchestra (PB 9, see below) is from take -2 on the Camden version, but -3 on the Oakland version.

They acquired a 10 acre (or 20 acre according to later reports) lot at 1100 78th Avenue in Oakland in June 1923, and construction began in October. 24 record presses were installed. There were to be 200 employees. Victor had started “field recordings” only in April 1921, when they made 22 titles with the Benson Orchestra in Chicago.

The first 31 “Oakland” recordings were actually made in Los Angeles (Rust in Jazz Records and ADBORAF incorrectly gives Oakland). The actual location was the Hotel Alexandria confirmed in Harry Sooy’s memoirs:-

The Talking Machine World of March 15, 1924 reported the impending opening as follows:-

June 6th, 1924: We left Oakland, Calif., 7:45 p.m. starting for Los Angeles, Calif., to make a repertoire of records in that city, arriving there 7:45 a.m. June 7th.

CAMDEN, N.J., March 8.–E.J. Dingley, assistant sales manager of the Victor Talking Machine Co., has gone to Oakland, Cal., to look after the general details in connection with the opening of the company’s new recording and pressing plant in that city. The new plant, which has been under construction for some time, is expected to be in operation within a month or so and will be in direct charge of George Hall, who had been connected with the recording department of the Victor Co. in Camden for many years and is thoroughly conversant with the work. Mr. Dingley will remain on the Coast for several weeks until everything in the new plant is running smoothly.

Upon our arrival in Los Angeles we got quartered at the Biltmore Hotel, as Mr. King (Victor Recording Manager Edward T. King - MB) had been assured we could have quarters at that Hotel to do our recording as our main object was getting Art Hickman’s Orchestra, which played at the Biltmore Hotel. But there seemed to be some difference with the management that we could not get the quarters most desirable. Therefore, I, with Mrs. Sooy, Mr. & Mrs. Linderman and Elsasser left the Biltmore and went to the Alexander Hotel [sic] where we got comfortably located during our stay and we also secured Recording quarters at the Alexander Hotel [sic] where we did all our recording on this trip, which consisted of the following Dance Orchestras: Art Hickman’s Orchestra, Vincent Rose’s Orchestra, Don Clark’s Orchestra & Glen Oswald’s Orchestra. [NB: Don Clark’s Orchestra did not record in Los Angeles on the June 1924 trip but did in August.]

The new recording and pressing plant is expected to prove of great benefit to the Victor dealers on the Pacific Coast and in the Rocky Mountain section. It will permit of the quick recording of the singing and playing of Western artists, and the pressing department will facilitate the releasing of new records minus the delays incident to shipping across country. According to Victor’s Superintendent of Recording Harry O. Sooy’s unpublished memoir, he and his small team of assistants, along with the cumbersome acoustic recording equipment, arrived in Oakland from Camden on the 15th May 1924 and set about assembling the recording studio and making repairs to the equipment:-

The West Coast recordings had their own PB/PC 1- (10”/12”) matrix series with the P indicating the Pacific Coast. (In August 1926 Columbia also established a pressing plant in Oakland at East 14th Street.) Electrical recording came late to Oakland, in August 1925, more than six months after Camden had “gone electric”, with Harry Sooy again travelling from Camden with the new Western Electric recording equipment to oversee the operation.

May 29th, 1924: (California Trip) After a series of repairs to equipment which was broken in transit, and the general work necessary to establish a new Laboratory, we were ready and did make our first record in the Oakland Laboratory, May 29th, by H. O. Sooy, Geo[rge]. Hall & Harvey Willitts.

The P - series was abandoned for regular recordings after the June 3, 1927 session (but probably continued for test recordings) and henceforth the regular Victor matrix series was

June 5th, 1924: We made two trial records. Artists: Mr. H. L. 12

(Hotel Alexandria) 32- 54 Oakland June 18 - September 12, 1924 55- 120 San Francisco January 19 - March 6, 1925 121- 130 Oakland August 24 - 27, 1925 131- 147 Los Angeles September 2-7, 1925 (Symphony Hall) 148- 157 Salt Lake City September 7-28, 1925 (The Mormon Tabernacle) PBVE/PCVE prefix (electrical) 158- 197* Oakland April 16 - May 2, 1926 198- 233 Los Angeles May 9 -14, 1926 234- 237 Oakland May 17, 1926 * PBVE 164-3 (a Swedish religious title from the ethnic issue 80673) was renumbered BVS 43292 for unknown reasons. The meaning of the BVS prefix is unknown. (Others with this prefix are dubbings (?) of 12” masters to 10”.) 238-302 San Francisco April 11 - April 29, 1927 (The Clift Hotel) 303-327 Los Angeles May 12 - 18, 1927 (Fine Arts Building, Room 1110, not 110 as in Rust’s book) 328-331 Portland, Oregon May 29, 1927 (The Multnomah Hotel) 332- 336 Butte, Montana June 2-3, 1927 (The Finken Hotel) 337-1305 Test recordings? 1306 San Francisco October 14, 1931 (NBC studios) 1307 “ + PBVE 68318-68319 1308-1348 Test recordings? 1349 Hollywood June 6, 1934 + PBS 79236

An early Oakland pressing, confirmed by the small ‘o’ above the His Master’s Voice logo. Mark Berresford Collection

used, but with an additional P- prefix. The last recording session in Oakland was on April 6, 1928. Subsequent West Coast recordings were made in Hollywood, San Francisco and Culver City, the latter in the Hal Roach studios. The pressing plant continued to press records for the West Coast (and for export to Hawaii and possibly Asia?). When the Oakland plant was running at full capacity it had 350 employees. The recording engineer was Raymond R. Sooy (1880-1938) and the session supervisor in 1925 was Edward T. King and from May 1926 to August 1931 Leroy Shield (originally LeRoy Shields; 1889-1962). Shield also played piano, organ and vibraphone on some titles. Sooy and Shield only visited Oakland and other West Coast locations for short periods of intense recording, their main base being Camden. From 1930 to 1931 Shield wrote background scores for the Hal Roach studios including many memorable Laurel and Hardy themes. Please note that the early acoustic recordings were recorded considerably slower than 78 rpm, mostly about 72-74 rpm.

337-1349 are probably test recordings (not listed in the EDVR). Note that 1306-1307 and 1349 were recorded at regular sessions, probably only as tests. PBVE/PCVE prefix (electrical) 42000-42140 Oakland (The Scottish Rite Temple) February 13 - April 6, 1928 (the last Oakland recordings; April 3 last regular recordings, April 4-6 remakes) Status: D = destroy; H = hold; M = master U = unknown. The unissued titles / takes marked H may still exist in the Victor archives, but only if marked HI = hold indefinitely.

Victor’s Oakland plant operated until 1937, but the last pressing to show the tell-tale ‘o’ was Victor 25042, pressed in 1935. There may be later Oakland pressings without the ‘o’.

Vincent Rose and his Montmartre Orchestra Los Angeles, June 9, 1924 PB 2-1 M String Beans PB 2-2 H “ PB 2-3 D “ PB 2-4 H “ PB 3-1 M Since You’ve Been Gone PB 3-1 H “ PB 3-1 D “ PB 3-1 D “ PB 3-1 D

These early West Coast recordings included, in addition to the regular popular titles listed in Brian Rust’s Victor book, many “Ethnic” Japanese, Hawaiian and even Swedish titles and many by the San Francisco Symphony Orchestra, as well as the first electrical recordings by the Mormon Tabernacle Choir. The few titles of jazz interest (just 30-odd out of 477), as given by Rust, are listed below, although there may well be others of interest. Note that whereas Camden and New York from this period usually made three takes of every title, the P series usually made four (and even five)!

Vic 19379 unissued rejected unissued Vic 19515 unissued rejected “ “

Los Angeles, June 11, 1924 PB 9-1 D Helen Gone rejected PB 9-2 H/M “ Vic 19398 PB 9-3 M/D “ Vic 19398* PB 9-4 H “ unissued * Take -3 only issued on Oakland pressings.

Matrix chronology PB/PC prefix (acoustic) 1- 31 Los Angeles June 9-16, 1924 13

Los Angeles, June 12, 1924 PB 14-1 M Sadie PB 14-2 D “ PB 14-3 H “ PB 14-4 D “

Vic 19511 rejected unissued rejected

Art Hickman’s Orchestra Los Angeles, June 11, 1924 PB 6-1 D G’wan With It “ PB 6-2 D PB 6-3 H “ PB 6-4 M “

rejected rejected unissued Vic 19399

PB 46-4 D “ “ Rust has several errors in his listing of the above titles (which are all Landry compositions). PB 35-5 was recorded as given (= a remake) and not at the first session as per Rust. He lists PB 34-7 and PB 34-8 as issued on 19488, but there was no take 8 according to the EDVR. There are 2 violins on the first session (Landry + unknown). At the remake session (held in Los Angeles, not Oakland) one of the violins is replaced by an oboe (although there are two audible violins present on Lazy Blues! - MB) and the files list no drummer. I have given above the three composers of the unissued blues. Paul Biese and His Orchestra Los Angeles, September 6, 1924 PB 47-1 D Bye Bye Baby PB 47-2 H “ PB 47-3 D “ PB 47-4 M “ PB 48-1 D Tell Me What To Do PB 48-2 H/D “ PB 48-3 M/D “ PB 48-2 D “

Los Angeles, June 13, 1924 PB 22-1 M If I Stay Away Too Long From Carolina Vic 19406 PB 22-2 D “ rejected PB 22-3 H “ unissued PB 22-4 D “ rejected PB 22-5 H “ unissued Glen Oswald’s Serenaders Los Angeles, June 16, 1924 PB 31-1 D Oh Peter rejected PB 31-2 D “ “ PB 31-3 H “ unissued PB 31-4 M/D “ Vic 19410* PB 31-5 D “ rejected Take - 4 only issued on Oakland pressings.

rejected unissued rejected Vic 19474 rejected rejected rejected rejected

Henry Halstead’s Orchestra Oakland, June 19, 1924 PB 38-1 D Sweet Little You rejected PB 38-2 D “ “ PB 38-3 H “ unissued PB 38-4 M/D “ rejected PB 39-1 D Bull Frog Serenade “ PB 39-2 H/M “ Vic 19511 PB 39-3 D “ rejected PB 39-4 H “ unissued PB 39-5 H “ Vic 19511? Rust claims -5 is the issued take but copies examined show take 2. Does anyone own a copy pressed from take 5?

Los Angeles, September 5, 1924 PB 31-6 D Oh Peter (remake) rejected PB 31-7 M “ Vic 19410 PB 31-8 H “ unissued PB 31-9 D “ rejected Art Landry’s Orchestra Oakland, June 18, 1924 PB 32-1 D Moon Mist rejected PB 32-2 M “ Vic 19512 PB 32-3 D “ rejected PB 32-4 H “ unissued PB 33-1 D Rip Saw Blues rejected PB 33-2 H “ unissued PB 33-3 H “ “ PB 33-4 D “ rejected PB 33-5 M “ Vic 19398 PB34-1 D It’ll Get You rejected PB 34-2 H/D “ “ PB 34-3 M/D “ “ PB 34-4 H/D “ “ PB 35-1 D Lazy Blues rejected PB 35-2 H/D “ “ PB 35-3 D “ “ PB 35-4 M/D “ “ PB 35-5 H/D “ “ (Art Landry, Charles Humphreys*, Howard Emerson) * This would be the banjoist listed by Rust as Dick Humphrey. Los Angeles, September 5, 1924 PB 32-5 D Moon Mist (remake) rejected PB 32-6 D “ “ PB 32-7 D “ “ PB 34-5H It’ll Get You (remake) unissued PB 34-6 D “ rejected PB 34-7 M “ Vic 19488 PB 46-1 M Just For Old Time’s Sake Vic 19552 PB 46-2 H “ unissued PB 46-3 D “ rejected

Oakland, June 20, 1924 PB 40-1 D Panama PB 40-2 D “ PB 40-3 H “ PB 40-4 M “ PB 43-1 H Frantic PB 43-2 M “ PB 43-3 D “ PB 43-4 H “

rejected “ unissued Vic 19514 unissued Vic 19513 rejected unissued

Oakland, August 30, 1924 PB 38-5 D Sweet Little You (remake) PB 38-6 M “ PB 38-7 D “ PB 38-8 H “ PB 45-1 D Tessie (Stop Teasing Me) PB 45-2 H/M “

rejected Vic 19406 rejected unissued rejected Vic 19474

Oakland, September 12, 1924 PB 53-1 D I Don’t Know Why PB 53-2 D “ PB 53-3 M “ PB54-1 M China Girl PB54-1 H “ PB54-1 D “

rejected “ Vic 19482 Vic 19498 unissued rejected

Original Kazoo Kings: 2 kazoos and banjo (no names given) Oakland, September 11, 1924 Lots of Mamme [sic] Test, unissued NB: Not listed in Jazz Records. 14

Glen Oswald’s Serenaders Los Angeles, March 2, 1925 PB 97-1 M I Ain’t Got Nobody to Love Vic 19611 PB 97-2 U “ rejected “ “ PB 97-3 U PB 97-4 U “ “ PB 98-1 U (If It Wasn’t For You) I Wouldn’t Be Crying Now rejected PB 98-2 U “ rejected “ Vic 19611 PB 98-3 M PB 98-4 U “ rejected Los Angeles, March 3, 1925 PB 101-1 D Bucktown Blues PB 101-2 M Bucktown Blues PB 101-3 H Bucktown Blues PB 101-4 D Bucktown Blues

Glen Oswald’s Serenaders Los Angeles September 4, 1925 PBVE 136-1 H/D Everybody Stomp rejected PBVE 136-2 D “ “ “ PBVE 136-3 D “ PBVE 136-4 “ “ “ (Elmer Schoebel - Billy Meyers) This tune was later recorded by Art Landry (Vic 19858; 12-111925)

rejected Vic 19611 unissued rejected

Don Clark and his La Monica Ballroom Orchestra Los Angeles, March 4, 1925 PB 105-1 D Cheatin’ On Me rejected PB 105-2 H “ unissued PB 105-3 H “ “ PB 105-4 M “ Vic 19622 PB 106-1 U Lonesome Trail rejected PB 106-2 M “ Vic 19736 PB 106-3 U “ rejected PB 107-1 D It’s Too Good To Be True rejected PB 107-2 D “ “ PB 107-3 M “ Vic 19736 PB 107-4 H “ unissued PB 108-1 D Big Bad Bill rejected PB 108-3 M “ Vic 19622 PB 108-4 D “ rejected NB: Although Jazz Records and ADBORAF both show this session to have been recorded in Oakland, the Victor files clearly state that they and the preceding session by Glen Oswald were made in Los Angeles.

Glen Oswald’s Serenaders, c. 1924. Photo: Dave Hignett

Henry Halstead and his Orchestra Los Angeles, May 16, 1927 PBVE 318-1 D My Idea Of Heaven rejected PBVE 318-2 H “ unissued PBVE 318-3 M “ Vic 20689 PBVE 319-1 D Rosy Cheeks rejected PBVE 319-2 D “ “ PBVE 319-3 H “ unissued PBVE 319-4 M “ Vic 20891 PBVE 320-1 D Pal Of My Lonesome Hours rejected PBVE 320-2 D “ “ PBVE 320-3 D “ “ PBVE 320-4 M “ Vic 20688 PBVE 320-5 H “ unissued PBVE 321-1 D Ain’t That Too Bad? rejected PBVE 321-2 H “ unissued PBVE 321-3 D “ rejected PBVE 321-4 M “ Vic 20691 Ernest Loomis’ Orchestra Butte, June 2, 1927 PBVE 332-1 D Sweet Someone rejected PBVE 332-2 H “ unissued PBVE 332-3 M “ Vic 20755 PBVE 332-4 D “ rejected PBVE 335-1 H Tiger Rag unissued PBVE 335-2 D “ rejected PBVE 335-3 H “ unissued PBVE 335-4 D “ rejected

Horace Heidt and his Orchestra Oakland, February 13, 1928 PBVE 42000-1 U I Still Love You PBVE 42000-2 U “ PBVE 42000-3 U “ PBVE 42001-1 U Golden Gate

rejected “ “ “

Oakland, February 14, 1928 PBVE 42001-2 U Golden Gate (remake) “ PBVE 42001-3 U PBVE 42001-4 U “ PBVE 42004-1 U Get ‘Em In A Rumble Seat PBVE 42004-2 U “ PBVE 42004-3 U “

“ “ “ rejected “ “

Oakland, March 10, 1928 PBVE 42000-7 U I Still Love You (remake) rejected PBVE 42000-8 U “ “ PBVE 42000-9 U “ “ PBVE 42000-10 M “ Vic 21312 Rust incorrectly dates the second session to 14-2-1928 and omits the third session.

Oakland, February 17, 1928 PBVE 42004-4 U Get ‘Em In A Rumble Seat(remake) rejected PBVE 42004-5 M “ Vic 21311 PBVE 42004-6 U “ rejected PBVE 42007-1 U Every Evening rejected PBVE 42007-2 U “ “ PBVE 42007-3 U “ “ Oakland, February 24, 1928 PBVE 42000-4 U I Still Love You (remake) rejected PBVE 42000-5 U “ “ PBVE 42000-6 U “ “ PBVE 42001-5 U Golden Gate (remake) “ PBVE 42001-6 M “ Vic 21310 PBVE 42001-7 U “ rejected

Oakland, March 2, 1928 PBVE 42001-8 U Golden Gate (remake) PBVE 42001-9 U “ PBVE 42001-10 U “ PBVE 42007-4 U Every Evening (remake) PBVE 42007-5 M “ “ PBVE 42007-6 U PBVE 42007-7 U “

Oakland March 9, 1928 PBVE 42072-1 U What A Wonderful Wedding That Will Be rejected PBVE 42072-2 U “ “ PBVE 42072-3 M “ Vic 21310 PBVE 42072-4 U “ rejected Eddie Harkness and His Orchestra Oakland, February 16, 1928 PVBE 42006-1 U Anything To Make You Happy

rejected

Oakland, March 8, 1928 PVBE 42006-2 U Anything To Make You Happy PVBE 42006-3 U “ PVBE 42006-4 M “ PVBE 42006-5 U “

rejected rejected Vic 21391 rejected

Horace Heidt and His Orchestra, San Francisco, 1929. Photo: Dave Hignett.

“ “ “ rejected Vic 21312 rejected “

The Four Cooties, c. 1928. Trumpeter George Wendt front centre. Photo: Richard Raichelson.

Local Oakland / Los Angeles / San Francisco issues (probably only with the “o” label code = Oakland pressings): 19409, 19474, 19482, 19498, 19511, 19515, 19560, 19665, 19766, 19836, 20048-20053, 20061-20062, 20097, 20144, 20209, 20531-20533, 20593, 20685-20688, 20692, 20694, 20696, 20698, 20700-20710, 21086, 21383.

An Oakland pressing, only issued on the West Coast, of Victor 21383, autographed by Bill Hawley. Photo: Dave Hignett.

Oakland, March 22, 1928 PVBE 42110-1 M Either You Do Or You Don’t PVBE 42110-2 U “ PVBE 42110-3 M “ PVBE 42110-4 M “

Vic 21764 rejected rejected rejected

Bill Hawley and Puss Donahoo Bill Hawley, Puss Donahoo (vcl), acc. by The Four Cooties:George Wendt, t; George Rose, vn; Fred Saatman, p; Rex Glissman, g. Oakland, March 19, 1928 PVBE 42101-1 M Dolores Vic 21383 PVBE 42101-2 U “ rejected PVBE 42101-3 U “ rejected PVBE 42102-1 U Lila rejected PVBE 42102-2 U “ rejected PVBE 42102-3 M “ Vic 21383 The Four Cooties are not named on the EDVR website, but that doesn’t mean that they are not shown on the Victor file card perhaps someone would care to check?

The same view as on page 12, taken in 2016. Photo: Henry Parsons.

National issues (according to the Mainspring Press Victor book, but not in the Talking Machine World new lists and therefore probably not in the supplements): 20090-20091, 20093 Sources: Encyclopedic Discography of Victor Recordings (EDVR) https://adp.library.ucs.edu) William J.Nicolson: Victor in the West: The Oakland Pressing Plant www.gracyk.com/oakland.shtml John R. Bolig: The Victor Black Label Discography. 1800019000 Series (Mainspring Press, Denver 2008, xxv + 420 pages) Idem: ... 20000-21000 Series (ibid 2010, xxvii + 391 pages) Brian Rust: The Victor Master Book, Volume 2 (1925-1936) (Brian Rust, Hatch End 1969, p 184-186, 605-610) Harry O. Sooy: Memoir of my Career at Victor Talking Machine Company. www.davidsarnoff.org/sooyh-maintext1921.html With grateful thanks to Dave Hignett and Henry Parsons for their help and invaluable contributions.

ATE’S DISCOGRAPHICAL RAMBLINGS The 78 era ended about 60 years ago, before I got my first jazz studio on the same day. Clarinet player Fritz Holtz worked with record. But discography is still here with us. It is definitely open- both and arranged and sang vocals. ended and new things are found all the time, as you can see in this issue. Keep on digging! FRED LONGSHAW ON COLUMBIA Bernhard Behncke (Hamburg) acquired a 2nd copy of Fred ART HODES ON SIGNATURE AND MORE Longshaw's Col 14080-D. His first copy had takes 3 on both Data on Art Hodes' first sessions has been added by Björn sides, 1st choices according to the Columbia file cards. His 2nd Englund (Sweden). Signature 9001 (which is the original issue) copy now has 140657-1 for Chili Pepper and 140658-2 for has takes 1501-AA/1502-AA. Tomato Sauce. The file cards give these takes a 2nd choice. Both Jazz Record 1004 combines JR-103 Washboard Blues with mx sides were pressed from A 2 stampers and have the same label JR-104 Eccentric. types, i.e. 12-A (Mahony). Bernhard notes differences in playing Decca session of 19420317: add on Dec (E, export) BM 03428, and thinks that James P. Johnson's influence is more evident on BM 03452. and correct Br(G) 82509 (no A-prefix, post-war these alternate takes. Br(G) issues have no A-prefix).  Black & White sessions of July 1942: add mx nrs: 56-RS She BEN BERNIE ON BRUNSWICK Went And Did Her Dance / 57-RS Sad And Blue / 58-RS Dear The session of 28 July 1928, maybe Ben Bernie's finest. JR6 lists Old Southland. Tests exist of two different takes of Eccentric 3 takes of Ten Little Miles From Town as follows: A-take on Br (These 4 B&W titles were auctioned in VJM long ago.) 4020 (US), the B-take on Br 3882 (UK) and the G-take on Br A-7894. A Retrieval CD claims that it has take B, but it is BARBARY COAST FOUR ON OKeh identical to my Br 4020 US which should be take A. Can Deep-digging Ralph Wondraschek (Germany) found the someone confirm that the take on Br 3882 differs from Br 4020? personnel for the Barbary Coast Four's unique OKeh-recording. Now that we are here: my 2 copies of Br 3145, Bernie's Up And JR6 suggests Vernon Dalhart and Ed Smalle on kazoo, but the At 'Em, have different takes: the British Cliftophone issue shows NY Morning Telegraph of 20 November 1925 lists Murray Gold mx 18505 and differs from the US issue which shows no mx. and Irving Mellman (kazoos), Roy King (banjo) and Joe Markese, guitar. New names in JR! LIONEL BELASCO, NOT LEON Björn Englund notes that the addenda to ADBORAF (p.4389) PERRY BRADFORD ON VOCALION includes recordings by Leon Belasco. This should be Lionel Perry Bradford's Vocalion session of 11 Feb 1925 is infamous for Belasco, but since this concerns West-Indian music it should not its horrible early-electric sound. A few weeks earlier the two have been included. Two OKeh titles listed on the same page tunes (Lucy Long and I Ain't Gonna Play No Second Fiddle) had are not by Belasco but by Ray Miller and Joe Samuels. been recorded by a different Bradford group consisting of 7 men + Bradford, while the remake had one man less, according to LOUIS ARMSTRONG ON VOCALION/DECCA AND ON OKEH the files (JR6 lists 8). Bradford probably used his usual men for Many collectors are familiar with one of Louis Armstrong's the original session but they "were in Europe" so he used greatest records, Static Strut and Stomp Off, Let's Go and most Fletcher Henderson's men for the remake (Hendersonia p. 164). of them are aware of the fact that 2 takes were issued of the The original recording was done acoustically, so omit the E for latter side, the take issued on British Oriole 1004 being the the matrix numbers. (So who were the men ‘in Europe’? Ed) rarest of the two. Apparently it almost went unnoticed that this rare take exists on a small number of the British reissue OKEH DISCOGRAPHY (1) ELLINGTON Brunswick 03594, a dub. In VJM #173, Chris Ellis is interviewed Bo Lindquist (Sweden), in co-operation with Han Enderman and he states that, around 1947, he “bought new over the (Netherlands) produced a magnificent listing of all known OKeh counter the Erskine Tate Static Strut and Stomp Off Let’s Go”. 8000 series issues and their label types, including identification Then his friend Len bought a copy too and “that’s when we of repressings. There are almost 1000 catalogue numbers. discovered that two takes of Stomp Off Let’s Go had been Interestingly one issue in this series remains a mystery. That is dubbed on the Brunswick issue. (Your Rambler owns a Decca Duke Ellington's Black And Tan Fantasy take C, well-known on shellac test of the rare take with mx number XYX1004B, reissues, e.g. Parlophone. JR6 says it's on OKeh 8521 and probably dubbed from the Oriole). 40965. The file card says "use B". Was take 81776-C actually issued on OK? Bernhard Behncke has re-listened to some Armstrongs after he acquired OK 8729 with the non-vocal takes of Some Of These OKEH DISCOGRAPHY (2) KING OLIVER Days and When You're Smiling. This is Carroll Dickerson's band Han Enderman produced a listing of OKeh personal recordings with Homer Hobson as its regular trumpet. Bernhard noted that for Names & Numbers.The list has about 40 issues, including Hobson is heard behind Armstrong's vocals but not at all in the some jazz. OKeh gave the records a customer label and various non-vocal recordings made by Louis with this band in numbered each such label starting from 1 (with one exception, September and November 1929. Jaros, see below). Trimp's Ambassador Bellhops is typical: it is labelled OKeh and has the text Ambassador Record 1 in place NOW A FEW REACTIONS… of the record number. All are rare and several are not in Rust/ Put And Take by Joe Venuti with Adrian Rollini on Odeon (VJM Laird's OKeh book. Interestingly one of them fills an important #178). Björn Englund and Han Enderman answered the gap in the listing of King Oliver's OKehs. That is OKeh Jaros question: Od 189635 should be corrected to A189365, the Record 8397, coupled with OKeh Jaros Record 8398. Blanche highest number in the Deutsche Bibliothek being A189367 Jaros was a talented child saxophone player who is (Armstrong). (A higher number is known: Od A189371 (Cornell / accompanied by Hattie and Jerry Jaros. It has matrix numbers Armstrong). 8397 Frolics Of Spring and 8398 Velma (a Rudy Wiedoeft tune). Chatterbox Rag on Vike's Special (VJM #181): Björn notes that it It fills half of the gap between 8391-94 by King Oliver (22 Jun should have been catalogue no. 125, not 124 and Vike's, not 1923) and 8399-8403 by Erskine Tate and King Oliver (23 Jun Vikes's. The label's story was published by Vidar Vanberg in 1923). Now what are 8395/6 please? BTW Of course OKeh 2007. Nordsk grammofonplatehistorie 18: Vike & Co. 8397/8 are in the OKeh race series too (George McClennon & Rev. Gates). AND NOW ADRIAN ROLLINI! The good news is that I have a publisher for the biography, the DAN RUSSO ON BRUNSWICK & VOCALION bad news is that there's little time for the discography now. One The exchange and addition of personnel by bands for recording question: who has a copy of the Cliftophone issue of Br 2543 dates was a common method to get a full band together and (Rudy Wiedoeft, The Rosary)? now presents a puzzle to discographers. Paul Solarski (USA) writes that the 1929 Brunswick recordings in Chicago are Reactions (and please refer to the relevant VJM issue!) and new typical of this practice. Example: Dan Russo (Brunswick) and Jay information (I can always use more) to a.vandelden@onsmail.nl Richards band (Vocalion). Sometimes these bands were in the Thanks.

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: COMMEMORATION OF THE CENTENARY OF THE ARRIVAL OF THE AFRICAN-AMERICAN BANDS IN FRANCE DURING WORLD WAR 1. By Dan Vernhettes. 56pp Softbound, full colour, profusely illustrated. Available in both English and French language text versions. ISBN 9782953483192 (English text). Jazz’Edit. €20 inc. p&p. www.jazzedit.org America’s entry into the First World War in July 1917 was a gamechanger; the prospect of hundreds of thousands of wellequipped US troops arriving in France and Belgium in early 1918 forced the German commanders Ludendorff and Hindenburg into a Spring offensive which, while initially successful beyond expectation, soon ran out of steam as supply logistics couldn’t keep pace with the advancing troops. The result was a demoralised army unprepared for the counter-offensive, now bolstered by the American forces. It was a gamechanger in other respects as well - regiments of African-American troops arrived in France, bringing with them dozens of well-drilled professional musicians to both boost morale and to act as musical ambassadors bridging the cultural gap between the French and the Americans. Many of these soldier-musicians fell in love with the more racially relaxed atmosphere that pervaded in Europe and once demobbed were on the next boat back, many of them never to return to America’s shores. As well as playing rousing marches, spirituals and ‘plantation melodies’, these bands brought with them the nascent stirrings of jazz, and the looser rhythms and exuberant musical interplay of the new music found instant favour with the locals, be it in a field hospital behind the front line or on the streets of Paris or Aix-les-Bains.

contacts in the New York record industry, and it was his band that was to record a historically significant canon of material that reflected the repertoire they performed in France during the war, and also on their hugely successful tour of the USA that was cut tragically short that May evening in Boston. As well as the leaders themselves, the roster of musicians who served their country is a veritable ‘Who’s Who’ of Golden Age jazz - Sam Wooding, Elmer Chambers, Herb Flemming, Jimmy Bertrand, Willie ‘The Lion’ Smith, Happy Caldwell, Ward ‘Dope’ Andrews, Joe ‘Kaiser’ Marshall, Noble Sissle, Opal Cooper, to name but a few. They paved the way for the waves of African American jazz musicians who would make their homes in Paris, London and, until the rise of the Nazis, Berlin. Dan Vernhettes has produced a superb, well-researched and given the Centenary of the Armistice this November, timely - book, profusely illustrated with maps, plans and photographs - many of them new to me. One minor gripe is that the text could have benefited from a read-through by someone who spoke English as their first language; ‘troops’ spelt throughout as ‘troupes’ starts to grate after a while… Those of you who own Dan’s previous books - his biography of Tommy Lanier - ‘Traveling Blues’ and his ‘Jazz Puzzles’ series of books will be aware of the extremely high production standards he sets, and they will not be disappointed in this.

Dan informs me that stocks of both the English and French versions are extremely low, so I would urge you to buy this The best-known African-American leader of a regimental fascinating and beautifully-produced book before it becomes band was of course James Reese Europe who, along with his a collector’s item! close friend and associate, Noble Sissle, had volunteered to join the 15th Regiment of the New York National Guard as Highly Recommended. MARK BERRESFORD early as September 1916, at the height of the ‘Preparedness’ movement. Europe, besides leading the best-known military band in France, saw action as commander of a machine gun 2 CD SET: BO DIDDLEY: FIVE CLASSIC ALBUMS: “Bo company based in the Argonne forest and at one stage was Diddley”, “Go Bo Diddley”, “Have Guitar Will Travel” “Bo badly gassed. Diddley Is A Gunslinger”, “Bo Diddley Is a Lover”. AMSC1296. Avid Group. www.avidgroup.co.uk. Europe’s fame and shocking death at the peak of his powers This CD gathers together the following albums: Chess LP at the hands of one of his drummers in Boston in May 1919 1431(1958), Checker LP 1436 (1959), Checker LP 2974 has meant that this almost martyr-like end placed him onto a (1960), Checker LP 2977(1960) and Checker LP 2980 (1961). pedestal at the expense of the many other black bandleaders Well remastered by Nick Dellow and complete with the also active in France in World War One. Men such as Will original sleeve notes and wonderful cover photo portraits, Vodery, J. Tim Brymn, Eugene F. Mikell (Europe’s assistant these records showcase the idiosyncratic music and style of a conductor and legendary music teacher of many jazz very influential and important figure in the history of popular musicians) and George Edmund Dulf all led bands in France, music. and later went on to successful careers in music back in the USA. Europe, however was the one lucky enough to have !19

It’s a truism that “The blues had a baby and they named it “rock and roll” and these albums illustrate Bo Diddley’s crucial role in that gestation. The first time I heard the “Bo Diddley” beat was on Johnny Otis’ Willie and the Hand Jive (1958) and I have a clear memory of seeing people on the televison in Britain “doing the hand jive in their seats”. Then there was the Rolling Stones’ Not Fade Away (and the Buddy Holly original), and finally, my encounter with Bo’s BoDiddley (Checker 814). It was his first hit record in 1955 and spawned a “sound” that he understandably amplified by recording numerous variations of it. So here you’ll find Diddley Daddy which features the magnificent harmonica playing of Little Walter, the up-tempo Hush Your Mouth which along with a number of other records (Willie and Lillie), evoke Johnny Otis’ Willie and the Hand Jive, and two of my very favourites - Pretty Thing on which Lester Davenport’s harmonica echoes Bo’s fine vocal, the whole propelled by the irresistible drumming of Clifton James, and the splendid I Need You, popularly known as Mona! The “Bo Diddley beat” is a heavily syncopated rhythm with origins in sub–Saharan Africa, found widely in the music of African – American diaspora: in Mambo and Rumba as well as in the folk tradition of “Ham boning” where the singer/chanter slaps and pats his arms, chest and legs, turning the body into a percussive instrument as he sings. Bo’s eclectic use of older traditional forms was also apparent in his “signifying” dialogues with Jerome Green on Say Man and Say Man, Back Again which clearly, if tamely, evoke the insult exchanges of “the dozens”. The flip side of Bo Diddley was a hard, Chicago blues boast I’m a Man (Checker 814) - memorable in itself, and memorably covered by Muddy Waters. This record like other fine blues sides he made are to be treasured - including the straight-ahead Chicago blues Take a Look at Yourself, and the outstanding You Don’t Love Me which features some of Billy

Boy Arnold’s best harp playing and the wonderful piano playing of Otis Spann. Both of these accompanists also shine on one of Bo’s best blues records Little Girl. These sides emphasis what a fine voice Bo had and what excellent musicians worked with him, such as his regular pianist, Lafayette Leake, heard at his telling best on Oh Yeah. One of Bo’s great advantages was the quality of the musicians that the Chess studios had available as “session” musicians. So we find Clifton James or Frank Kirkland on drums, Willie Dixon on bass, Leake or Spann on piano, sometimes Lester Davenport or Little Walter on harp, but most often Billy Boy Arnold, who along with Jerome Green (vocals and maracas – they added the “Latin tinge”) and Lady Bo (Peggy Jones on rhythm guitar) were the key performers in Bo Diddley’s touring band. The musical core of Bo Diddley’s success was his “beat” and the blues; but his openness to other forms of music played an important part in his popularity and influence. One of his first studio albums, Bo‘s A Gunslinger (1960) features a number of “country and western” themed performances including a version of Tennessee Ernie Ford’s huge hit Sixteen Tons and the novelty number Cheyanne, which celebrates the eponymous hero of a popular television series starring Clint Walker. The photographic cover of Bo dressed in a black “cowboy” outfit, surely sought to evoke Marty Robbins’ massively successful album, Gunfighter Ballads and Trail Songs. He also sang “teen” ballads like Somewhere and on Ride on Josephine attempted to replicate the lyrical wit of Chuck Berry. Bo’s instrumental skills and innovations are also showcased across these records. His first instrument was the violin which features on Bo Blues (where it follows and points his vocal as a harmonica would) and the splendid “after hours” instrumental The Clock Strikes Twelve where he bows and plucks the strings with real virtuosity, but it was his

!20

guitar playing that really caught the attention of audiences and other performers. Bo’s Guitar, Mumbling Guitar, Spanish Guitar, Congo and my favourite, Aztec, showcase this. His guitar sound on these sides is often heavily distorted, employing a marked tremolo and a violin like “scratching” at the string, and rides variety of rhythms from the Latin to the African. Just as the Bo Diddley beat exercised a discernible influence on a number of late fifties and early sixties musicians, so Bo’s guitar experiments helped shape the sound of Jimi Hendrix and others.

of Argentine origin with the lead carried by the company of four banjo players in Europe’s ensemble. The Brazilian Maxixe was nearly as popular as the tango in 1913, with vaudeville dance troupes demonstrating it throughout the country, but it didn’t last; perhaps because no one could pronounce the name (Mac-chi-chi). Amapa, again with banjos in the lead, was a Castle House favorite for demonstrating that dance. You’re Here and I’m Here, an early love song by Jerome Kern, seems an unlikely choice for Europe’s ragtime treatment Of course, not everything here is innovative and some of but it was apparently popular with the Castles and certainly Bo’s ventures into teenage pop are at best dull, at worst awful, popular in its own right. Gilmore provides the ragtime but there’s much to enjoy here, especially at Avid’s prices. drumming accompaniment to the smooth (relatively in Buy and enjoy. comparison to the other non-Latin compositions) violin-led HENRY THOMAS ensemble. This was one of the earliest recorded examples of a fox trot. CD: PRODUCT OF OUR SOULS. The Sound and Sway of James Reese Europe’s Society Orchestra. Archeophone 6010. Castles in Europe was no doubt the group’s tour de force. http://archeophone.com/catalogue/product-of-our-souls/ After a furious opening strain, with an occasional blue note, A few years ago, there was a very popular movie, Whiplash, there’s a classic ragtime second strain, highlighted by a about a young jazz drummer student who was berated glockenspiel, then to the third where the group actually falls constantly by a sadistic music teacher. The name of the movie into a primordial swing before Gilmore shakes things up with came from the song this drummer had to master: a raucous his “Whiplash.” Castles’ Lame Duck probably was created arrangement in 14/9 time. While watching this movie, I to amuse the patrons of Castle House by having them slowly couldn’t help but think of drummer Buddy Gilmore’s playing promenade around the hall in a 5/4 time waddle. at the close of Castles in Europe which he recorded with Jim Europe’s band in 1913! Jazz scholars in the past have lamented that Europe’s recordings offered no chance hear Crickett Smith, the pioneer Gilmore was certainly a revolution all by himself but he trumpeter whose only records with his playing clearly audible was part of Europe’s ensemble that was making history in the were made in India years later. And the Europe Victors have years before the First World War. This set contains all eight of been neglected in reissues, served up only piecemeal in Europe’s 1913-4 Victor recordings plus other artists who various anthologies. Archeophone has done jazz history a recorded Europe compositions or versions of compositions he great service in compiling all of the Victors into this collection recorded, for comparison. with excellent sound. But listen carefully to these tracks because they are rewarding listening, then wonder how The 50+ page booklet that accompanies the CD gives dancers could keep up with tempos. excellent context to these recordings. Ballroom dancing was becoming a national fashion in the early 1910s and the The First World War eventually brought the Castle House leading practitioner of “modern dance” was the glamorous merriment to its end. Vernon Castle was killed in 1918 while couple of Vernon and Irene Castle who opened a dance serving as a flight instructor (he was not shot down, as stated academy/night club in New York that attracted celebrities in the notes) and Europe, commissioned an officer, went to from around the USA and the world. The Castles hired James the battle zone with his Fighting 369th Hell Fighters band Reese Europe as their musical director. Europe, as one of the which recorded a number of sides for the US branch of Pathé organizers of Harlem’s Clef Club, a sort of union of Afro- upon their return. An altercation between Europe and a American musicians, had the pick of the best players. Thus, drummer, Herbert Wright, proved fatal and he died May 10, we have the first auditory glimpse of trumpeter Crickett Smith, 1919. pianist Ford Dabney and, of course, Buddy Gilmore. These were the core members of the group that Europe took to The remainder of the collection features many of the same Carnegie Hall a year before these records were made to tunes played by others – mostly studio ensembles that present a concert of Afro-American music. recorded tunes assembly-line fashion for record companies back then: the Victor Military Band, Prince’s Band The first Europe issue, Down Home Rag and Too Much (Columbia), The Indestructible Band (made for Indestructible Mustard amply shows the excitement which the orchestra cylinders). Of course, they don’t play these compositions with must have generated at the Castles’ night club when it the same vigor and verve as Europe’s ensemble, being just opened in 1912. Surely nothing like the furious tempos and another tune in a long day of cranking out tunes to fill the sharp, relentless double time drumming with cymbal crashes record catalogs. And, of course, they did not have Buddy had been heard in big city society circles up until then. This Gilmore. is ragtime on speed drugs. The other Europe tunes are a welcome addendum to this The second recording reflects the sudden fashion for Latin collection, two being waltzes, (Castle Valse Classique and American dance that hit the US at that time. The Argentine Fiora Waltz Hesitation) and two being the kind of “Lovin’ tango was still relatively new but its erotic touches helped it Man” songs that found wide currency a decade later (Ain’t gain popularity in a flash – even in a time long before mass Had No Lovin in a Long Long Time and I’ve Got the Finest media could spread fads worldwide in days. El Irresistible is Man.) !21

to play his guitar in such an exciting way as to influence the birth of white blues-rock music & Eric Clapton’s Crossroads festival) the author plainly understands that hearsay and legend (as well as sales potential) are easy to obtain when anyone merely mentions Robert Johnson “the greatest of the Delta Blues Singers” and when a medium dose of other past Delta masters can provide ‘guesstimates’ of Johnson’s reckless and diabolical antics at the Crossroads – that is enough motive and information to provide the core of many studies – but few as good as this.

We must thank Archeophone for reissuing these groundbreaking Victor sides by Europe’s Society Orchestra and author David Gilbert, whose book (reviewed separately) The Product of Our Souls, Ragtime, Race and the Birth of the Manhattan Musical Marketplace which inspired this collection. He also authored the 52-page booklet that accompanies the CD which describes the vibrant musical context and content of Europe’s recordings. RUSS SHOR BOOK: BEYOND THE CROSSROADS. The Devil and the Blues Tradition. By Adam Gussow. The University of North Carolina Press. Softbound, 403pp. ISBN 9781469633664 www.uncpress.org I’ve got a book on my shelves called ‘Some Negro Lore From Baltimore’ it was published in 1892 that notes within its pages that some musical instruments, and those who played them around that time, were… “accomplishments of the Devil”. As one ex-slave explained… ”take your banjo to the forks of the road at midnight and Satan will teach you how to play it”. Such Folk tales and monologues run rampant in Southern folklore and with the introduction of flat records, the fables found themselves embellished and incorporated in song. The Devil, in many different hats and guises, sometimes took centre stage. Blues lyrics, in particular, and especially during the pre WWII period, were riddled with such superstition and myth, while their ‘Old-Timey’ equivalents preferred a nice train wreck or similar disaster to appease their record audiences, African American audiences were much more likely to embrace their own folklore and use superstition to further their cause. While the Devil was always, dangerous and to be feared by all, author Adam Gussow rightly adds that the Devil was also an… ”unconstrained exemplum of masculine potency” especially, it would seem, to Southern Blacks.

Even the most cursory look at the recordings of Robert Johnson reveals that much of his particular legends depend solely on the tantalising titles & occasional lyrics in four of his commercially issued songs. The author discusses, arguably the most relevant title, Johnson’s Me and The Devil Blues and reads it as an irreverent and essentially… “comic provocation, a manifestation of Johnson’s cocky, hipsterish “young modern” sensibility”. Moving on, the other titles include a ‘Hellhound’ that had existed in Negro Folklore & Song long before RJ had one on his trail, and Preaching Blues (Up Jumped The Devil) which, beside the extended title has no other mention of the ‘Evil One’ in it’s lyrics. Even the bracketed subtitle itself did not appear on the original Vocalion 78 label , nor did it appear in any edition of B&GR, nor, if my memory serves me correctly, did it appear on the original record company file cards. So where did this occasional ‘add-on’ come from? Who put it there? Now, that really is a sinister mystery! This leaves the one recording that provided this book with it’s title and in Johnson’s Cross Road Blues there is absolutely no lyric mention of supernatural goings on at all – it seems to me that with this song, and the mythology that goes with it, are solely based on the superstitious assumptions of Johnson's mentor, Son House (when he was first interviewed by his young 're-discoverers' back in the early 60s) and, even less reliably, by the predominantly white ‘fan-base’ that nurtures the romantic stereotype of what they believe Robert Johnson and other bluesman should believe, look and behave like. I like the way that the author too - gently mocks some of these legends and dubious connections – but always in the most scholarly fashion and he never fails to provide some fascinating observations and the kind of authoritative analysis on each theme that could only be made by someone that has undertaken some serious and meticulous research.

Take the case of Peetie Wheatsraw, self proclaimed ‘Devil’s Son In Law’. I had never really put much thought to his name - just assuming that Wheatstraw’s sobriquet was nothing more than a ‘tough-guy’s boast’ or at an “Ooh, well, well, stretch”, his way of ‘badmouthing’ his wife or her parents. Gussow, on the other hand, begins his analysis with… ”On the face of it, Wheatstraw’s outsized, devil-associated persona seems a familiar tale of filial rebellion against paternal authority backed by evangelical condemnation… but of course, the story is more complex than that” Blimey! I thought… I hope not!

The standard reference works on the earliest black folklore, terminology and documented superstition such as Hyatt and DARE are acknowledged as are the more specialised research by well known authors like Steve Calt and Paul Oliver (both, sadly no longer with us) to enthusiastic internet But I’m not being sarcastic. This book at times became a ‘newsgroupers’ and relative ‘newbies’ like Cat Ironweed and ‘heavy’ read for me. In fairness to the Author, it is my aged Max Haymes. It is also worth noting the work of the late inability to grasp some of the Social and perspective Keith Briggs and his successor Chris Smith, who have cast the psychology presented in such a study that provided my most expert eyes on such things in the columns of Blues & occasional sticky-patches. There is so much more than I Rhythm magazine. Author Adam Gussow has more than a imagined to unravelling with previously clichéd moderate claim to join the very best of any of the understandings of these blues legends and to their connection aforementioned researchers and writers with his analytic, into a hitherto casual notion of the Devil in music as a depth and insightful look into the ‘Devil-Blues recordings and conventional Faustian tempter. selected sermons’ that are all helpfully logged and listed before the index – (although minus much discographical Gussow doesn’t take on the impossible and meaningless details - but curiously including individual ‘running times’ of task of proving or disapproving such legends. And in the case each separate recording) He takes a closer look at the lyrics of Robert Johnson - yes, it’s him again – (who sold his soul at of a - near comprehensive - 125-plus original blues that talk a crossroads somewhere-or-other, in exchange for the ability about the Devil and uses Clara Smith’s 1924 recording of !22

Blues’, where, some researchers may be surprised to read this issue for ordering details). that Thomas Morris doesn’t get a mention but the author Fletcher Henderson was one of the small number of black “visually and aurally” identifies Joe as Smith and Sidney Depoint Paris crossroads” band leaders who made it bigJohnson in the 1920s managed Done Sold My Soul To The Devil a logical starting in 1999, claiming and theand devil as theirto as the horn players as definitely appearing in Bessie’s two maintain that position into the Swing era of the following and finishes in the 2000s with, among others, John Mayall. own”. reeler. decade, not least because of his status as chief arranger for Goodman orchestra at precisely the time Goodman It is with the inclusion of Mayall and Company and the the FairBenny enough. But it also a wearisome example of the ‘new’ being hailed as the ‘King of Swing’… and it’s for his I can only assume that the final section of this book, under was introduction of ‘Blues Postmodernity’ (modernity refs to way of supposedly documenting blues music - both factually ground-breaking charts with this outfit that many jazz the heading of ‘influences and legacy’ where separate Sociological ‘stuff’ pre-1950s (ish) and postmodernists feel and imaginatively, when it indisputably links itself to lovers the know his namerecent and hisappearance work. I suspect that aawful, good few biographical sections on Connie Boswell, Janis itJoplin, Ella comparatively that “theirs” requires… I know - because I looked up) - that of quite andof them have probably never heard any of For his those 1920swho recordings Fitzgerald, Bob Wills were links addedhis as endlessly things takeBiga Joe turnWilliams for theandworst. Gussow self-promoted ‘Blues – novels’. can’t That these artists were included simply because and wouldn’t give the earlier ones, at least, much time if they ‘padding’. ‘postmodernity’ to the Hollwood movie ‘Crossroads’ (directed see my link or haven’t read any such books - they are fantasythey ‘admired’ Bessie Smith or covered one of her songs – did. But the seeds of Henderson’s orchestrating genius were by Walter Hill in 1986 and starring a midget teeny heart-throb fiction, invariably ‘starring’ a young (or old} white blues-rock rather a random selection. There are few discerning germinating in the period covered by this CD and seems already from ‘Karate Kid’) unfortunately the result is a tedious, guitarist, searching for his, and/or his Black bluesman / hero’s blues or jazz musicians in history that didn’t admire or, many of the tracks here are as interesting for their pointless analysis of an equally tedious and pointless film. roots ‘down-south’ complete with a storyline that more often however by her! Smith together than arrangements as for the hot supernatural, solo work provided by the and stars The authorindirectly, does not were share influenced my low opinion of this laughingly not, includes something a crossroads with Ma Rainey and maybe to a lesser extent, Bessie’s nonplaying them. inept waste of celluloid and devotes too much of his narrative the Devil himself – It is this kind of tosh that has provided relative,toClara Smith Rosa Henderson were‘insights’ THE pioneers trying justify its and existence with new and much inspiration to the ‘blues-tourist’ and I presume that the during the early 1920s, whoand through their record releases The Henderson foremost a dance ‘exclusives’ into its purpose production. Discussion of authors and readersorchestra of such was toshfirst are and prime demographic popularised form of(Iblues phrasing and delivery that I am band, ofplaying this time Club Alabam, the film doesaprovide assume by design) the author with a targets both theatTourist officeatof the Clarksdale as well aswhich Adamis sure influenced ALLtoblues both male and female of of Gussow credited(also on some of the Vocalion There has himself in the past convenient link thesingers, ever-expanding number a working musician issues. – I understand) that time and that we still ‘Blues hear today. been muchtowards speculation about how differentsplendid the band might predominantly Caucasian, tourist’ or, as author Francis particularly the end of this otherwise tome. have sounded away from the recording studio,oldwith the Davis accurately termed them way back in 1995 as… “People They’ll call me an ‘anti-postmodernist’ or ‘mouldy fig’ or It is finally worth noting trulythat excellent musicianssimilar. not confined format (that) go to Mississippi to that look some at things aren’t Bessie there something But by to the the time3-minute Eric Clapton andrecording Stevie think,field) by Don Redman Smith session analysis is being undertaken by Wayne B. Ray demanded. But in as an they interview anymore”. Vaughn (good are ingiven, their Iown come into somewhat later, he made the (their point name that dance bands were Shirley for The Ranson Hogan jazz Archive’s half-yearly any research/story of the blues appears on over expected to stick rigidly theit has 3-minute otherwise newsletter/magazine ‘The Jazz and Archivist’. But waiting six two Bless them. Some face Mecca others Highway 61 with dozen pages here) – toto me, ceasedformula, to be about ‘real the club hostesses – who chargedAnd ’10I would cents have a dance’ months a time for a new chapter any storytoistheir frustrating their ownatpersonal pilgrimages and Iofsay “each own” blues’ certainly as I know it, anyway. been – but their very inclusion in such I would a fine recommend study as this – happy if this study had finished on pageSo 254, at we which I wouldn’t make enough of an evening. what hearpoint on this to say the least. In the meanwhile, - with particularly in the final - one this hefty manuscript would have it an ofunreserved and CD willand be very much whatgiven the patrons the Club Alabam the above reservations this third latest of‘listeners companion’ to could, makes the whole so much of less interest me, personally; enthusiastic Instead, I did my duty,they read to would havecommendation. heard 94 years ago! Except, of course, would the Bessie Smith of library - according to JohntoClark. the publisher’s note tells us that this book a “bold the very end the andband turned final with asound, yawn. whereas PAULisSWINTON have heard in those glorious fullpages frequency PAUL SWINTON reinterpretation of Johnson’s music and a provocative we have to make do with the best the acoustic recording investigation of the way in which of Clarksdale, CD: FLETCHER HENDERSON & the HIScitizens ORCHESTRA - “DO studios could manage. In the case of Vocalion (from whose Mississippi, managed to rebrand a commercial hub -as25. “the THAT THING.” Vocalian and Pathé recordings 1924 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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33 !23

CD: HET RAMBLERS DANSORKEST 1944 - ‘Hilversum Expres’. 26 tracks. Doctor Jazz DJ017. www.doctorjazz.nl/ product-categorie/abonnees/ The German Nazi Party – or, more specifically, the Reich Minister of Propaganda, Joseph Goebbels – declared in 1938 that jazz was entartet (“degenerate”) and was no longer to be broadcast or played in public. The decision was based on the fact that it was black music, blacks were inferior, ergo the music was taboo. Much of the propaganda accompanying the ban featured caricatures of black musicians, in the same style as caricatures of Jews were used to justify bans against them. While this development ensured that recordings made by black musicians in the USA vanished from the German record companies’ catalogues, it clearly didn’t stop French and Dutch issues making it across the German border, and I have seen enough post-1938 recordings by white bands, such as those of Bob Crosby and the Dorseys, stamped “Made in Germany” to suggest that the ban was never total until war finally broke out in September 1939. Moreover, it doesn’t seem to have applied to German bands: Kurt Hohenberger, Willy Berking, Tullio Mobiglia – and others – continued to record ‘hot’ numbers, albeit often with disguised titles: Bald Kommt der Tag (The Day will soon come), by the Bar Trio is actually Some of these Days; and There’s A Blond Young Man Playing in the Bar Next Door is one of Hohenberger’s hottest records – dating from late 1941. Although I’ve never seen this officially confirmed, it’s evident that, as Germans liked the music and needed their minds taking off the growing horrors of war, deaf ears were turned to what these groups were playing. Once the Germans moved westwards into Belgium, France and the Netherlands, they applied the same policy to music as in the Reich – though in varying degrees of harshness. In order to enforce their policies, they re-organised the local broadcasting systems but, in many instances, re-employed existing artists under new fixed contracts, so that they could control what they played more easily. Such was the case with Dutch broadcasting, which was recreated in the German image as Nederlandsche Omroep – een volk, een omroep (“Dutch radio - one people, one broadcasting system”) and, even though the Ramblers Dance Orchestra was well-known for its jazz and swing output, it was re-employed along with several others by the new, Nazi-controlled organisation. To begin with, the new regime meant little more than changing the English song titles into something less provocative. But then came an enforced output of propaganda, interspersed with a diet of marches, songs from operettas and ‘popular’ tunes. But it soon became clear that, until the ‘final victory’ over the Allies was achieved, there would have to be concessions: the realities of war meant the new broadcaster was losing too many listeners to the BBC and the ensuing crack-down, even to the point of confiscating radio-sets, wasn’t working. So, as at home, the occupiers had to bite the bullet and allow a certain amount of ‘swinging’ music onto the airwaves, albeit only played by Dutch bands and alternating with straight dance tunes. Nonetheless, the public face was of a ban on ‘negro elements’ in music…but a ban that was in practice unenforceable: there were threats and warnings, but rarely any sanctions. So many of the same accommodations were made, in order to keep people happier than they might have otherwise been. Jean Omer and Stan Brenders (with Django Reinhardt) continued to play and record their brand of swing in Belgium, and the Ramblers did

likewise, from 1942, in the Netherlands…though the restrictions were tougher there. This was the problem for the musicians: they became part of the propaganda machine of the Third Reich: each Ramblers set was broken up with messages from, for example the ‘Workers’ Front’. And even though their swing numbers had Dutch titles, hard-line Nazis were infuriated by the music, whilst it became obvious that the band’s fans understood that these new ‘names’ – such as Tomorrow is a new Day – had a double meaning and were a symbol of resistance. That particular number was banned in 1943. But there was no point in refusing to work for the Nazis: the alternative was to be deported to work in Germany, which was a real threat made to Theo Uden Masman, the Ramblers’ leader. All the tracks on this CD date from the first half of 1944: in June of that year, after D-Day, the Ramblers were laid off and had to have special permission to broadcast. But up till then, they recorded seven sessions for Decca (thought the last of these remains unissued in its entirety), and all the hotter titles are included here, along with three air shots and two concert tracks. The high quality of the arrangements and the solo work is remarkable and tenor-saxist André van der Ouderaa is outstanding throughout: Fietsen op der Heide is a typical escapist wartime song (“Cycling through the Heather”), but it’s red hot, as is Rosalinde, which features a fine trumpet solo (Jack Bulterman?). The first three Decca sessions were, in fact, recorded in Brussels rather than Hilversum, whilst the Ramblers were touring there… remarkable, given wartime restrictions, but the atmosphere was more relaxed in Belgium and this shows particularly on titles like Jubileum and Chasse à Courre (Steeplechase), which are out and out swing-band numbers, with excellent solo work and fine arrangements (usually by Bulterman). His Studio 10 is fine indeed and is actually a hardly-disguised version of I’m Beginning to See the Light, an English title which would have enraged even the more liberal authorities in Belgium! Belgian composer David Bee’s Obsession is noteworthy not only for its great swing, but also for a fine guitar solo by Jan Mol; Emotion is another Bulterman composition, with some excellent piano (rarely featured) by leader Masman. The title track, Hilversum Expres, is a showcase for Jan Mol’s guitar (he also wrote the number), whilst Au Revoir again features some fine tenor sax by André van der Ouderaa: this is another ‘translated’ title, credited to Masman, but the tune is that old warhorse, Farewell Blues. The next two sessions were recorded back in Hilversum, though there’s no discernible change in musical style to meet the more restrictive approach of the Nazis in the Netherlands. Ay, Ay, Ay is not given the usual latin-american treatment, but a belting swing arrangement, and Michael Jary’s Le Caroussel can hardly ever have been played better by a jazz group. I was particularly impressed by the way the band handle the eight-to-the-bar rhythm on Jack Bulterman’s Etude; all these song-titles seem to be innocuous covers to blindside the ‘Chamber of Culture’ that was tasked with overseeing music policy. Angelina, for example, suggests a gentle love interest, rather than the blasting swinger she turns out to be.

!24

Steeplechase gets a second outing under the German title Hindernisrennen, the first of the Nederlandsche Omroep airshots (hence presumably the German translation); it’s a somewhat more relaxed and precise performance than the commercial recording for Decca and was recorded – and presumably broadcast – two days after the Normandy invasion. The double entendre in the title could hardly have been lost on the authorities, though by this time they may have felt there were bigger fish to fry! Onder wuivende palmen (“Under waving Palms”) might well also have been construed as cocking a snook: after a rather indifferent vocal, it is otherwise a fine swing band number. However, by this time the radio people had insisted on dropping the name The Ramblers in favour of simply Theo Uden Masman and his Dance Orchestra, which perhaps underlines the two stools between which the Germans were falling: their own jumpiness after D-day and the need to keep the listeners happy and onside. And happy they obviously are on the final two tracks, from a concert in The Hague, just a couple of months later, by which time The Ramblers had reclaimed their name and were playing to an ecstatic audience: Op het Ramblers Bal (“At the Ramblers’ Ball”) and Jubileum show the band in fine form, with everyone pretty sure by this time that the ‘final victory’ will not be that of their invaders. Most of the original 78s these tracks are dubbed from were pressed on very inferior shellac because of the wartime restrictions (as I can attest from those I have in my own collection), restrictions which, incidentally, had by this time just about closed down the recording industry in Germany itself. The audio restoration, by Harry Coster, is impressive: the clarity of sound is quite remarkable. MAX EASTERMAN

The first album, Blue & Sentimental, billed as his “comeback,” is a mix of ballads and uptempo tracks with Blue Note stalwarts Grant Green on Guitar, Paul Chambers, bass and Philly Joe Jones on drums. His playing is solid with some depth on the ballads and some nice low down grit on the jumpers, especially Blues for Charlie. The second album, made two days earlier, actually, features his usual accompanist at the time, organist Freddie Roach. Hammond B-3 organs were THE THING for non-bop sessions in the 60s and 70s, and the style suited Quebec who stayed with the standards on this collection. The third album, recorded just about the same time, is called Heavy Soul but is mainly a collection is excellent but neglected songs such as Brother Can You Spare a Dime, Nature Boy and Just One More Chance. Quebec is at his best on this set, delivering powerful statements, especially on Brother Can You Spare a Dime. In the early 60s, Stan Getz’ success with The Girl From Ipanema insured that every sax player who could hold an instrument would be recording Bossa Nova albums. And so Quebec delivered his Bossa Nova Soul Samba with Kenny Burrell on guitar and Willie Bobo percussion. Again, his gritty tone adds an edge to what we would now call “smooth jazz” today. Quebec died of lung cancer less than a year after this last album was released so these were his final statements. Nothing startling in this collection. Some good, solid playing, especially on the Heavy Soul set makes it a good listen.

Like the other Avid Jazz sets, it reproduces the original liner notes in the accompanying booklet, and, happy to say this CD: IKE QUEBEC FOUR CLASSIC ALBUMS. Avid Jazz. collection does not have any tracks edited to fit the time www.avidgroup.co.uk constraints of a double CD. Another grouping of 4 albums from Avid Jazz which RUSS SHOR specializes in compiling several classic albums into a no-frills package at a budget price. BOOK: THE PRODUCT OF OUR SOULS: Ragtime, Race, and the Birth of the Manhattan Musical Marketplace. By Tenor sax man Ike Quebec rarely gets any mention in jazz David Gilbert. University of North Carolina Press, NC Press,   histories and anthologies – like Don Byas and Paul Softbound, 312 pp. $29.95. ISBN: 978-1469622699 Quinichette (and others), they were mainstream players in www.uncpress.org peak form as the bop era took hold so they often missed the I had to stifle a chuckle when I read Paul Swinton’s review of prime record dates and rarely led their own sessions. Like the Beyond The Crossroads elsewhere in this issue and his others, Quebec played so much like his idol (Ben Webster) “inability to grasp some of the Social and perspective that he lacked what’s known today as a signature sound. psychology presented in such a study” as it fits so perfectly for David Gilbert’s sociological study early 20th century racial Quebec recorded sporadically during the 40s but led one politics as viewed specifically through lens of the New York session for Blue Note, during which he fell into favor with theatre and music scene. As such it is extremely academic in Albert Lion, one of the founders of the label. Lion engaged its approach, with ‘dissertation’ screaming from every page in Quebec as a kind of talent scout in the latter 40s, who its bindweed of jargon and first-person statements - “I will brought Thelonious Monk, Bub Powell and others to the label demonstrate…”, “I examine…”, “I show…” etc., etc. long before they were well-known. During the latter 1950s, Quebec was one of Blue Note’s more commercially This is not to say that the author has not done his homework, successful artists – his juke box-oriented 45 rpm singles in the sense that he has apparently read virtually every book helped the label achieve sales beyond its base of die-hard that covers the era of the New York theatre and musical scene jazz lovers. from the 1890s to the late 1910s, with 20 pages of quoted reference sources, but there seems to have been little new The four albums in this collection dates from 1961-2, after primary source material presented; rather it is mainly a reQuebec had been out several years recovering from drug evaluation and re-interpretation of already-published addiction. For the most part the albums were an extension of material. his singles sessions – he’s the only horn with an emphasis on mellow with his gritty Webster-esque tone providing a kick Commencing with the early Broadway shows of Ernest where needed. Hogan, Bert Williams and George Walker, Will Marion Cook, !25

Bob Cole and James Rosamond Johnson, the author examines their role in the ’racial uplift’ movement of the early 20th century led by W.E.B. DuBois and the ‘The Talented Tenth’ of black communities, and the paradoxical need to work in a blackface and ‘happy darkey’ stereotypes to gain acceptance from white theatre audiences and music buyers. The fact that they turned their backs on ‘The Talented Tenth’s’ stressing the uplift values of European classical music and the ‘pure’ music of spirituals, preferring to work in the field of popular music (which in the late 1890s and early 1900s was dominated by ragtime and ‘coon’ songs), set them at odds with many in the movement to improve the lot of African Americans. The fact is though that the huge explosion in popularity of ragtime and ‘coon songs’ brought a professionalisation of music making to a huge number of African American performers which would ultimately lead to the widespread acceptance and popularity of jazz, blues, soul, hip-hop and the proliferation of African American theatrical productions. Many of these pioneer performers based themselves at the Marshall Hotel on West 53rd Street, which in the pre-WW1 period became a veritable hothouse of black musical and intellectual talent and where the future of a new, authentic ’Negro Music’ was debated, discussed and developed.

venture that black New York musicians were soon earning more than their white, unionised, counterparts; but not only that, were taking the top public and private band gigs in Manhattan and the Eastern seaboard. It was only a matter of time that the Local 310 saw the writing on the wall and in 1914 admitted black members. Unlike the Tenderloin ‘professors’ Europe’s Clef Clubbers played what he had written out for them, though recorded evidence such as the records made by The Versatile Four and Ciro’s Club Coon Orchestra - all Clef Club members - in London in 1916-17 (again, not mentioned in the book despite being primary source material) show that they played with a much greater freedom than many writers and academics give credit.

The author’s relentless sociological interpretations slip a notch when discussing Europe and his involvement with Vernon and Irene Castle, and their pivotal role in the nationwide enthusiasm for social dancing, though I find his musical analysis, what there is of it, of Europe’s Society Orchestra Victor recordings, is blinkered by what contemporary academics view as ‘jazz’ - in the authors definition of the essential ingredients of jazz, the likes of the Counter to this intellectualising of African American music, ODJB, early Fletcher Henderson or even Piron’s New Orleans downtown in The Tenderloin district the Real Thing was being Orchestra wouldn’t make the cut. hammered out on pianos by the ragtime ‘professors’ who made their living playing and accompanying singers in the There are some curious omissions, aside from the role of bars and cabarets that proliferated in in the area. Men such as black entertainers in vaudeville - pianist, composer and Luckey Roberts, James P. Johnson, Paul Seminole, Willie ‘The bandleader Ford Dabney barely gets a mention other than as Lion’ Smith, ’One Leg’ Willie Joseph and Stephen ‘The Beetle’ a deputy to Jim Europe, but his gaining the plum New York Henderson outdid one another in flashy piano technique and gig at Ziegfeld’s Midnight Frolic in 1916 with a 30-plus piece even flashier clothes. They performed to young, ‘modern’ band, which lasted at least until 1923 (despite being replaced black audiences across a class divide and to adventurous by Art Hickman’s Orchestra for a season in 1919), was a whites, presaging the Golden Age of Harlem nightclubs and milestone in the advancement of black New York musicians. cabarets. As I’ve made clear, this is heavy-going, academic stuff, The huge advance in black theatrical endeavours ground to which I’m sure will find favour in university music a halt when, between 1909 and 1910, three of of its foremost departments, and in its way is indicative of the shift in creative talents - Bob Cole, Ernest Hogan and George Walker publishing of books on jazz, blues and pre-1960 popular - died in quick succession. The intervening years up to the music away from mainstream publishers to academic presses. 1921 production of Shuffle Along have been described as ‘the There’s nothing here I couldn’t find presented with greater lost decade of jazz’, but in actuality huge strides were being clarity and eloquence in Reid Badger’s seriously good A Life made in black vaudeville (an area - oddly - that Gilbert does In Ragtime - A Biography of James Reese Europe or Thomas L. not touch on), with performers such as Wilbur Sweatman, Riis’ surprisingly neglected Just Before Jazz - Black Theater in Ollie Powers, Shelton Brooks, Horace George and The New York 1890-1915. Musical Spillers making New York their operating base and regularly presenting African American ragtime to black and An important story that should be better known to a new white audiences in the nation’s leading vaudeville houses. generation, but which would have benefited from being told in a less professorial manner. MARK BERRESFORD The leading figure in the years leading up to the arrival of jazz in New York in 1917 was unquestionably James Reese Europe, whose dignified manner, personal charm and organisational abilities were second to none. At a time when the American Federation of Musicians Greater New York Local 310 denied African Americans membership, Europe organised The Clef Club, a booking agency, social club, and ad hoc union to give black musicians greater security and, through Europe’s social connections with the ‘400’ of white New York society, the pick of plum society engagements. More importantly, it was the start of professionalisation of black music, whereas as prior to its formation, many black musicians working in New York restaurants, clubs and ‘Lobster Palaces’ were chiefly employed as waiters and kitchen staff. Such was the success of Europe’s Clef Club !26

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$. N- is the highest grade we use. Winners only notified. Shipping worldwide costs $50 for up to 4 records. Ask cost for shipping more records. No packing cost!! Payment via bank transfer, Skrill or Paypal 94 OK 8318 “TRUETONE”-LAMSTRONG HOT5-Georgia Grind….plays very well V 1 Master 124 D.ELLINGTON The Lady Who…-You can’t Run N95 Romeo 932 BROADWAY BROAD.Honey/HOME TONWERS Let’s Get Tog… N2 Br race 129 D. MAGIC TRIO ”rare series” Huckleberry Blues-Free.. E 96 Romeo 2148 A.ROLLINI You’ve Got Ev’ Rything-And So Good Bie V 3 Ca 937 BROADWAY BROAD. Bye Bye Black../F.RICH Down on the . E97 Br 2277 C. FENTON Lovey Dove-You Won’t be Sorry sol wol E 4 Em 1078 LOUISIANA FIVE Golden Rod-Summer Days E 98 Br X-2359 J.ROBECHAUX St. Louis Blues-King Porter Stomp V 5 Bwy 1168 E.RANDOLPH In my Bouquet of Memories-I didn’t think She’d… E/ETHE WOLVERINES Crazy Quilt-You’r Burnin’ Me Up E6 Radiex 1197 GOLDEN GATE California, Here Here I Come-Steppin’ out rare E 99 Br 3332 7 Olympic 1444 ORIGINAL IND. FIVE Bebe-Beside a Barbbling Brook very rare E+ 100 Br 3351 B.JACKSON(F.WILLAMS) Messin’Around-Heebie Jeebies rare wol V+ 8 Ba 1781 DIXIE WASHBOARD BAND Boodle Am-I’ve Found a New Baby V 101 Br 3627 RED NICHOLS Riverboat Shuffle-Eccentric E9 V.T 2062 R.MARLOW Dixie Jamboree/GEORGIANS Can’t We Be Fr… sol E- 102 Br 4286 RED NICHOLS Roses of Picardy-Allah’s Holiday N10 V.T 2099 MILLS MERRY MAKERS When You´re Smiling/J. WINTZ What..N- 103 Br 4456 RED NICHOLS Alice Blue Gown-A Pretty Girl Is Like a Melody sol E+ 11 Silverstone 2230 LANIN ROSELAND When You and I Were..-You Gave me.. V 104 Br 6035 RED NICHOLS Sweet Rosita-The Peanut Vendor N12 Famous 3109 BROWN’S DIXIELAND/CAL. RAMBLERS Georgia-Bygones E- 105 Br 6266 RED NICHOLS Sweet Sue-Clarinet Marmalade “original issue” sol E- 106 Br 6312 RED NICHOLS Goofus-Going to Town “original issue” N-/E 13 Har 4 SOUTHERN SERENADERS F.H w/Louis- I miss my swiss V+/ V 14 Har 70 DIXIE STOMPERS(FiH) Spanish Shawl-Here com.. ef Hc 30mm nap E- 107 Br 6451 RED NICHOLS Heat waves-Love and Nuts… “original issue” E+ 15 Har 283 DIXIE STOMPERS Alabama Stomp/WMCA BROADCASTERS sol E- 108 Br 6461 RED NICHOLS I´m Sorry-Everybody Loves N109 Br 6711 RED NICHOLS Sweet and Hot-I Got Rhythm E+ 16 Har 231 GEORGIA STRUTTERS Georgia Grind-Everybody ..lt ef nap E110 Br 6767 R.NICHOLS Slow and easy-Waiting the Evening Mail E 17 Har 332 ARKANSAS TRAVELLERS Boneyard Shuffle-Washboard Blues E111 Br 6832 RED NICHOLS Smile Nobody Knows N18 Har 421 ARKANSAS TRAVELLERS Sensation-Ja Da E 112 Br 6833 RED NICHOLS After You’ve Gone-I’m Just Wild About Harry N19 Har 365 BROADWAY BELL HOPS Nesting Time-That´s my Happiness E 113 Br 6836 RED NICHOLS The Sheik-Shim Me Sha Wabble E 20 Har 296 UNIVERSITY SIX (CR) Lonely Eyes-My Baby Knows How E 114 Br 3630 O.MENPHIS FIVE Home Come You Do…-Lovely Lee sol ec nap E- 21 Har 367 UNIVERSITY SIX (CR) The Cat-Oh Lizzie V+ 115 Br 3636 B.SELVIN I Call You Sugar-Yes She Do sol E22 Har 551 UNIVERSITY SIX (CR) There Something Spanish E116 Br 3975 B.GOODMAN’S BOYS Blue-Shirt Tail Stomp sol E23 Har 557 UNIVERSITY SIX (CR)Tell me Little Daisy/NEWPORT S.O- Bl.. E 117 Br 7645 B.GOODMAN BASIN Street Blues-Beagle Street Blues N24 Har 501 ORIGINAL INDIANA FIVE Some Day Sweetheart-I’m Coming.. N118 Br 3998 K.OLIVER Every Tub-Showboat Shuffle sol N25 Har 601 WASHINGTONIANS (D.E) Stack O’Lee …/ARKANSAS TRAV E119 Br 4001 CHICAGO R.K. I’ve Found a New Baby-There’ll Be Some Chang…N26 Har 644 BROADWAY BELLS HOPS Get out and Get.-I Rather Cry .. E120 Br 4404 COTTON PICKERS Sweet Ida Joy-Sugar Is Back in Town E 27 Harmograph. 913 GOLDEN GATE Hugo-Where the Lazy D.. very rare E/E121 Br 4440 COTTON PICKERS St.Louis Gal-No Parking sol dam lbl E28 Harmograph. 954 GOLDEN GATE Caressing-Somebody Lov.. very rare E122 Br 4559 HOTSY TOTSY GANG Harvey-March of The Hoodlums b E 29 Dec 157 F.HENDERSON Wrappin it up-Limehouse Blues E123 Br 6020 C.CALLOWAY Some of These Days-Is That Religion? V/E30 Dec 158 F.HENDERSON Shangay Shuffle-Menphis Blues sol N124 Br 6074 C.CALLOWAY Minnie The Moocher-Doin’ The Rumba E 31 Dec 213 F.HENDERSON Tidal Wave-Down South Camp Meeting E+ E+ 32 Dec 587 RED MC KENZIE Monday in Manhattan-Every now and… sol N- 125 Br 6400 C.CALLOWAY Hot Toddy-Old Yazoo 126 BB 6220 LITTLE RAMBLERS I’m Shooting High-The Music Goes’ Round…N33 Dec 721 RED MC KENZIE Don’t Count Your Kisses-I Don’t Know ... N-/E 127 Br 6273 D.REDMAN How Am I Doin’ Hey, Hey-Try Getting a Good…sol E34 Dec 917 B.HOWARD Bojangles of Harlem-Sing Baby Sing hc nap E 128 Br 6352 J.DORSEY Beebe-Dodles of Oodles sol N35 Dec 2112 B.HOWARD Any Rags?-Kentucky Sure… sol E129 Br 6354 D.REDMAN I Got Rhythm-Tea For Two sol E+ 36 Dec 2356 B.HOWARD Bundle of Love-I Can Tell by Looking… dam lbl N130 Br 6553 ART TATUM Sophisticated Lady-Tea for Two N37 Dec 1621 J.NOONE Four or Five Times-Japansy N131 Br 6570 BABY ROSE MARY Come Out-My Bluebirds Swingin… V 38 Dec 1941 SPENCER TRIO w/BUSTER BWYPCH-Lorna Doone… wol N132 Br 6743 E.CONDON Home Cooking-The Eel N-/E39 Dec 624 J.VENUTI Mellow as a Cello-Nothin’ But Notes sol N133 Br 6763 F.TRUMBAUER Break it Down-Juba E40 Dec 2312 J.VENUTI Something-Nothing sol E++ 134 Br 6336 D.ELLINGTON The Sheik-Blue Ramble wol N41 Dec 2313 J.VENUTI Flip-Flop sol wol V+ 135 Br 6802 D.ELLINGTON Tishomingo Blues-Yellow Dog Blues N42 Dec 7002 GEORGIA WASHBOARD High SocietY-Everybody Loves … V+ 136 Br 6810 D.ELLINGTON Jazz Convulsions-Jolly Wog E43 Dec 1676 J.DODDS Melancholy-Stack O’Lee Blues N137 Br 6811 D.ELLINGTON When you’re Smiling-Sweet Mama N44 Dec 7413 J.DODDS Shake Your Can-Blues Calore N138 Br 7625 D.ELLINGTON I’snt Love The Strangest Thing-No Greater… E+ 45 Variety 517 REX STEWART Rexatious-Lazy Man Shuffle N139 Br 7629 F.TRUMBAUER Announcer Blues-Fligth of Hay-Bag N46 Variety 518 F.NEWTON You Show me the Way-Please don’t Talk N/N140 Br 7729 T.WILLSON w/Billie Holiday My Melancholy Baby-I Cried for You N47 Variety 527 C.WILLAMS Blue Reverie-Down Town Uproar N141 Br 7884 T.WILSON How Could you-Carelessly E/V 48 Variety 593 CAB CALLOWAY My Mezzanine Cal-Congo sol N 142 Br 7954 T.WILSON Big Apple- You Can´t Stop me V+ 49 Variety 608 CHAUNCEY MOORHOUSE On the Alamo-Blues… B Flat E/E143 Br 7960 T.WILSON If I Had You- You Brought a New Kind E50 Variety 524 R.NICHOLS Wake Up and Live-Never in a Million Years sol V+ 144 Br 8087 T.WILSON w/Billie Holiday Miss Brown to You- Sweet Lorraine E 51 Variety 668 BUSTER BAILEY Dizzy Debutante-Afternoon in Africa E 145 Br 8112 T.WILSON Moments Like This- I Can´t Face the Music E+ 52 Col 636 CELESTIN TUXEDO Josephine-Station Calls rare E146 Br 8116 T.WILSON All My Life- Don´t Be That Way N53 Col 654 F.HENDERSON Stampede-Jackass Blues sol E147 ViAr 25026 F.WALLER Rosetta-I Ain´t Got Nobody N54 Co 817 F.HENDERSON The Chant-Henderson Stomp N148 ViAr 25039 F.WALLER You´re the Cutest One-Hate to Talk abo… sol N55 Col 970 F.HENDERSON Tozo-Rocky Mountain Blues sol E 56 Col 2352 F.HENDERSON What Good Am I…-Keep a Song in Y… dam lbl N-/E 149 ViAr 25063 F.WALLER Lulu´s Back in Town-Sweet and Slow sol N150 ViAr 25015 F.WALLER Viper´s Drag-Clothest Line Ballet N57 Col 2559 F.HENDERSON Sugar-Blues in my Heart ef nap E-/E 151 ViAr 25065 F.WALLER Squareface/G.GIFFORD-Dizzi Glide N58 Col 1229 CHARLESTON CHASERS Five Pennies-Feelin’ no Pain pw NARGENTINIAN JAZZ 59 Col 1260 CHARLESTON CHASERS Imagination-Sugar Foot Strut N60 Col 1717 IPANA TROUBADOURS Mississippi-A Precious Little Thing… sol E 152 BEMOL 8043 SWING TIMERS Palabritas-Tu Me Enseñaste E 153 Ideal 1048 ORQUESTA CARABELLI Crying for You-Yes We Have…V+ 61 Col 1719 B.SELVIN If I Had You-Carolina Moon sol E rd 154 TK 5027 AHMED RATIP C.PICKERS The 3 .Man-El Maraquero ef nap E62 Col 2103 R.BLOOM The Man From the South-St.Jame’s Infirmary V+ 5045 AHMED RATIP C.PICKERS El Mundo Espera la…-Ay que Bueno N63 Col 3213 B.SELVIN Lejos de ti-Ojazos Que Alumbrais mi Amor very rare sol E- 155 TK 64 Col 3627 F.WESTPHAL Those Longing for You/HAPPY SIX-Pick me Up N- 156 S&R 3 ASES FRANC.y ARGENTINOS Sweet Georgia Brown-Narcisse N 65 Col 3634 E.WILSON w/J.DUNN Mammy I’m Thinking of You-Take it Couse… E- 157 S&R 1 SINCOPA y RITMO ORQUESTA Blue Skies-Darktown Stru…NI Never Knew-Buddy’s Habbits N66 Col 3910 P.SPECHT Don’t Cry Swanee-Morning Will Come dam lbl E 158 S&R 2 H.L.FIETTA 159 BrAr 2004 SAM LIBERMAN Os Beso la Mano,Madame-Amor Pag… vals E 67 Col 3995 F.HENDERSON Dicty Blues-Do Doodle Oom wol E- 68 Col Flag 3888 BESSIE SMITH W/F.H Baby Won’t You Please…-OH Dad… V+/E- 160 Nac 8084 E.IYRIBARREN Oh Katharina-Lazy V+ 161 ViAr 60-2194 P.BUSTOS SEXTETO Caravana-Cumana E69 Col Flag 3956 CALIFORNIA R. My Sweetie Went Away-I Love Me E++ 70 Col Flag 4000 C.SMITH w/F.HENDERSON Awful Morning’ Blues-I Never…V+ 162 ViAr P-1218 HOT CLUB BUENOS AIRES Strar Dust-I Can’t Give…. E+ A.CARABELLI ORCH. Cancion del Amor-Recordar vals E-/E 71 Everybodys 1017 LEROY SMITH June Brought /CHIC WINTERS Dream… p.w V 163 ViAr 37004 72 Everybodys 1038 GOLDEN GATE Yearning-Easy to Please rare ef A1 lvl V 164 ViAr 68-899 VARELA VARELITA Ovejitas Blancas-Porteño y Vivaracho E 165 ViAr 60-1742 PANCHITO CAO El Bote-El Bichito N73 Everybodys 1043 I. POST If you See.. –Swanee Butterfly... very rare E166 ViAr 60-1137 SANTA ANITA Sing,Sing,Sing-Buscandote bolero V+ 74 Everybodys 1044 ARTHUR FIELDS Farewell-Oh How I miss You Tonight E167 ViAr 60-2087 HECTOR ORCH. Candy and Cake-Junto a Ti son V/V+ 75 Sunset 1075 THE CALIFORNIACS Yearing-Moonligth and R.. very rare Ebolero E 76 Sunset 1134 C. STEVENSON´S Remember/O. FALLON Lonesone... very rare E 168 ViAr 60-1522 HECTOR ORCH. Swanee-Adios 77 Sunset 1117 C. STEVENSON´S Milemburg Joice-Yes Sir That´s my. .very rare V 169 ViAr 60-704 HECTOR ORCH. Candy-Par que Subas bolero V+ 170 ViAr 60-1886 HECTOR ORCH. Papa Don’t Preach to me-Pecado bolero N78 Voc 1184 J. NOONE Sweet Sue-I Know that You Know p.w V+ 171 ViAr 60-1952 HECTOR ORCH. Dixie-And the Angels Sing E79 Voc 1185 J. NOONE Four or Five Times-Every Evening p.w V 172 ViAr 60-1951 HECTOR ORCH. Jazz Me Blues-Copacabana samba V 80 Voc 3213 F.HENDERSON Stealin’Apples-Grand Terrace Swing V+ 173 ViAr 60-0996 HECTOR ORCHESTRA BIG. The GIPSY-Personality N81 Voc 3244 HENRY ALLEN You-Would You V+ 174 ViAr 68-1848 JAZZ CASINO Drummer’s Boys-Confeso samba V+ 82 Voc 3300 STUFF SMITH Bye Bye Baby-Knock Knock… sol E175 ViAr 63-0094 JAZZ CASINO Palestina-Meddley ef nap V 83 Voc 3302 H.ALLEN Algiers Stomp-When Did You… E 176 ViAr 60-1286 AHMED RATIP C.PICKERS My Blue Heaven-Sweet Ge… N84 Voc 4636 C.WILLAMS Mobile Blues-Gal Avantin’ N85 Clover 1596 CALIFORNIA MELODIE S. Oh Say/ CLOVER D.O. When You...V+/E- 177 ViAr 60-0315 A.DE LA RIESTRA ORCH. Soft Shoe Shuffle-Sunday M… E 86 Clover 1607 CALIFORNIA MELODIE S. I´m Gonna…A.-Cotton..very rare wol E- 178 ViAr 60-1915 JAZZ SAN FRANCISCO Por aLa Verja-Si Me Sacara… N179 ViAr 39293 E.KAY ALABAMA JAZZ El Muchacho…-Las Estrellas... N87 Gnl 1703 J.R.MORTON Sweet Substitute –panama eb nap E 180 ViAr 60-1867 HAWAIAN SERENADERS Again-Cumana E88 Gnl 1704 J.R.MORTON 7 Good Old New York-Big Lip Blues E+ 181 OdAr 22 308 O. ALEMAN Swing en L-Dulce Hogar samba sol E 89 Gnl 1706 J.R.MORTON 6 Get the Bucket-Why N182 OdAr 22143 E.ARMANI Los Monitos Bailan Boogie-La Ultima Noche V 90 Gnl 1711 J.R.MORTON 7 Dirty,Dirty..-Swinging the Elks N91 Domino 4062 F.HENDERSON There’s a Rickety …/ROUNDERS-Is She…rare E 183 OdAr 22116 E.ARMANI Hace Mucho Mucho Tiempo-El Hombre Caiman V 184 OdAr 22107 E.ARMANI Acentuando lo Positivo-Dulce V 92 OK 4228 M.SMITH Mem’ries of you- If You Don’t Wan’t… sol E185 OdAr 22129 E.ARMANI Comienza el Beguin-I-II sol E 93 OK 6084 C.CALLOWAY Bye Bye Blues-Run Little Rabbit faded E-

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 familiar with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! NOTE: Some of the categorisation of certain instrumental-based artists has been, by necessity, arbitrary so please check all sections.

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

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

001 BLUE BELLE (Bessie Mae Smith, acc. Lonnie Johnson s1). Mean Bloodhound Blues/Death Valley Moan. OK 8704 E+ A1 stampers 002 BIG BILL BROONZY. When I Had Money/ I’ve Got To Dig You. Vo 05563 E+ 003 Double Trouble/ All By Myself. OK 06427 EE+ 004 BUMBLE BEE SLIM. If The Blues Was Whiskey/ Bricks In My Pillow. Vo 02995 E005 BUTTERBEANS & SUSIE (King Oliver acc s1). Construction Gang/ A To Z Blues. OK 8163 V++ 006 DOCTOR CLAYTON. Doctor Clayton Blues/ Gotta Find My Baby. BB B8901 E/V+ 007 CHAMPION JACK DUPREE. County Jail Special/ Fisherman’s Bl. Joe Davis 5103 E+ 008 BLIND BOY FULLER. Truckin My Blues Away/ Babe U Gotta Do Better. Col 37777 E+ 009 JAZZ GILLUM. Jazz Gillum’s Blues/Country Woman Blues. Vic 20-0005 E+ 010 STOMP GORDON. Ride Superman Ride/ Oh Tell Me Why. Savoy 1504 E+ 011 LILLIE GREENWOOD. Disatisfied Blues/ I’m Goin’ Crazy. Modern 20-771 E+ 012 PEG LEG HOWELL. Beaver Slide Rag/ New Jelly Roll Blues. Col 14210-D E+ Superb 1927 guitar sides from A stampers! 013 JIM JACKSON. Jim Jackson’s Kansas City Blues Pts 1 & 2. Voc 1144 E+ Classic sides in amazing condition! 014 JULIA JONES (Perry Bradford acc). That Thing Called Luv/ Liza Johnson Got Better Bread. Gnt 5177 V+ 015 BROTHER JOE MAY. Day Is Past & Gone/ Do U Know Him. Spec SP347 EE+ 016 GENE COY & HIS KILLER DILLERS. Killer Diller/Teddy Bear. Regent 129 E- lts scfs 017 JACK McVEA ORCH (Rabon Tarrant-Sammy Yates vcls). Two Timin’ Baby/ Swing Man. Exclusive 255 (DJ copy). E/EE- lt scrs s2 018 LIZZIE MILES (Teddy Bunn-Pops Foster acc). Too Slow Blues. 1-sided vinyl Victor Master Test Pressing of matrix 58678-2 E+ Unissued on 78! 019 ROY MILTON SOLID SENDERS. True Blues/ Camille’s Boogie. Spec SP510 E+ OS 020 PILGRIM TRAVELERS. A Soldier’s Plea/ Nothing Can Change Me. Spec SP345 E+ 021 RANGERS QUARTETTE. Let Jesus Convey U Home/ Keep A Happy Heart. OK 06445 E 022 HERMAN ‘PEETIE WHEATSTRAW’ RAY. Trouble Blues/ Little Piece of Leather. Dec 48105 E+ 023 BESSIE SMITH. Frankie Blues/ Hateful Blues. (Flag) Col 14023-D EE+ tiny ef s1 0gvs 024 Weeping Willow Blues/ The Bye Bye Blues. (Flag) Col 14042-D EE- Fine acc, Joe Smith etc! 025 Me and My Gin/ Slow and Easy Man. Col 14384-D EE- sm ef s1 nap 026 CLARA SMITH. Waitin’ For Evening Mail/ Don’t Tell Nobody. (Flag) Col 13002-D E- rubs s1, nap 027 ROOSEVELT SYKES. Training Camp Blues/ Sugar Babe Blues. OK 6709 E 028 TAMPA RED. Don’t Deal With the Devil/ I Got A Right To Be Blue. BB B8991 EE+ 029 Gin Head Woman/ Don’t Jive Me Mama. BB B9009 EE+ 030 WALTER VINCSON. You Know What U Promised Me/ Every Dog Has His Day. BB B8288 E+ 031 WASHBOARD SAM & HIS WASHBOARD BD. Get Down Brother/ You Stole My Love. BB B9018 EE032 WHISTLIN’ RUFUS (Rufus Bridey). Sweet Jelly Rollin’/ Sleepin’ By Myself. (Buff) BB B6277 V++ 2 sm rc, 0gvs, odd ‘burr’ mark s1 nap. Heavy on the innuendo! 033 LEONA WILLIAMS & HER DIXIE BAND. Uncle Bud/ Mexican Blues. Col A3736 E fine sides! !28

034 EDITH WILSON & JOHNNY DUNN’S JAZZ HOUNDS. Take It Cause It’s All Yours/ Mammy I’m Thinking of U. Col A3634 EE035 Rules & Regulations Signed Razor Jim/ He May Be Your Man.. Col A3653 EE- great sides! 036 & DOC STRAINE. There’ll Be Some Changes Made/ Gonna Be A Cold Cold Winter. (Flag) Col 14066-D E+ superb copy, and uncommon!

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

037 LARRY ADLER. St. Louis Blues/ Solitude. ReZ MR1883 E+ Fine hot London 1935 sides with small group backing 038 AMBROSE & HIS ORCH. Louise. 1/s vinyl Master Test Pressing of Decca mx MB295-3A E lt swish. Hot solos - Ahola, Heath, Crossman etc! 039 BOSTON ORCHESTRA. Unfortunate Blues/ ROMAINE ORCH (Savoy Orpheans). Nobody Luvs Me. HMV B1977 EE- Uncommon and hot 1924 side by contingent of the Savoy Orpheans! 040 BENNY CARTER & HIS ORCH. Gin and Jive/ There’s A Small Hotel. (Swing) VoE S57 E+ 041 Mighty Like The Blues/ I Ain’t Got Nobody. (Swing) VoE S110 E Holland 1937 042 EDDIE CARROLL SWINGOPHONIC ORCH. Midnite in Harlem/ Night Time in Cairo. PaE R2504 E+ Uncommon! 043 BILL COLEMAN (Trumpet solos w/ Herman Chittison pno). I’m In The Mood 4 Luv/ After U’ve Gone. (Fr) HMV K7764 V+, plays better 044 LOUIS DE VRIES & HIS RHYTHM BOYS. St. Louis Blues/ Moon Glow. DeE F5568 Fine London 1935 sides, Danny Polo etc! OS 045 CHAS DOLNE SWINGTETTE + DAVE BEE. St. Louis Blues/ Musik, Musik, Musik. (Belg) De 8750 V++ sm rc s1 nap. Brussels 1940 Jazz harp! 046 BUDDY DOYLE (w/ Al Siegel Piano). How Could Red Riding Hood/Could I? I Certainly Could! Zon 2850 E- very rare and red hot London 1926 sides featuring legendary white jazz pianist! 047 BELLE DYSON. I’m The Last of the Red Hot Mamas/ He’s A Good Man To Have Around. EBW 4963 E- Fine hot acc! 048 FRED ELIZALDE & HIS MUSIC. You Can’t Have My Sugar for Tea/ Calling Me Home. BrE 157 E- fine solos side 1, Rollini etc! 049 How Long Has This Been Going On/ Tea Time. BrE 169 EE+ solos both sides! 050 KAI EWANS ORCH w/ BENNY CARTER. Blue Interlude/ When Lights Are Low. (Scan) HMV X4699 E+ Copenhagen 1936, rare! 051 BERT FIRMAN’S DANCE ORCH. Rhythm of the Day/ Honey Bunch. Zon 2777 EE- Fine and very rare London 1926 sides! 052 QUINTUPLETS OF SWING. Keep Goin’/ Blue Strings. PaE R2514 E+/E lt scfs s2 nap Fine and uncommon 1937 sides - F. Gardner etc! 053 TEDDY FOSTER & HIS KINGS OF SWING. Sing Sing Sing. 1/s vinyl Master Test Pressing of Decca mx TB2447-1 E+ 054 St. Louis Blues/ The Melody Man. DeE F6149 EE+ 055 STEPHANE GRAPPELLY & HIS HOT 4 (Django). Djangology/ Avalon. DeE F6077 EE+ Paris 1935 056 FRANK HERBIN (American pianist in London, 1924). Peanut Cackle/ Coaxing The Piano. HMV B1774 E+ Uncommon! 057 BOB HOWARD (Yes! THE Bob Howard, London 1936.) Swing It Bob pts 1 & 2. BrE 02230 E 058 Swing It Bob No. 2, pts 1 & 2. BrE 02230 E 059 SPIKE HUGHES & HIS DECCA-DENTS. Bottoms Up/ Bigger And Better Than Ever. DeE F1730 E Great London 1930 sides, Goldberg, Polo! 060 DANCE ORCH. Dinah. 1/s vinyl Master Test Pressing of Decca mx GB5216-1 E+ 061 Everybody Luvs My Baby/ Misty Mornin’ DeE F2166 EE- lt scfs nap Norman Payne tpt 062 FREDDY JOHNSON & HIS HARLEMITES. Harlem Bound/ Sweet Madness. DeE F3810 EE+ Paris 1933, Arthur Briggs tpt 063 Tiger Rag/ I Got Rhythm. DE F5110 E+ Great sides! 064 THE KRAKAJAX. You’re In Kentucky/ Pullman Porter Sam. PaE F488 E Rare and fine! 065 ARTHUR LALLY’S MILLION-AIRS. Mary Jane/ Monte Carlo. DeE F2348 E+ 066 WILLIE LEWIS & HIS ORCH. Rhythm Is Our Business/ All of Me. CoE DB5017 EE- lt scfs nap Paris 1936 067 MONIA LITER (Piano solos). Alexander’s RTB/ Dinah. BrE 01814 E+ Uncommon and fine London 1934 sides! 068 LONDON RADIO DANCE BAND (Sid Firman). Zulu Wail/ If I Had Only Known. CoE 4685 EE+ Hot and rare! 069 ED LOWRY & THE GILT EDGED FOUR. Maxie Jones (King of the Saxophones)/ And Then I Forget. CoE 4376 EE- Fine and uncommon 1927 sides by visiting American singer, with great backing! 070 RONNIE MUNRO ORCH (as Comedy D.O.). When I Met Connie In The Cornfield/ I’m Thirsty For Kisses. PaE E6198 E- 2 hot 1929 sides! 071 BARRIE OLIVER (Ahola, Polo acc). Tain’t No Sin/ Every Day Away From You. White Label ‘Review issue’ Decca F1606 E+ Rare and hot! Here’s a rare opportunity to buy really clean copies of the highly desirable London 1919/20 ODJB Columbias - these are seldom seen in any condition! 072 ORIGINAL DIXIELAND JAZZ BAND. Barnyard Blues/ At The Jazz Band Ball. 12” CoE 735 EE073 My Baby’s Arms/ I’m Forever Blowing Bubbles. (12”) CoE 805 E074 Soudan/ LONDON D.O. Me-Ow. (12”) CoE829 EE+ 075 JACK PAYNE & BBC DANCE ORCH. Blondy/ The Man From The South. CoE CB28 EE+ slt gv dam start s1, 2 light tix. Red hot London 1930! 076 VAN PHILLIPS & HIS BAND. Nobody Cares If I’m Blue/Living A Life of Dreams. CoE CB158 E 2 hot 1930 sides 077 QUINTET OF THE HOT CLUB OF FRANCE (Django). H.C.Q. Strut/ The Man I Love. DeE F7475 E+ London 1939 078 Hungaria/ My Melancholy Baby. DeE F7198 EE+ 079 Nuages/ Love’s Melody. DeE F8604 EE+ 080 REGENT DANCE ORCH (Stan Greening Band?). Deep Henderson/ Sunny Swanee. EBW 4572 E- Uncommon! 081 DJANGO REINHARDT (Guitar solo). Improvisation/ DJANGO REINHARDT & STEPHANE GRAPPELLY. I’ve Got My Love To Keep Me Warm. DeE F6935 E+ London 1938 082 RHYTHMIC EIGHT. Just Another Day Wasted Away/ Together. Zon 5129 EE- Superb version beautifully-recorded, Ahola, Perley Breed etc! 083 Saskatchewan/ I Found Sunshine... Zon 5199 E- solos 084 Exactly Like You/ Sunny Side of Street. Zon 5649 EE+ Lally bar sax 085 RHYTHM RASCALS. Dinah. 1/s vinyl Master Test Pressing of Crown mx H44-? N086 Music Goes Round and Round/ Talking It Over. Crown 120 E 087 Withdrawn 088 HUGO RIGNOLD (Violin solos). Calling All Keys/ Poor Butterfly. PaE R2150 E-, lt nr s2, lt tix 089 THE ROMAINE FIVE. Jig Walk/ Hi Ho The Merrio. EBW 4511 EE- Fine and rare 1926 version of early Ellington tune! 090 ARTHUR ROSEBERY’S KIT KAT BAND. Virginia/ Blue Grass. PaE R277 V++/E- 2 hot 1928 sides - rare! 091 SAVOY HAVANA BAND (Arthur Rosebery Band?) Liza Lee. 1/s vinyl Master Test Pressing of Decca mx GB2145-1 V+ heavily stained metal, causes extensive swish 092 SAVOY PLAZA BAND. Louise/Mean To Me. Duophone D4048 E- sm lt scr tix s1. Fine Ahola tpt solo s1 093 LEX VAN SPALL-FREDDY JOHNSON & THEIR ORCH. Haarlem Hot Club Stomp. 1/-sided oversize vinyl Master Test Pressing of Decca mx AM125-1 E+. Great Holland 1934 sides with African Americans Jake Green, Freddy Johnson and vocalist Rosie Poindexter! 095 RAY STARITA AMBASSADORS BAND. There’s Somebody Else/n.i CoE 4872 EE- Great arrangement, nice Ahola! 096 HENRY STEELE Piano solos + Orch). Slippery Fingers/ Jack O’Diamonds. Picc 340 E 2 ul spider cr nap Fine and Rare! !29

097 “T” TOLL’S SWINGTOWN FIVE. Shoe Shine Boy/ Robins and Rose/ PaE R2256 EE- Hot and rare 1936 sides by US College Band! 097 ANDRE VAN DER OUDERAA +THE RAMBLERS (Violin solo). Raggin’ The Fiddle. 1/s vinyl Master Test Pressing of Decca mx FGB5909-1 E+ Hot violin solo with fine small group acc. with booting baritone sax solo, London 1933. 098 GUS VISEUR & SON ORCH. Tiger Rag/Gettin’ Sentimental Over U. (Fr) Col DF2806 V++ 099 VICTOR VORZANGER’S BROADWAY BAND. Mean Mean Mama/When It’s Night Time In Italy. Gmn 1454 E Racially mixed band in London, 1923 100 JAY WILBUR’S BAND. If Your Kisses Can’t Hold The Man U Love/ That’s Where South Begins. Imp 2335 EE- Fine arr. s1 with excellent guitar and baritone sax solos! London 19301

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

101 MIKE BERNARD (Piano Solos). Aisha - Indian Intermezzo)/ Mendelssohn Fantasie. ReE G6077 V+ New York 1913 Piano ragtime, unissued in USA! 102 BLACK DIAMONDS BAND. Grizzly Bear/ The Fighting Fifth. Zon 801 E Fine 1911 ragtime! 103 Splashes/ Uncle Sam. Zon 1925 E+ S1 Fine rag composition by Dave Comer, Savoy Quartet pianist! 104 PIETRO DEIRO (Accordion solos). International Rag/Down in Chatanooga. HMV B704 E 105 (LOUIS) HIRSCH’S RAGTIME BAND. How Do You Do Miss Ragtime/ The Wedding Glide. HMV B188 E+ Superb copy of London 1912 sides directed by celebrated American composer 106 H.M. COLDSTREAM GUARDS. Hiawatha. 1/s G&T GC2-9 V dig 4 gvs tix Rare London 1904 Ragtime 107 H.M. GRENADIER GUARDS. A Coon Band Contest/ Whistling Rufus. Scala 20 EE+ London 1904 Cakewalks! 108 THE LONDON ORCHESTRA. It’s The Pretty Things You Say/ Oh You Little Bear. Cinch 5069 E Don’t be put off by the titles - these are fine 1913 ragtime sides played by one of the best bands of the time, made up of London Palladium musicians. 109 THE MAYFAIR ORCH. He’s A Rag Picker/The Mississippi Bubble. HMV B289 E- lt scfs and scrs nap 110 THE PEERLESS ORCH. Red Pepper Rag-Time/ Ye Gods and Fishes. Zon 905 E- Great version! 111 JOHN PIDOUX (Banjo solos). Darkey’s Delight/ Darkey’s Lament. Cinch 5272 E+ Stunning copy of 1914 Banjo solos! 112 L’ORCHESTRE TZIGANE, PARIS. Tres Moutarde/ El Irresistible - Tango. (Fr) Disque Gram 230841/2 E+ Superb copy of rare and very unusual 1912 Paris sides! 113 SAVOY QUARTET (Racially-mixed group w/ black US drummer). Darktown Strutters Ball/All Bound Round Mason-Dixon Line. HMB B991 E114 How Ya Gonna Keep Em Down on Farm/ Hindustan. HMV B1060 E- lt scrs s1 115 Kissable Child/ Syren Song. (Indian) HMV C796 EE- quality pressing! 116 SIX BROWN BROTHERS. That Moaning Saxophone Rag/ VAN EPS TRIO. The Original Fox Trot. HMV B526 EE+ Lovely copy! 117 THE THREE RASCALS. The Gaby Glide/ Ragging The Baby To Sleep. Scala 419 E- Great 1913 rag vocals with fine piano! 118 THE TWO THREE RASCALS. When The Jazz Band Starts To Play/ Oh Death Where Is Thy Sting. Zon 2281 E- Astonishing piano solos on this rare 1922 side! 119 VAN EPS BANJO ORCH. Thanks For The Lobster/ My Hindoo Man. ReE G6892 EE+ Fine copy of 1914 Clarence M. Jones composition s1! 120 THE VERSATILE FOUR. After You’ve Gone/ What Do You Mean By Loving Somebody Else. EBW 3379 EE- shallow dig s1 lt tix. Very fine 1919 sides by pioneer Black group in London!

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

121 HENRY ALLEN & HIS N.Y. ORCH. Patrol Wagon Blues. 1/s Vinyl Victor Master Test Pressing of mx 62345-2 E+ Gorgeous sound!! 122 Funny Feathers Blues/ Everybody Shout. (Buff) BB B6588 E tiny dig end s2 lt tix Victoria Spivey vcl s1 123 IVIE ANDERSON & HER BOYS FROM DIXIE. All God’s Chillun Got Rhythm. 1/s Vinyl Oversize Master Test Pressing of Vri mx M520-2 E+ Unissued on 78! 124 LOUIS ARMSTRONG & HIS HOT 7. Wild Man Blues/ DUKE ELLINGTON ORCH. Black & Tan Fantasy (-c) (purple) PaE R3492 E 125 LIL ARMSTRONG & HER SWING ORCH. It’s Murder/ Just For A Thrill. (SB) Dec 1182 E+ Orig Sleeve Fabulous sides! 126 BENNIE’S LOUISVILLE RHYTHM KINGS (Ben Pollack band, Goodman, Tea). Shout Hallelujah Cause I’m Home. PaE R340 EE- Unissued in USA! 127 HARRY BARTH’S DANCE ORCH. I Like Pie/CALIFORNIA RAMBLERS. Sonya. PActE 11001 E- Great side 1 by the Ted Lewis band ‘moonlighting’ excellent solos, Brunies, Klein etc! 128 BEN BERNIE HOTEL ROOSEVELT ORCH. Mandy Make Up Your Mind/ n.i. Gmn 1696 E Fine side, Pettis etc! 129 Cheatin’ On Me/All Aboard For Heaven. Voc 15027 E Pettis solo, hot side 130 BARNEY BIGARD & ORCH. Noir Bleu. 1/s Vinyl Victor Master Test Pressing of mx 061689-1 E+ sm eb 0gvs. Unissued on 78! 131 EUBIE BLAKE & HIS ORCH. Life Is Just A Bowl of Cherries/ n.i. Imp 2628 E+ 132 BUCK & BUBBLES w/ THEIR BUCKETS. Rhythm For Sale. 1/s Styrene Master Test Pressing of Col mx 152581-2 E+ Great side Unissued on 78! 133 BUSSE’S BUZZARDS. Monkey Doodle Doo/ PAUL WHITEMAN O. No Man’s Mamma. Vic 19934 E+ odd spots on lbl s1. 134 CALIFORNIA RAMBLERS (as Southampton Soc O). Oh Say Can I See U Tonight/I Miss My Swiss. Per 14457 E+ ex solos both sides 135 BLANCHE CALLOWAY & HER JOY BOYS. Misery. 1/s Styrene Master Test Pressing of Vic mx 69025-1 N- Unissued on 78! 136 Casey Jones Blues/ McKINNEY’S COTTON PICKERS. Talk To Me. Vic 22640 E lbl tr s1, HMV Import sticker s2 137 JOE CANDULLO EVERGLADES O. Brown Sugar/ ADRIAN SCHUBERT O. Tell Me Tonight. Imp 1761 E solos both sides 138 CAROLINA CLUB ORCH. Some Sweet Day/ SAM LANIN O. Wedding of Painted Doll. (Ger) Parlophon A4572 EE- solos s1, rare issue 139 DOC COOK & HIS DREAMLAND ORCH. Sidewalk Blues/ NEW ORLEANS OWLS. White Ghost Shivers. Col 862-D looks V++, plays much better! 140 WILTON CRAWLEY & HIS ORCH. Keep Your Business To Yourself/ She’s Got What I Need. (Buff) BB B5827 E- sol Masters. Jelly piano! 141 PHIL DANNENBERG & HIS ORCH. All On Account of Your Kisses/ FRED RICH ORCH. Little Things In Life. Ariel Z4693 E+ Two fine hot sides 142 TOMMY DORSEY (tbn solos acc. Dorsey Bros O). Maybe. 1/s Oversize Vinyl Master Test Pressing of Br mx 13207-B Unissued! This take not even mentioned in Rust! 143 EDGEWATER BEACH HOTEL ORCH (Philip Spitalny O.). Go Get ‘Em Caroline. 1/s Styrene Master Test Pressing of Col mx 150833-2 N144 DUKE ELLINGTON ORCH. If You Were In My Place. 1/s Oversize Vinyl Master Test Pressing of Br mx M770-1 E+ Unissued on 78! 145 Scrounch. 1/s Oversize Vinyl Master Test Pressing of Br mx M771-1 E+ Unissued on 78! 146 PEGGY ENGLISH (Acc. Nichols, Lang, Tarto). High High Up In The Hills/ How Long Must I wait For You. (Eng) Oriole 2001 E- sol s1, lbl dam s2 Utterly delightful sides!! 147 LLOYD FINLAY & HIS ORCH. Jews-Harp Blues/Fiddlin’ Blues. Vic 19644 V+ scrs, dig 4 gvs s2, lt tix. sol 148 BOB FINLEY & HIS ORCH. Audition Blues/ BOB HARING O. Four or Five Times. Lin 3132 E- Hot and uncommon! 149 FINZEL’S ARCADIA ORCH. Nothing But/ Barney Google. OK 4861 EE+ Detroit band! 150 FRIAR’S SOCIETY ORCH. Eccentric/ HUSK O’HARE’S SUPER ORCH. San. Gnt 5009 E Fine copy of Jazz Classic! 151 EARL FULLER’S FAMOUS JAZZ BAND. Cold Turkey/ I’m Sorry I Made You Cry. (Vert) Gnt 8504 E- Rare 1918 sides! 152 I’m Sorry I Made You Cry/ALL STAR 3. Sand Dunes. Ed 50521 E153 GEORGIA MELODIANS. Savannah (-A)/ MERRY SPARKLERS. You Are Too Sweet (-C). Ed 51346 V+ !30

154 Red Hot Mamma (-C)/ Charley My Boy (-A). Ed 51394 E155 JEAN GOLDKETTE & HIS ORCH. My Blackbirds Are Bluebirds Now. 1/s Vinyl Victor Master Test Pressing of mx 48617-3 E+ Unissued on 78! 156 Don’t Be Like That/ My Blackbirds Are Bluebirds Now. Vic 21805 E 157 FRED HALL’S SUGAR BABIES. Waitin’ For Katy/ She’s Sweetheart of 6 Other Guys. (Red) PaE E6037 V++ 2 hot sides 158 MAL HALLETT & HIS ORCH. She’s A Corn-fed Indiana Girl/ VIRGINIA CREEPERS. Bye Bye Blackbird. (Marble wax) Pathe 36437 EE- Amazing Larry Shields-like clarinet s1! 159 JOE HAYMES & HIS ORCH. Happy As The Day Is Long/ Lazybones. Per 15790 E Fine solos s1! 160 FLETCHER HENDERSON & HIS ORCH. Beale Street Mamma/Don’t Think You’ll Be Missed. Pur 11226 E-2 sm digs s2, lt tix Rare! 161 Why Couldn’t It Be Poor Little Me?/ REX BATTLE O. Honest & truly. Apex 8316 V+ Louis! 162 Hot and Anxious/ HORACE HENDERSON ORCH. Happy Feet. Shellac ‘Avakian’ Col Master Test Pressing of mxs 151443-1/265150-2 E+ Super sound! 163 JOHNNY HODGES & HIS ORCH. Lost In Meditation. 1/s Oversize Vinyl Master Test Pressing of Br/Voc mx M855-1 E stained pressing, plays fine. Unissued on 78! 164 JAMES P. JOHNSON & HIS ORCH. Memories of You. 1/s Oversize Vinyl Master Test Pressing of VOC MX 24776-1 E+ Unissued on 78! 165 JOHNNY JOHNSON & HIS ORCH. Rhythm Saved The The World/ Is It True What They Say About Dixie. Per 6-06-04 EE166 LONNIE JOHNSON (Guitar solos). Playing With The Strings/ Stompin’ ‘Em Along Slow. (Race) PaE R2259 E Guitar classics! Next, a rare opportunity to bag the complete output of the KXYZ Novelty Band, a stomping small San Antonio-based group recorded in 1935 which include Joe Barber’s booting tenor sax and Buddy Bolden’s bass player, Jimmy Johnson! 167 KXYZ NOVELTY BAND. The Sheik of Araby/ Avalon. (Buff) BB B5831 E+ sol s1 168 Basin Street Blues/ I Never Knew. (Buff) BB B5832 E sol s1 169 Bugle Call Rag/ That’s A Plenty. (Buff) BB B5852 E+ sol s1 170 Indiana/ I Found A New Baby. (Buff) BB B5868 E 171 EDDIE LANG & HIS ORCHESTRA. Bugle Call Rag/ Feeeze an’ Melt. (Ger) Odeon 0-28500 E+ Stunning sound on lovely pressing! 172 LANIN’S ROSELAND ORCH. Cary Me Back To Carolina Home/ Lost. Fed 5239 E fine tpt/clt 173 DANCE ORCH. Crazy Quilt/ SEVEN LITTLE POLAR BEARS. Any Ice Today. Romeo 260 EE174 Susianna/ MIKE MARKEL O. Once In A Lifetime. PaE R339 E- Bing Crosby vcl s1, rare! 175 LANIN’S SOUTHERN SERENADERS. Satanic Blues (-2)/ Eddie Leonard blues (-1) Re 9191 E scr s1 nap. Fine 1921 sides, Doc Berendsohn etc! 176 GEORGE E. LEE & HIS ORCHESTRA. Paseo Street/ If I Could Be With You. (Lightning) Br 7132 E 1929 KC Jazz Classics! 177 TED LEWIS & HIS BAND. Beale Street Blues (-2)/ Memphis Blues. Col 1050-D V++ Extremely rare -2 of ‘Beale’ 178 There’s A Ring Around My Rainbow/ All Aboard For Dreamland. (Royal Blue wax) Col 2758-D E+ Very rare, fine Muggsy solo s1! 179 JACK LINX & HIS BIRMINGHAM SOC SERENADERS. Pardon The Glove/ TED WALLACE & HIS O. Buffalo Rhythm. OK 41014 looks V+ plays E! Two very fine sides 180 Withdrawn 181 LOPEZ & HAMILTON KINGS OF HARMONY O. Bo-La-Bo/ N.I. Ed 50649 E182 VINCENT LOPEZ HOTEL PENN. ORCH. Runnin’ Wild/ Down In Maryland. OK 4772 EE+ 1” scr s1 lt tix in places 183 LOUISIANA FIVE. B-Hap-E/ Foot Warmer. Ed 50569 E 184 CLYDE LUCS & HIS CALIFORNIA DONS. Swingin’ In A Jug/ Chinese Rhumba. Voc 3845 E+ sol s1 185 WINGY MANNONE & HIS ORCH. Big Butter and Egg Man/ Weary Blues. Ch 40055 E Master pressings of red hot 1930 sides 186 Fare Thee Well Annabelle/ Good Ship Lollypop. (Gold) Voc 2914 E 187 McKENZIE’S CANDY KIDS (Eddie Lang gtr). Panama/ When My Sugar Walks Down Street. Voc 14977 E- scfs + lt scrs 188 VIC MEYERS HOTEL BUTLER O. Shake It & Break It/ Mean Mean Mamma. Br 2501 EE- Fine 1923 West Coast sides! 189 RAY MILLER & HIS ORCH. Stomp Your Stuff/ n.i. BrE 3132 E+ Uncommon 190 Phoebe Snow/ Hold Me In Yr Arms. Br 2898 E+ 191 IRVING MILLS HOTSY TOTSY GANG. High and Dry/ Barbaric/ BrE 1023 EE+ Great sides - Hoagy! 192 MILLS BLUE RHYTHM BAND. The Stuff Is Here. 1/s Vinyl Victor Master Test Pressing of mx 80278-1 E+ 193 Ride Red Ride/ Congo Caravan. Col 3087-D E+ 194 CHAUNCEY MOREHOUSE & HIS SWING SIX. Blues In B Flat/ On The Alamo. Voc 3847 E+ Fine 1934 sides, Lytell, Brunies etc 195 LEE MORSE & HER BLUE GRASS BOYS. Tentin Down in Tennessee/ Poor Papa. Per 11608 E- Hot acc s1 196 JELLY ROLL MORTON (pno solo). Seattle Hunch. 1/s Vinyl Victor Master Test Pressing of mx 49449-2 E+ 2nd Master 197 BENNIE MOTEN’S KANSAS CITY O. South Street Blues/ She’s Sweeter Than Sugar. OK 8255 E/EE- Hard to find this clean! 198 18th Street Strut/ Things Seem So Blue To Me. OK 8242 Looks V, plays V++ or better 199 Sad Man Blues/ EARL HINES & HIS ORCH. Have You Ever Felt That Way. Vic V38048 V++ 200 The Blue Room. 1/s Vinyl Victor Master Test Pressing of mx 74848-1 E+ Amazing sound quality! 201 NEW ORLEANS JAZZ BAND. Tin Roof Blues/ 6 Black Diamonds. Mindin’ My Business. Ban 1318 E- lt scfs nap, sol s1 202 NOVELTY FIVE. Barkin’ Dog Blues/ Laughing Hyena. Voc 14061 V Great early jazz sides! 203 HUSK O’HARE’S SUPER ORCH. Tiger Rag/ Boo Hoo Hoo. Gnt 4850 V++ Richmond, 1922. 204 KING OLIVER & HIS ORCH. Passing Time With Me/ What’s The Use of Living Without Luv. Vic 23011 EE+ Fine copy Next, another selection of nice clean ODJBs - don’t miss the 12” English Columbias in the British-European section… 205 ORIGINAL DIXIELAND JASS BAND. Indiana -3/ Darktown Strutters Ball -4. Col A2297 EE206 JAZZ BAND. At The Jazz Band Ball/ Ostrich Walk. Vic 18457 E 207 Fidgety Feet/ Lazy Daddy. Vic 18564 E+ 208 Sweet Mamma Papa’s Getting Mad/ Broadway Rose. Vic 18722 EE209 St. Louis Blues/ Jazz Me Blues. Vic 18772 E 210 ORIGINAL INDIANA FIVE. The Crawl/ JACK PETTIS BAND. Muddy Water. Ot 829 EE211 TINY PARHAM & HIS MUSICIANS. That Kind of Love. 1/s Vinyl Victor Master Test Pressing of mx 48850-1 E+ lbl dam. Unissued on 78! 212 JACK PETTIS & HIS BAND. Candies Sweets/ MIKE MARKEL O. Let Smile Be Yr Umbrella. Re 8463 E sol 213 Freshman Hop. 1/s Styrene Master Test Pressing of OK mx 401594-B N- Goodman, Tea etc! 214 PIRON’S NEW ORLEANS ORCH. Red Man Blues/ Do Just As I Say. Vic 19646 EE+ Fine copy of 1925 NO Jazz Classics! 215 THE RED HEADS. Alabama Stomp/ Brown Sugar. PActE 11236 E216 ROCKY MOUNTAIN TRIO. Charleston Clarinet Blues/ Freakish Blues. (Red) Gnt 3002 V+ 217 LUIS RUSSELL & HIS ORCH. Goin’ To Town. 1/s Vinyl Victor Master Test Pressing of mx 70196-1 E+ Classic in Superb sound! 218 SAXOPHONE JAZZ ORCHESTRA. Livery Stable Blues/ CORDES JAZZ ORCH. Darktown Strutters Ball. (Vert) Pm 30033 E 1918 ‘Jass’ sides 219 BEN SELVIN & HIS ORCH. Tessie Stop Teasing Me/ Sweet Little You. Voc 14852 EE+ 220 BOYD SENTER & HIS SENTERPEDES. Dopin’ You Good/ Shine. Vic 29192 EE+ Fine sides, Lang, Dorseys etc. 221 NOBLE SISSLE’S SWINGSTERS. Characteristic Blues/ Okey Doke. Voc 2840 E Bechet features! !31

222 SNOOKS & HIS MEMPHIS RAMBLERS. The One Man Band. 1/s Styrene Victor Master Test Pressing of mx 69921-1 N- Unissued on 78! 223 EDDIE SOUTH & HIS ORCH. That’s What I Call Keen/ THE ALL STAR ORCH. I’m More Than Satisfied. Vic 21605 E+ Surprisingly uncommon and two great - but stylistically very different - sides! 224 MIKE SPECIALE & HIS ORCH. I Love My Baby/ BILL WIRGES O. Don’t Wake Me Up. Per 14536 E+ 225 What Did I Tell Ya? (-A)/ JACK STILLMAN ORCH. Looking For A Boy (-C). Ed 51687 E+ 226 HARRY SPINDLER HOTEL SINTON ORCH. Wabash Blues/ Leave Me With A Smile. Gnt 4796 E227 THE SPIRITS OF RHYTHM. I’ve Got The World On A String. 1/s Oversize Vinyl Victor Master Test Pressing of ARC mx TO-1336 E+ Unissued! 228 STATE STREET RAMBLERS. My Baby/ Tack It Down. John R. T. Davies Vinyl Master Pressing of Gnt mxs 13686/ 13691 N229 ST. LOUIS RHYTHM KINGS. Papa De-Da-Da/ She’s My Sheba… Col 349-D E+ Fine small band sides! 230 THE SUNSHINE BOYS. Does My Baby Love Me. 1/s Shellac Columbia Master Test Pressing of mx 149703-3 E+ Fine gtr/vn acc! 231 SYNCO JAZZ BAND. The Moan/ Blacksmith Rag. (Vert) Pathe 20461 EE232 JACK TEAGARDEN. I Just Couldn’t Take It Baby. Oversize Shellac ‘Avakian’ Columbia Master Test Pressing of Br mx 14297-A E+ 233 TENNESSEE TOOTERS. Those Panama Mamas/ Red Hot Henry Brown. Voc 15004 E234 FRANKIE TRUMBAUER & HIS ORCH. No One Can Take Your Place/ Reaching For Someone. PaE R420 EE+ S1 Bix Rarity Unissued in USA! 235 VAN’S COLLEGIANS. Jig Walk/ ORIGINAL INDIANA FIVE. Indiana Stomp. Per 14603 E- s great sides 236 VARSITY EIGHT. Hard Hearted Hannah/ BOB HARING O. Blue eyed Sally. Cam 588 E Rollini, Davis, Moore etc s1 237 JOE VENUTI’S BLUE FOUR. The Wild Dog. 1/s Vinyl Victor Master Test Pressing of mx 63700-1 E+ Best sound! 238 WABASH DANCE ORCH (Red Nichols Orch). That’s My Weakness Now/ MAJOR CLUB O (LOUIS KATZMAN O). Where Shy Little Violets. Duo D4001 E Made for the British market and Unissued in USA! 239 TED WALLACE & HIS ORCH. Zulu Wail/ Cornfed! OK 40915 E+ Superb copy of two fine sides! 240 FATS WALLER & HIS BUDDIES. The Minor Drag/ Harlem Fuss. Vic V38050 E+ HMV Import stickers on lbls 241 PAUL WHITEMAN ORCH. Choo Choo/ BEN SELVIN O. Sing Another Chorus Please. Col 2491-D E+ Lovely copy! 242 Nobody’s Sweetheart. 1/s Shellac Columbia Master Test Pressing of mx 149123-2 E+ 243 Xmas Night In Harlem/ Carry Me Back To Green Pastres. Vic 24615 E244 CLARENCE WILLIAMS JAZZ KINGS. Freeze Out/ A Pane In The Glass. Col 14460-D E+ Beautiful copy! 245 ORCH. He’s A Colonel From Kentucky/ Swaller Tail Coat. EBW W121 E+ Lovely copy of rare issue! 246 COOTIE WILLIAMS RUG CUTTERS. Blue Reverie. Oversize 1/s Vinyl Master Test Pressing of Vri mx M188-1 E+ Unissued Take! 247 DOUGLAS WILLIAMS (clt solos). Buddy George/ Neal’s Blues. Vic V38518 EE+ sol

SECTION FIVE: JAZZ AND BLUES BOOKS.

248 BLUES RECORDS 1943-1970 A-K. Mike Leadbitter & Neil Slaven. Record Inf. Services, 1987 (1st). 800pp HB. Ex 249 VOCALION 100 AND BRUNSWICK 7000 RACE SERIES. Helge Thygesen & Russ Shor. Agram 2104. 330pp, HB. N- You all need this! 250 THE JUG BANDS OF LOUISVILLE. Ed. Laurie Wright. Storyville 1993, 80pp PB, ill. E- Indispensable Bio-discography of all known Louisville Jug Band records. 251 DISCOGRAPHIE CRITIQUE DE JAZZ. Hugues Pannassie. Robert Laffont 1958. 624pp, PB. VG, yellowing pages. French language discography. 252 FATHER OF THE BLUES - The Autobiography of W.C. Handy. Sidgwick & Jackson, 1957 (1st Ed). 318pp HB, DJ, illus. Ex, tr to top spine of dj 253 HIGHBROW/LOWDOWN; Theater, Jazz and the Making of the New Middle Class. David Savran. U of Michigan Press, 2009. 326pp, HB, DJ, ill. N254 A GLIMPSE AT THE PAST. An Illustrated History of Some Early Record Companies That Made Jazz History. By Michael Wyler, Jazz Pubs, 1957, No. 192 of limited edition. 32 leaves, , PB, ill. VG, tr to lower spine 255 HAL KEMP ORCHESTRA 1926-1940. By J. Taylor Doggett. Self Pub. 1998. PB many pages and pics. Odd assemblage of notes and pics to accompany an audio cassette tape of Kemp 78s. E256 NEW ORLEANS JAZZ - A FAMILY ALBUM. Al Rose and Edmond Souchon. LA State Uni Press, Revised Ed, 1978. 320+pp, HB, DJ, many ill. Ex. Impressive and essential guide to New Orleans jazz families. 257 JAZZ DANCE - A History of the Roots and Branches. Ed Lindsay Guarino & Wendy Oliver. U Press of Florida, 2014. 312pp, HB, DJ, ill. N- Study of Jazz choreography. 258 BLIND BOONE; Missouri’s Ragtime Pioneer. Jack A. Batterson. U of Missouri Press, 1998. 118pp, pb, ill. E+ Biog of Ragtime pioneer. 259 HORACE SILVER DISCOGRAPHY. Mark Gardner. Self pub no date. 22 leaves, pb. E260 JAMES P. JOHNSON - FATHER OF STRIDE PIANO. Part Two - Discography. Frank Trolle. Micrography, 1981. 48pp PB E261 THE DUKE ELLINGTON READER. Ed Mark Tucker. OUP 1993. 536pp PB. E Essential for all Ellington fans! 262 JOSEPH LAMB - A PASSION FOR RAGTIME. By Carol J. Binkowski. McFarland 2012. 240pp, PB, ill. N- Definitive biography of Ragtime pioneer. 263 TIN PAN OPERA - Operatic Novelty Songs of the Ragtime Era. By Lary Hamberlin. OUP 2011. 336pp, HB, DJ, ill. E, some page turn creases. Very interesting and useful examination of the oft-ignored relationship between classical music and popular ragtime songs. 264 LOCAL 802 AMERICAN FEDERATION OF MUSICIANS DIRECTORY, 1969. 518pp PB. E- Invaluable research tool listing all Local 802 (Greater New York) members listed by instrument and address - some very well known names from 1920s and 30s here!

BUYING NOW! I pay Top Prices for Top Quality Jazz and Blues 78 collections of American original issues and original pre-1935 European Jazz and will travel virtually anywhere for the ‘right’ records. I also offer very competitive consignment rates to sell quality Jazz and Blues 78s.

What Do You Have?? I always have a constantly-changing stock of 12000+ Classic Jazz, Blues, Dance, Big Band, Bop/Modern Jazz and Personality 78s plus gramophones and phonographs, hundreds of jazz and blues books, discographies, magazines and related ephemera for Set Price sale from £1 upwards - visitors are always welcome... but please phone or email first! +44 1773 550275 Email: mark@jazzhound.net Web: www.jazzhound.net

MARK BERRESFORD RARE RECORDS !32

Wim Bor Levendaalseweg 13 3911 BD Rhenen The Netherlands wim.bor@planet.nl Grading is conservative. E+ is the highest grade I use. All my records are play graded. You pay actual shipping cost, no packaging or handling fee. Shipping to anywhere in the world, by surface or air, as preferred. All bids remain confidential. Your satisfaction is guaranteed and any item can be returned for a full refund within 14 days. On request I am willing to send pictures and sound clips of the records. POLYSTYRENE MASTER PRESSINGS (78 RPM) 01 Barbary Coast Orchestra Wabash Blues (issued on Columbia 72-P) 02 Barbary Coast Orchestra San (issued on Columbia 72-P) 03 Mart Britt and His Orchestra Sadness Will Be Gladness (unissued) 04 Blanche Calloway and Her Joy Boys Misery (unissued) 05 Lloyd Finlay and His Orchestra Ride 'Em Cowboy (unissued) 06 Benny Goodman with Billie Holiday Your Mother's Son-in-Law (on Columbia 2856-D) 07 Halfway House Orchestra I'll Go Back To That Dear Old Pal O' Mine (unissued) 08 Halfway House Orchestra Wylie Avenue Blues (issued on Columbia 01437) 09 Billie Holiday and Her Orchestra I'm Gonna Lock My Heart (unissued) 10 Robert Johnson Milkcow's Calf Blues (issued on ARC 7-10-65) 11 McKinney's Cotton Pickers Laughing At Life (unissued) 12 Blind Willie McTell (Hot Shot Willie) Searching The Desert For The Blues (on Victor 23353) 13 Memphis Jug Band Bob Lee Junior Blues (unissued) 14 Memphis Jug Band I Can Beat You Plenty (issued on Victor 38586) 15 Jelly-Roll Morton's Red Hot Peppers Gambling Jack (unissued) 16 Bennie Moten's Kansas City Orchestra Oh! Eddie (unissued) 17 New Orleans Black Birds Playing The Blues (unissued) 18 Shreveport Home Wreckers Home Wreckin' Blues (issued on Victor 23275) 19 Mamie Smith Keep A Song In Your Soul (issued on Okeh 8864) 20 Snooks and His Memphis Ramblers Roll On, Mississippi, Roll On (issued on TT C-1588) 21 Ted Weems and His Orchestra Sophomore Prom (unissued) 22 Paul Whiteman and His Orchestra Pretty Lips (unissued)

Mx 170031-1 Mx 170032-2 Mx 47019-3 Mx 69025-2 Mx 32109-1 Mx 152568-3 Mx 146218-2 Mx 146220-3 Mx 23154-2 Mx DAL 403-3 Mx 64607-1 Mx 71606-1 Mx 40314-1 Mx 55599-1 Mx 64313-2 Mx 62911-1 Mx 49249-3 Mx 59966-2 Mx 404853-A Mx 69920-2 Mx 49431-5 Mx 37286-1

E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+ E+

BLUES 23 Helen Beasley 24 Robert Hicks (as Barbecue Bob) 25 Papa Charlie Jackson 26 Jim Jackson 27 Kansas Joe and Memphis Minnie 28 Lizie Miles acc. by Jelly-Roll Morton 29 Charles “Speck” Pertum 30 Iva Smith

Brunswick 7077 Columbia 14280-D Vocalion 03048 Vocalion 1144 Columbia 14542-D Victor 38571 Brunswick 7146 Paramount 12436

EE-/EEE+/E+ EE+/EE+ E-/EE-/EEEE+/EE+ E/E V+/V+

Pallas 1224 Odeon A-166041

V+/V+ E/E

Edison Bell 5597 Brunswick AH-81578 Parlophone R-648 Parlophone R-101 Parlophone R-129 Parlophone F-229 HMV EG-2375

E/E E-/V+EE/EE/EE/E E/E E/E

Okeh 8300 (small red) Okeh 8519 (small red) Columbia 14220-D Odeon OR-967 Columbia 2559-D Okeh 8772 (small red) Brunswick A-7871 Brunswick 7058 Columbia 2346-D QRS R-7004 Parlophone A-3805 Columbia 14402-D

E+/E+ E+/E+ E/EE+ EE+/EE+ E+/EE+ E+/E+ EE-/EEE+/E E+/E+ V+E-/V+EE+/E+ V+/V+

Gennett 5620

EE-/EE-

Rambling Mind Blues/Tia Juana Blues Crooked Woman Blues/'Fo Day Creep (looks E+) You Put It In, I'll Take It Out/If I Got What You Want Jim Jackson's Kansas City Blues - Part 1/Part 2 Bumble Bee/I Want That I Hate A Man Like You/Don't Tell Me Nothin' Harvest Moon Blues/Gamblers Blues My Own Man Blues/Rising Sun Blues

EURO JAZZ 31 Fred Adison und seine Swing-Solisten In The Mood/Solitude (Basel, October 1942) 32 Josephine Baker Hello Bluebird/Breezing Along With The Breeze Some swishes at end both sides. Looks E+ 33 Madame Tussaud's Dance orchestra Lightning/You're Still In My Heart 34 Bobby Martin's All Star Orchestra Crazy Rhythm/Let's Dance 35 River Club Orchestra Gunga Din And His Lute/Bigger And Better Than Ever 36 Noble Sissle's Special Orchestra Westward Bound/Since You Have Left Me 37 Noble Sissle's Special Orchestra Sunny Skies/Guiding Me Back Home 38 The Washboard Serenaders Dear Old Southland/Lonesome Road 39 Marek Weber und sein Orchester My Golden Baby/My Little Boy CLASSIC JAZZ 40 Louis Armstrong and His Hot Five 41 Louis Armstrong and His Hot Five 42 Celestin's Original Tuxedo Orchestra 43 Annette Hanshaw (both sides take 2) 44 Fletcher Henderson and His Orchestra 45 J.C. Higginbotham and His Six Hicks 46 King Oliver's Dixie Syncopators 47 Jabbo Smith and His Rhythm Aces 48 Ethel Waters 49 Clarence Williams and His Orchestra 50 Clarence Williams' Jug Band 51 Leroy Williams (Leroy's Dallas Band) 52 Wolverine Orchestra

Heebie Jeebies/Muskrat Ramble Weary Blues/That's When I'll Come Back To You Dear Almanzoer/Papa's Got The Jim-Jams Ho Hum/There Ought To Be A Moonlight Saving Time Sugar/Blues In The Night Higginbotham Blues/Give Me Your Telephone Number Every Tub/Show Boat Shuffle Sleepytime Blues/Little Willie Blues I Got Rhythm/Three Little Words Long, Deep And Wide/Speakeasy (with King Oliver) Organ Grinder Blues/You Ain't Too Old Tampa Shout/Going Away Blues Most parts play E but there are some stressed grooves. Prince Of Wails/When Sugar Walks Down The Street

129 130 131 132 133 134

Hugo van der Laan Van Beuningenstraat 53 D 2582 KK Den Haag the Netherlands

135 136 137 138

hugovdla@wxs.nl

139 This is not an auction but a set price list of classic 78’s. First come, first served, one copy available. Postage costs within Europe 13 Euro for a parcel up to 2 kilo (up to 4 records) and 19,50 for a parcel up to 5 kg (from 5 up to 12 records) . Postage for the USA, Japan, and Australia is 24,30 Euro (up to 4 records) and 34,30 (from 5 up to 12 records). You can reduce the postage per record by ordering (close to) four or (close to) twelve records. I will pay insurance myself and packing is free. Payments can be made by Eurotransfer and Paypal. The records are play-graded, done with a ‘0028 conical stylus. Grades like E-E and V+E- are borderline grades. 3' means three revolutions.

140 141 142 143 144 145 146

The following records are offered at 15 Euros each 100 101

102 103 104

105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128

147 148

All Star Orchestra, Chloe/ Tin Pan Parade, Vi 21149 E(1927, with Mole; label printing lightly faded) Arkansas Travellers, That's No Bargain/ The Emperors, Go, Joe, Go Harmony 353 V to V+ (label printing rubbed, needle runs on both labels) Louis Armstrong Hot Five, Oriental Strut/ You're Next Co 36155 (master pressings after OK 8299) EBailey's Lucky Seven, Carolina in the Morning/ Homesick, Ge 4979 V+ My Mammy Knows/ On the 'Gin 'Gin 'Ginny Shore Gennett 4831 V+ (better but long scratch sB sounds incidentally, softly; Chicago record shop sticker) Marcellonnie/ Wet Yo' Thumb, Ge 5076 V+ to EEubie Blake and his Shuffle Along Orchestra, Baltimore Buzz/ Bandana Days, Vi 18791 V+/EBlue Grass Foot Warmers, Charleston Hound/ Old Folks' Shuffle Harmony 213 V The Buffalodians, Baby Face/ Missouri Jazz Band, My Pal Jerry Banner 1776 V Would Ja?/ She's Still My Baby, Co 723 V+ Charleston Chasers, Davenport Blues/ Wabash Blues, Co 909 V+ Coon-Sanders Orchestra, Some Little Bird/ Yerkes, Mon Homme Co A 3403 V (restored edge bite 2'sA - their first, 1921) Hallucinations/ Red and Miff Stompers, Slippin'Around Vi 21397 E- (label a bit scuffed sA) Cotton Pickers, Loose Feet/ Runnin' Wild, Br 2382 V+ (a little label damage) My Sweetie Went Away/ Duck's Quack Quack Br 2461 EBlue Rose/ Do Yo' Dooty Daddy, Br 2532 E-/V+ (label damage from sticker remains) Prince of Wails/ Jimtown Blues, Br 2766 EJacksonville Gal/ Mishawaka Blues, Br 2818 V+ ( 4 cm crack, restored, not audible) Dixie Stompers, Alabama Stomp/ W.M.C. Broadcasters, All Alone Monday, Harmony 283 V+ Baltimore/ Black Maria, Harmony 526 V-/V Johnny Dunn Bugle Blues/ Birmingham Blues, Co A 3541 V to V+ Moanful Blues/ Put and Take, Co A 3579 V Spanish Dreams/ Hallelujah Blues, Co A 3839 V Dunn's Cornet Blues/ You've Never Heard the Blues Co 124 V+EEarl Fuller Li'l' Liza Jane/ Coon Band Contest, Vi 18394 EGraveyard Blues/ Sweet Emalina, My Gal, Co 2523 V The Georgians, You've Got to See Mamma Ev'ry Night/ You Tell Her - I Stutter, Co A3857 V Henpecked Blues/ Long Lost Mamma, Co 3907 V+ I've Got a Cross-Eyed Papa/ You Better Keep Babying Baby, Co 40 V+

149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 V 164 165 166 167 168 169 170 171 172 173

174 175 176 177

Arthur Gibbs and his Gang, Louisville Lou/ Beale Street Mamma Vi 19070 V+ Husk o'Hare Clover Blossom Blues/ Night, Ge 4921 V+ Swanee Smiles/ You Gave Me Your Heart, Ge 4983 V+ Fletcher Henderson, Mobile Blues/ Tea Pot Dome Blues, Vo 14800 V Dicty Blues/ Do Doodle Oom, Co A 3995 V+ He's the Hottest Man in Town/ I Never care 'Bout To-Morrow, Co 209 V+ (needs extra weight) Bye and Bye/ Play Me Slow, Co 292 V+ Rosa Henderson, I'm Broke Fooling with You/ Good Woman's Blues Vi 19084 V+ (light scuffs and runs on label) Struttin'Blues/ Low-Down Papa, Vi 19157 V+ Charles Johnson Paradise Ten, Hot Tempered Blues/ You Ain't the One Vi 21247 V (looks V-, label damage around spindle hole) Margaret Johnson, My Man's Done Done Me Dirty/ The Folks in New York...Vi 20178 V- (label damage around spindle hole sB) Isham Jones Burning Sands/ Aunt Hagar's Children Blues, Br 2358 V+ Richard Jones and his Jazz Wizards, Novelty Blues/ Tickle Britches B Victor 38040 V/V- (much label damage around sp hole) Ladd's Black Aces, Aunt Hagar's Children Blues/ Shake it and Break It Gennett 4762 V+ Guy Lombardo, I'm More than Satisfied/ The Cannon Ball, Co 1451 V Jack Linx and his Society Serenaders, It Ain't Gonna Rain No Mo'/ Doodle Doo Doo, OK 40188 V-V as The Seven Notes, Beale St. Blues/ He's the Last Word Small Purple Parlophone R 3336 V (4' pdig, sB, restored) Little Ramblers, I'm Satisfied Beside that Sweetie o'Mine/ Deep Blue Sea Blues, Co 217 V (needs more weight) Swamp Blues/ Play it Red, Co 1103 V+ Louisiana Five, The Alcoholic Blues/ Wilbur Sweatman, Kansas City Blues, Co A 2768 V+ (looks E-) McKinney's Cotton Pickers, Cherry (-3)/ Some Sweet Day, Vi 21730 V+ It's Tight Like That/ There's a Rainbow 'Round My Shoulder, Vi 38013 V+ Jelly Roll Morton, Someday Sweetheart/ Original Jelly Roll Blues Vi 20405 V- plays V (label damage sB) Wolverine Blues/ Mr Jelly Lord, Vi 21064 V (restored small crack) Bennie Moten Kansas City Shuffle/ Yazoo Blues, Vi 20485 V-V Mound City Blue Blowers, Arkansaw Blues/ Blue Blues, Br 2581 V+ San/ Red Hot, Br 2602 V+ Barb Wire Blues/ You Ain't Got Nothin', Br 2648 V Napoleon's Emperors, You Can't Cheat a Cheater/ Anything Victor 38067 VNew Orleans Black Birds, Baby/ Honolulu Blues, Vi 38026 V+ (better but some short scratches) New Orleans Owls, Tampeekoe/ West End Romp, Co 688 V-V New Orleans Rhytm Kings, Wolverine Blues/ Weary Blues Gennett 5102 VGlen Oswald Serenaders, If It Wasn't for You I Wouldn't Be Crying Vi 19611 V+ Original Memphis Five, Pickles/ Yes! We have no Bananas, Co A3924 EWalk, Jenny, Walk!/ Last Night on the Back Porch, Co 7 She Wouldn't Do/ More, Co 37 V+EShufflin' Mose/ St Louis Gal, Co 50 E-/V+ Red Hot Mamma/ It Ain't Gonna Rain No Mo' Co 155 E-/V+ Sioux City Sue/ The Grass is Always Greener Co 186 E-/V+ 'Taint Cold/ Jacksonville Gal, Co 502 V Herbert Spencer, Lila/ The Original Indiana Five, Where will I Be? Banner 7057 V+ The Midway Dance Orchestra, Lots o' Mamma/ The Black Sheep Blues Co 33 ENew Orleans Owls, Eccentric/ The Nightmare, Co 943 VJack Pettis Candied Sweets/Markel's Let a Smile Be Your Umbrella Regal 8463 V Piron's New Orleans Orchestra, Bright Star Blues/ Ghost of the Blues Co 99 V (internal lams sound 25'sA; scratch at start lightly audible 60'sB) Fred Rich Bell Hoppin' Blues/ Poor Papa, Ha 119 E(looks V+; edge flake nig, restored; 16 bar Mole solo sA) Mamie Smith Lovin' Sam from Alabam, OK 4253 V Frankie Trumbauer, Baltimore/ Humpty Dumpty, OK 40926 V My Sweeter Than Sweet/ He's so Unusual

178 179 180 181 182 183

OK 41326 V/V+ (light distortion at start ) Manhattan Rag/ What Wouldn't I Do for That Man! OK 41330 V+ (lam, softly 30' on 'Rag', within grade) Warner's Seven Aces, When My Sugar Walks Down the Street/ Cheatin' on Me, Co 305 V+ Frank Westphal, I've Got a Song for Sale/ All Wrong, Co 17 EE+ Clarence Williams' Blue Five, I'm a Little Blackbird.../ Mandy... OK 40260 V-/V+ (craquelĂŠ spot sA causes swish) Clarence Williams and his Novelty Four, What Ya Want Me to Do?/ In the Bottle Blues, OK 8645 V-/G+ (label printing dull) Clarence Williams Washboard Four, Yama Yama Blues/ Church Street Sobbin'Blues, OK 8525 V-

219 220 221 222 223 224

The following records are offered at 25 Euros each

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184

226 227

185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210

211 212 213 214 215 216 217 218

Henry 'Red' Allen, Have You Ever Been in Heaven/ I Owe You Vo 3704 E Arcadia Peacock Orchestra, Let Me Be the First to Kiss You Good Morning/ Where's My Sweetie Hiding?, OK 40254 V The Arkansas Travellers, Washboard Blues/ Boneyard Shuffle Velvet Tone 1332 EI Ain't Got Nobody/ Birmingham Break-Down Velvet Tone 1505 E-/E- to V+ Red Head Blues/ Stack o'Lee Blues, Harmony 601 E(noisy lead-in and first 3' music grooves sA) Louis Armstrong Hot Five, Once in a While/ Struttin' With Some Barbecue, Co 37535 E (master pressings after OK 8566) I'm Not Rough/ Got No Blues, Co 37536 E (master pressings after OK 8551 - from album) Hot Seven, Twelfth Street Rag/ Knockin' a Jug Co 35663 E (from album; original issue sA) Bailey's Lucky Seven, No Wonder I'm Lonesome/ Tomorrow Gennett 4975 EBeale Street Washboard Band, Piggly Wiggly/ Forty and Tight Br 80076 E/ E+ (first issue sA, light pressing mark sA) The Buffalodians, Here Comes Emaline/ Deep Henderson, Co 665 V+ She's Still My Baby/ Would-Ja?, Co 723 EBusse's Buzzards, Red Hot Henry Brown/ Milenberg Joys Vi 19782 E-/V+ to ECalifornia Ramblers, That Big Blond Mama/ Louisville, Co A 3979 V+ Sweet Georgia Brown/ Ev'rything is Hotsy Totsy Now Co 380 V+ Tell Me Tonight/ Too Many Kisses in the Summer Co 834 EMine - All Mine/ Changes, Co 1275 V+ Chubb-Steinberg Orchestra, Mandy, make up Your Mind/ Steppin' in Society, Gennett 3058 V+ (small label tears) Doc Cook Brown Sugar/ High Fever, Co 813 V-V/V (strong but many scratches cause a crackling noise floor) Slue Foot/ Willie the Weeper, Co 1070 V+ (label printing faded, hardly legible, small tear sA) Coon-Sanders Orchestra, Yes Sir! That's My Baby/ Jack Shilkret, Sometime, Vi 19745 E- (starts V+) Hong Kong Dream Girl/ Who Wouldn't Love You Vi 19754 E- (looks V+, small pdig sB, 5 ticks) 'Deed I Do/ I Need Lovin', Vi 20408 E-/V+ My Suppressed Desire/ What a Girl! What a Night! Vi 21803 V+ Who Wouldn' t Be Jealous.../ Here Comes My Ball and Chain, Vi 21812 V+ Mississippi Here I Am/ Rhytm King Vo 21891 V+ (small label tear sB) Ida Cox My Mean Man Blues/ Worried in Mind Blues Pm 12237 V-/V (better but small passing digs cause ticks and pops, especially on sA; label printing rubbed) Cotton Pickers, State Street Blues/ Hot Lips, Br 2292 V+/EHe May Be Your Man.../ Great White Way Blues Br 2380 EYou Tell Her, I Stutter/ Way Down Yonder in NO Br 2404 EJust Hot/ Shufflin' Mose, Br 2507 E(name written on labels) Stomp Off - Let's Go/ Carolina Stomp, Br 2981 EMilenberg Joys/ If You Hadn't Gone Away, Br 2917 EDixieland Jug Blowers, Louisville Stomp/ Florida Blues, Vi 20403 V/V+ (a Louisville record shop sticker, sA) Dixie Washboard Band, My Own Blues/ You for Me, Me for You Columbia 14141 V+

228 229

230 231 232 233

234 235 236 237 238 E239 240 241

242 243 244 245 246 247 248 249 250

251 252 253 254 255 256 257

Johnny Dodds (Four ), New There 'll Come a Day/ Young's Creole Jazz Band, Tin Roof Blues, Paramount 14023 EE+ (Chicago Footwarmers) , Get 'em Again Blues/ Brush Stomp, Co 35681 E+ (after OK 8599) (Black Bottom Stompers), Come on and Stomp Stomp Stomp/ After You've Gone, Br 3568 V+ (Hot Six), Too Tight/ Goober Dance, HMV 10419 E (first issue of take -4 of Too Tight) Seger Ellis Exactly Like You/ I Never Dreamt, OK 41424 E(good Seger Ellis Picture labels) Fowler's Washboard Wonders Washboard Stomp/ Chitterlin' Strut Co 14084 V+ Friar's Society Orchestra, Panama/ Tiger Rag, Ge 4968 V+ (small thin crack, restored, not audible) San/ Eccentric, Gennett 5009 V+E-/ECharles Fulcher, The Georgia Stomp/ Home Sweet Home Blues Co 316 V+ (some tiny lams nap; scratch sounds 9'sA and writing - catalogue numbers -on label both sides) Atlanta Gal/ I Faw Down and go Boom! Co 1734 V+E-/EIrene Gibbons & Clarence Williams Jazz Band, That Da-Da Strain/ Last Go Round Blues, Co A 3834 E/E- (a potential edge bite, restored, sounds quite loud 16'on sA and 24' on sB) I'm Busy and You Can't Come In/ ....I Dream of Lilac Time, Co 14362 V- ( label rubbed around spindle hole) Benny Goodman's Boys, Jungle Blues/ Room 1411, Br 4013 V+ (ends V on 'Jungle') Goofus Five The Wang Wang Blues/ Arkansas Blues, OK 40817 V+ The Halfway House Dance Orchestra, Snookum/ It Belongs to You Co 1041 E-/30' V-V with some partly damaged grooves, then to V+ 'Husk' O'Hare's Super Orch.,Swanee Smiles/ You Gave Me Your Heart Gennett 4983 E- (2 light scratches sA, 2 + 4 light ticks) Marion Harris, Runnin'Wild/ You've Got to See Mamma Every Night Br 2410 E- ( scratch not audible on 'Runnin') Henderson as Connie's Inn Orchestra, Twelfth Street Rag (C 1503-2) Milenberg Joys (C-1506 3) Varsity 8042 E- (Rust: dubs) Fletcher Henderson, You've Got to Get Hot/ Charleston Crazy Vo 14726 V+ Strutter's Drag/ I Don't Know and I Don't care, Vo14828 Forsaken Blues/ Cold Mamma's, Vo 14892 V+ (scratche spot sA, sounds 20') Stockholm Stomp/ Have it Ready, Br 3460 V+ (looks V) Rosa Henderson with Fletcher Henderson's Jazz Five, I'm a Good Gal/ Papa Will be Gone, Br 2589 E-/V+ ( sB better but an edge flake in 4 lead-in grooves, restored, passes) (piano) In Thast Apartment Upstairs/ He's My Man Columbia 14152 V+ (moonlam sB not audible) Edna Hicks I'm Goin' Away (-3) / Lizzie Miles, You're always Messin' 'Round witj My Man, Vi 19083 EFrisky Foot Jackson and his Thumpers, Maxwell Street Stomp/ Good Time Mama, Vo V. 1035 E+ (excellent dubs) James P. Johnson, Bleeding Hearted Blues/ You Can't Do What My Last Man Did, Vi 19123 E- (scr at start sA, 5 ticks) Isham Jones Burning Sands/ Aunt Hagar's Children Blues Br 2358 EMaggie Jones (Henderson's Hot Six) Mamma.../ Cheatin' on Me Co 14074 V+ to E(Charlie Green) North Bound Blues/ Undertaker's Blues Co 14092 V+E-/V+ ( Fuller, Metcalf) South Street Blues/ Dallas Blues Co 14114 V+E-/E- (scuff sounds very lightly 30' sA) Ladd's Black Aces, You've Got to See Your Mamma Every Night/ Runnin' Wild, Gennett 5035 E(pdig 4 ticks sA; scratch 8 ticks, pdig 3 ticks sB) Art Landry Rip Saw Blues/ Vincent Rose, Helen Gone, Vi 19398 V+ Lazy Blues/ I'll Get You, Vi 19488 EJack Linx It Ain't Gonna Rain No Mo'/ Doodle Doo Doo OK 40188 E- (looks V+) He's the Last Word/ Beale Street Blues, OK 40803 V+ (dig, sA, 10', restored and passes; label printing rubbed) The Little Ramblers, Deep Blue Sea Blues/ I'm satisfied Beside that Sweetie o' Mine, Co 217 V+EThose Panama Mamas/ Prince of Wales, Co 248 V to V(moderate label damage both sides) Hard Hearted Hannah/ Tessie, Co 203 V

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292 293 294 295 296 297

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among the highest quality 78's in the business. Frequently they play better than they look. Whether we like their acoustic sound is a different matter.

Louisiana Five, Lead Me to It/ Virginia Blues, Emerson 1076 E- to E (looks E; starts hissy for 30' sB) Louisiana Sugar Babes, Persian Rug/ Thou Swell, Vi 21346 EMa Rainey South Bound Blues/ Lawd Send Me a Man Blues Pm 12227 V- (clear, scratchy, moderate swish sB label printing lightly rubbed sB) Louisiana Hoodoo Blues/ Goodbye Daddy Blues Paramount 12290 VChain Gang Blues/ Wringing and Twisting Blues Pm 12338 V (restored crack from rim into and through the label ticks moderately) Sara Martin with CW Blue Five, Atlanta Blues/ Blind Man Blues OK 8090 V- to V/V to V+ (2' + 2' moderately stripped in the vocal, sA) Ray Miller Bagdad/ Red Hot Mama, Br 2681 V+ (3 cm label tear sB) Red McKenzie and the Mound City Blue Blowers, Hello Lola, If I Could Be... BB 10037 E (after Vi 38100) McKenzie & Condon's Chicagoans, Nobody's Sweetheart/ Liza, Co 35952 E+ (after OK 40971) Sugar/ China Boy, Co 35951 E (after OK 41011) McKinney's Cotton Pickers, Four or Five Times/ Clifford Hayes' Louisville Stompers, Vi 21583 V+ (second hole in label) Milenberg Joys/ Shim-Me-Sha-Wabble, Vi 21611 EHullabaloo/ Baby Won't You Please Come Home Vi 22511 E- (long scratch sB, barely audible) Never Swat a Fly/ Laughing at Life, Vi 23020 ESave It, Pretty Mama/ I Found a New Baby Vi 38061 V+ If I Could be With You../ Zonky, Vi 38118 E-/E (much label damage around spindle, sA) Vic Meyers Tell Me What to Do/ Mean Looks, Br 2733 EJohnny Miller's New Orleans Frolickers, Dipper Mouth Blues/ Panama, Co 1546 V+/V (better but scratched sB) Miff Mole and his Little Molers, Some Sweet Day/ Alexander's ragtime Band, OK 40758 V+ (A-1) Davenport Blues/ Hurricane, OK 40848 V+ Imagination/ Feelin'No Pain, Co 35687 E+ (after OK ) One Step to Heaven/ Shim-Me-Sha-Wabble Co 35953 E-E/E- (first issue sA, from album) Thomas Morris, Jackass Blues/ Ham Gravy, Vi 20179 E- looks V+ Jelly Roll Morton, Black Bottom Stomp/ The Chant, Vi 20221 V+ Sidewalk Blues/ Dead Man Blues, Vi 20252 V+ (some label damage) Smoke House Blues/ Steamboat Stomp, Vi 20296 V+ Doctor Jazz/ Dixieland Jug Blowers, Memphis Shake Vi 20415 V+ Jungle Blues/ Richard M Jones' Jazz Wizards, African Hunch, Vi 21345 V Red Hot Pepper/ Deep Creek, Vi 38055 V+ New Orleans Bump/ Pretty Lil, Vi 38078 V+ Sweet Anita Mine/ Courthouse Bump, Vi 38093 V+ Bennie Moten Harmony Blues/ Thick Lip Stomp, Vi 20406 V+EKansas City Shuffle/ Yazoo Blues, Vi 20480 V+EMuscle Shoals Blues/ White Lightnin'Blues Vi 20811 V+/ E- (small pdig sA, 7 ticks; tiny crack and edge flake restored sA, sounds lightly 5' on sA) Moten Stomp/ Clifford Hayes Louisville Stompers, Blue Guitar Stomp, Vi 20955 V+ Slow Motion/ Hot Water Blues, Vi 38012 V+/V to V+ South/ She's No trouble, Vi 38021 EIt's hard to Laugh or Smile/ Tough Breaks, Vi 38037 V+ New Orleans Owls, Tampeekoe/ West End Romp, Co 688 V (some lams nap; label printing faded but legible) New Orleans Rhytm Kings, Sweet Lovin' Man/ Maple Leaf Rag Gennett 5104 V (strong and clear but a bit swishy sA and some audible scratches on sB) Red Nichols Buddy's Habits/ Boneyard Shuffle, Br 3477 E-/E Riverboat Shuffle/ Eccentric, Br 3627 EJimmy Noone Let's Sow a Wild Oat/ It's Tight Like That, Vo 1238 V+/V (label a bit soiled and lightly damaged around spindle hole) Original Indiana Five, Everybody Stomp/ I'm 'Gonna' Hang Around My Sugar, Harmony 47 E-/V+ The Chant/ Stockholm Stomp, Ha 387 E-/V+ Play it Red/ One Sweet Letter from You, Ha 432 V+/V Despite being marketed a 25 cents label, Harmony's were pressed on laminates. Therefore they are technically

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Original Memphis Five, St. Louis Gal/ Shufflin'Mose, Co 50 E-E Who's Sorry Now?/ Snakes Hips, Vi 19052 EI've Got a Song for Sale/ Tin Roof Blues, Vi 19170 EKing Oliver Farewell Blues/ Sobbin'Blues, Br 3711 EGot Everything/ Four or Five Times, Br 4028 E(looks lightly scuffed V+, labels E) Stop Crying/ Papa De-Da-Da, Br 6053 V+ (some label damage, printing lightly faded) St James Infirmary/ When You're Smiling, Vi 22298 EParenti's Liberty Syncopators, Weary Blues/ African Echoes Columbia 1264 V+E-/E- (tiny lam nap, sB) Piron's New Orleans Orchestra, Do Just as I Say/ Red Man Blues Vi 19646 V+ (scratches lightly audible 22' at start sB) Bessie Smith (Charlie Green) House Rent Blues/ Work House Blues Co 14032 VV+/V (scratch sounds 5' sB) (Charlie Green) Rainy Weather Blues/ Salt Water Blues Co 14037 V+ (sA better but 3 tiny ndrops cause a tick) (Buster Bailey & Don Redman), Love Me Daddy Blues/ Woman's Trouble Blues, Co 14060 V+/V (sB better but scratchy in 2 spots: 7'ticks and 18' crackling) J C Holmes Blues/ I Ain't Got Nobody, Co 14095 V+ (label printing somewhat faded but legible) Six Brown Brothers, Chin Chin/ H. Benne Henton, Laverne Vi 18149 E (looks E-, light scr, 2 fine ticks near end sA) Mamie Smith Crazy Blues/ I'm Right Here for You, OK 4169 EThe Road is Rocky/ Fare Thee Honey Blues, OK 4194 V+ Mamma Whip!/ Mamma Spank!/ I'm Free, Single... OK 4427 V+ to V/V+ (small edge flake sA, nig) Down Home Blues/ Arkansas Blues, OK 4446 V+ Philip Spitalny, Jackass Blues/ Up and At 'Em, Vi 20108 EFrank Teschmaker's Chicagoans, Jazz Me Blues/ The Cellar Boys, Barrel House Stomp, UHCA 61/62 E- (first issues) Charlie Troutt's Melody Artists, Transportation Blues part 1 and 2 Co 1030 E-E Transportation Blues part 3 and 4, Co 1265 E ( 2 light scratches, not audible) Frank Trumbauer, Get Happy/ Deep Harlem, OK 41431 V+ Hittin' the Bottle/What's the Use, OK 41437 V+ (three initials in label sB) Crying All day/ A Good Man is Hard to Find Co 35956 E (after OK 40966) University Six, St Louis Hop/ I'd Leave...Harmony 245 EFats Waller and His Buddies, The Minor Drag/ Harlem Fuss Victor 38050 V+/V+EWarner's 7 Aces, Bessie Couldn't Help It/ Longing for You OK 40198 V+ (small pdig sA, two muffled ticks) Mean Eyes/ Lonesome Lovesick...OK 4921 V (better but quite frequently ticks and pops from small passing digs and scratches; very noisy lead-ingroove sB) When My Sugar Walks Down the Street/ Cheatin' on Me Co 305 E- (2 small pdigs on 'Cheatin' cause 2 soft ticks) So is Your Old Lady/ ...'Wanna Go Back Again' Blues Co 656 E-/V+ Ethel Waters and her Ebony Four, No Man's Mama/Shake That Thing Co 14116 EClarence Williams & his Jazz Kings, Candy Lips/ Gravier Street Blues Columbia 14193 V+/V (label printing rubbed) You've Got to be Modernistic/ Zonky Co 14488 V+E- (edge bite not in grooves, restored) Clarence Williams Blue Five, Close Fit Blues/ Baby Won't You Please Come Home, OKeh 8510 V Clarence Williams, Wildflower Rag/ Organ Grinder Blues OKeh 8604 V (starts V-; pdig sA, 10 ticks) Paul Whiteman, Whiteman Stomp/ Sensation Stomp, Vi 21119 E

The following records are offered at 35 Euros each 341 342 343

The Arkansas Travellers, I'll See You in My Dreams/ How I Love That Girl, OK 40277 E- (scratch barely aud sA; tiny pdig 2'sB) Louis Armstrong Hot Five, Heebie Jeebies/ Muskrat Ramble Truetone Okeh 8300 V Georgia Grind/ Come Back Sweet Papa Truetone Okeh 8318 V

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371

Hot Seven, The Last Time/ Ory's Creole Trombone Columbia 35838 E/EE+ (both previously unissued) Chicago Breakdown/ Don't Jive Me, Columbia 36376 E (also first issue both sides) Ben's Bad Boys, Yellow Dog Blues/ Wang-Wang Blues, Vi 21971 E Blue Grass Foot Warmers, How Could I Be Blue?/ Seniorita Mine Harmony 206 E- (several scratches, only one of which sounds lightly 30' on 'Senorita) Old Folks Shuffle/ Charleston Hound Harmony 248 EBlythe's Blue Boys, Oriental Man/ Brown Skin Mama Champion 40023 V+/V (label a bit scuffed) Coon-Sanders Orchestra, Mine - All Mine/ Is She My Girl Friend? Vi 21148 EGot a Great Big Date.../ An Old Italian Love Song Vi 22123 E Ida Cox and her Blues Serenaders, Chicago Monkey Man Blues/ Worried Any How Blues, Pm 12202 V (better, but several small pdigs sound) Five Harmaniacs, What Makes My Baby Cry/ It Takes a Good Woman Vi 20507 E-E Georgia Strutters, Everybody Mess Aroun'/ Georgia Grind, Ha 231 EOriginal Black Bottom Dance/ Wasn't it Nice? Ha 311 EThe Goofus Five, Alabamy Bound/ Deep Blue Sea Blues OK 40292 V+ starts V/ V+ (tiny pdig, 3'sB) Clap Hands! here Comes Charly!/ I Wonder Where My Baby is Tonight, OK 40500 V+ That Certain Party/ Then I'll Be Happy, OK 40534 V+ The Halfway House Dance Orchestra, New Orleans Shuffle/ Squeeze Me, Co 541 V+/E- (sA better but ticks from a scratch and a small pdig; label printing somewhat faded) Tell Me Who/ Love Dreams, Co 1542 V+E-/V+ Lucille Hegamin with Clarence Williams'Band, Nobody But My Baby is Gettin' My Love/ Senorita Mine, Co 14164 V+ Fletcher Henderson's Club Alabam Orchestra, Sud Bustin'Blues/ War Horse Mama, Br 2592 EViola McCoy with Fletcher Henderson's Jazz Five, I ain't Gonna Marry.../ If Your Good Man Quits You...Br 2591 ERosa Henderson with Fletcher Henderson's, Clearing House Blues/ West Indies Blues, Br 2612 E-/E Bertha 'Chippie' Hill, Trouble in Mind/ Georgia Man OK Truetone 8312 V/V+ Jelly Roll Morton, Black Bottom Stomp/ The Chant, Vi 20221 E-/E-E (sA subtitled as 'Danza de los Negros Ogeechees') New Orleans Rhytm Kings, Milenberg Joys/ Marguerite, Ge 5217 V+/E(lead-in groove on sA noisy; 10' crackle start sB) ' Husk' O'Hare's Super Orch., Clover Blossom Blues/ Night Gennett 4921 EKing Oliver Passing Time with Me/ What's the Use of Living Without You, Vi 23011 E- (tiny needle drop sA causes 4 ticks) Parenti's Liberty Syncopators, Cabaret Echoes/ Midnight Papa Co 545 V+ (starts V, some label damage around the spindle hole and some label printing fade) Ma Rainey with Lovie Austin's Blue Serenaders, Walking Blues/ Barrelhouse Blues, Pm 12082 V to V+ (4 ticks at start of 'Walking ; label printing rubbed

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sides) 385 Thomas Morris, Jackass Blues/ Ham Gravy, Vi 20179 Eplays E- looks V+, good labels 386 P.D.Q Blues/ Blues from the Everglades, Vi 20330 E387 Bennie Moten's Kansas City Orchestra, Moten Stomp/ Clifford Hayes' Louisville Stompers, Blue Guitar Stomp, Vi 20955 E(tiny pdig sA, 2 ticks) 388 The New Tulsa Blues/ Clifford Hayes' Louisville Stompers, The Petter's Stomp, Victor 21584 E389 New Orleans Rhytm Kings, She's Crying for Me/ Everybody Loves Somebody Blues, Vi 19645 V+ 390 King Oliver Snag It/ Sugar Foot Stomp, Br (E) 3361 E-E/E 391 Anthony Parenti, Creole Blues/ 12th Street Blues, Vi 19647 V+ 392 Jack Pettis Doin' the New Low-Down/ Spanish Dream, Vi 21559 E 393 Freshman Hop/ A Bag of Blues, Vi 21793 E394 Frankie Trumbauer, Sunnyside Up/ Turn on the Heat, OK 41313 E(Louisville record shop sticker, A1/B1) 395 Joe Venuti and Eddie Lang, Goin' Places/ Doin' Things, OK 40825 E(lam + 2 scratches cause some light ticks first 60' sA) 396 Clarence Williams' Jazz Kings, Red River Blues/ I Need You Co 14326 V+/V+ to E- (lamination cracks to label sA and first half sB sound lightly to zero; partly damaged record shop sticker sA. A1/B2 stampers) 397 Mountain City Blues/ Breeze, Co 14422 E-/V+ (small label tear at spindle hole sB, lbl printing a bit faded) 398 I'm not Worrying/ Whoop it Up, Co 14447 V+ ( 2 edge flakes not in grooves, restored) 399 Freeze Out/ A Pane in the Glass, Co 14460 V+ (broad scratch in label through the title sB) 400 Clarence Williams'Blue Five Orchestra, Carolina Bound/ Baltimore Vocalion 1130 V+/E401 Fess Williams Royal Flush Orchestra, Friction/ Here 't Is Vi 38056 V+ to EThe following records are offered at 65 Euros each 402

The following records are offered at 45 Euros each 372

373 374

375 376 377 378 379

Alberta Hunter with Henderson (Orch sB), You can Have My Man... Bring it With You When You Come, Pm 12018 E-/V+EMaggie Jones (Armstrong), You May Go..../ Anybody Here Want to Try My Cabbage, Co 14063 E ( 3 light ticks at both starts ; light rumble easily eliminated; flag label a bit soiled) Miff Mole and his Little Molers, Davenport Blues/ Hurricane OK 40848 E (small potential moonlam, restored, sounds 6' at start sB) My Gal Sal/ Original Dixieland One Step, OK 40932 E (very fine crack, restored, sounds very lightly 60' sA; 3 very fine and small scratches cause some light ticks, sB) Moanin' Low/ Birmingham Bertha OK 41273 E-E (scr end of 'Low' causes some very soft ticks; strong A-1 both

403 404 405

Louis Armstrong Hot 5, Columbia records C-57, cover V+ (partly split, 2 cm of spine missing) Gut Bucket Blues/ Yes! I'm in the Barrel Co 36152 EMuskrat Ramble/ Skid-Dat-De-Dat, Co 36153 E/ECornet Chop Suey/ My Heart, Co 36154 E-/E You're Next/ Oriental Strut, Co 36155 E Blythe's Blue Boys, Oriental Man/ Brown Skin Mama Champion 40023 E- (small label tear sA) Chas. Creath's Jazz-o-Maniacs, I Woke up Cold in Hand/ My Daddy Rocks Me, OK 8217 V+/E- (a few spots of light distortion sA, otherwise better) Dixieland Jug Blowers, House Rent Rag/ Don't Give All the Lard Away Vi 20420 V+ Johnny Dodds San/ Clarinet Wobble, Br 3574 E/E-E The Halfway House Dance Orchestra, Maple Leaf Rrag/ Let Me Call You Sweetheart, Co 476 EI'm in Love/ Since You're Gone, Co 681 E- (scratch sA causes 5 moderate ticks, label printing faded sB) Bertha 'Chippie' Hill, Trouble in Mind/ Georgia Man OK 8312 V+/V+E- (20' somewhat scratchy spot, sA)

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Louis Armstrong Hot Seven Columbia Album C-28, cover intact V+ Potato Head Blues/ Heebie Jeebies Co 35660 ES.O.L. Blues/ Squeeze Me, Co 35661 EE+/E (original first issue of sA, light scratch nap sB) Save it Pretty Mama/ No One Else but You, Co 35662 E Knockin' a Jug/ Twelfth Street Rag, Co 35663 E+/E (first issue of sB) Louis Armstrong and his Orchestra, Tiger Rag/ Dinah, Conq 9554 E+ Ain't Misbehavin'/ Black and Blue, OK 8714 EDixie Washboard Band, Cushion Foot Stomp/ Anywhere Sweetie Goes Columbia 14239 V+ to E- (pdig, 4' sB, sounds very softly) The Halfway House Dance Orchestra, When I'm Blue/ I Want Somebody to Love, Co 1268 ELucille Hegamin Blue Flame Syncopators, Arkansas Blues/ (with Harris Blues and Jazz Seven) Everybody's Blues Paramount 20053 EAlberta Hunter (with Henderson's Novelty Orchestra), Come on Home/ Aggravatin' Papa, Pm 12013 E (light rumble start sA, light swish start sB) Miff Mole & his Little Molers, Lucky Little Devil/ Navy Blues OK 41371 E-/E (very light label damage sA, strong A-1) Thomas Morris, Who's Dis Heah Stranger/ New Orleans Blue Five, The King of the Zulus, Vi 20316 E-/E Trixie Smith and her Down Home Syncopators, Freight Train Blues/ Don't Shake it No More, Pm 12211 E-

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: November 25, 2018 Minimum bid on 78's is $ 3.00, LP’s is $6.00 1. Little David (Alexander) – De(sb) 7211; Original Sweet Patunia/ Standing By A Lamp Post V++ 2. Little David (Alexander) – De(sb) 7270; New Sweet Patuni/Ramblin’ Mind Bls E 3. Boone County Entertainers – Spt 9163; Arkansas Traveler/Turkey In The Straw E+ 4. Harlem Hamfats – De(sb) 7182; Oh! Red/Lake Providence Bls E-/V+ 5. Harlem Hamfats – De(sb) 7206; U Done Tore UR Playhouse Down/Sales Tax On It E+ 6. Harlem Hamfats – De(sb) 7266; Keep It Swinging Round/I Don’t Want U Lovin’ Me E sol 7. Harlem Hamfats – De(sb) 7283; Growling Dog/Ooh-Wee Babe E/EE8. Harlem Hamfats – De(sb) 7395; Rampart And Gravier Street/Broken Hearted Bls E 9. Harlem Harley Washboard Band – De 7505; Life Goes & On/Mama Come On Home V++

10. Lil Johnson – Bb 8251; I Lost My Baby/Keep On Knocking E+ 11. Lil Johnson – Voc 03199; Get ‘Em From The Peanut Man/Press My Button E 12. Lil Johnson – Voc 03266; Two Timin’ Man/Was I? VV+ 13. Lil Johnson – Voc 03428; New Shave “Em Dry/Grandpa Said “Let’s Susie Q” V+ 14. Lil Johnson – Voc 03455; If You Don’t Give Me What I Want/River Hip Papa E15. Lil Johnson – Voc 03600; Goofer Dust Swing/Take It Easy Greasy No. 2 V+ sol 16. Lil Johnson – Voc 03604; Joe Louis Fight/ I’m Bettin’ On You E rim bite nap/E rim flk 4 grooves 17. Charlie Segar – De 7027; Cuban Villa Bls/Southern Hospitality EE+ 18. Milton Sparks – Bb(buff) 6096; Grinder Bls/Peter J. Crayton; Yo Yo Jive EE19. Pine Top (Sparks) – Bb(buff) 6125; Every Day I Have The Bls/ Walter Davis; Santa Claus V+/E- wol 20. Swan And Lee – Ok 8732; It Sure Is Nice/Fishy Little Thing N21. Roosevelt Sykes – Ok 8727; Way I Feel Bls/All My Money Gone Bls V lbl wear & tear 22. Roosevelt Sykes – Ok 8819; Lost All I Had Bls/Bury That Thing E-/V++ 23. Roosevelt Sykes – De 7586; 44 Bls/ Have You Seen Ida B V+ 1” lateral scr lite sound, sm lbl tear/VV+ 24. Montana Taylor – Cir 1015; Montana’s Bls/Rotten Break Bls E 25. Yack Taylor – De 7855; Whip It To A Jelly/Chicago Bound Bls E 26. Johnny Taylor – De 7772; I’m Cuttin’ Out/Lovin’ Woman Bls EE-/E27. Earl Thomas – De(sb) 7195; Burying Ground/Sugar Gal Bls E28. Earl Thomas – De(sb) 7221; Bonus Men/Rent Day Bls V++ 29. Casey Bill (Weldon) – Bb(buff) 6356; Somebody’s Got To Go/ Blues Everywhere I Go EE+ wol 30. Casey Bill (Weldon) – Voc 03186; Somebody Changed The Lock On That Door/ WPA Blues E

56. Louis Armstrong O. – De(sb) 672; Shoe Shine Boy/I Hope Gabriel Likes My Music E sol 57. Louis Armstrong O. – De 1636l I Double Dare You/Satchel Mouth Swing V++ 58. Louis Armstrong O. – De 1841; On The Sentimental Side/It’s Wonderful E 59. Louis Armstrong O. – De 1842; Something Tells Me/Love Walked In E+ 61. Louis Armstrong & Mills Bros. – De 1876; Flat Foot Floogee/Mills Bothers; Caravan E+ 62. Louis Armstrong O. – De 1937; Naturally/I’ve Got A Pocketful Of Dreams EE63. Louis Armstrong O. – De 2042; ICGYABL/Ain’t Misbehavin’ EE+ 64. Louis Armstrong O. – De 2230; Saints/As Long As You Live You’ll Be Dead… E+ 65. Louis Armstrong O. – De 2267; Jeepers Creepers/What Is This Thing Called Swing E/ E+ 66. Louis Armstrong O. – De 2405; Save It Pretty Mama/Hear Me Talkin’ To Ya E+ 67. Louis Armstrong O. – De 2480; West End Bls/If It’s Good E+ 68. Louis Armstrong O. – De 2538; Savoy Bls/Me And Brother Bill E+ 69. Louis Armstrong O. – De(E) F6655; Let That Be A Lesson To U/Sweet As A Song E lbl fades

70. Louis Armstrong O. – Jazz Society AA593; Ain’t The Truth/Solid Sam E+ 71. Louis Armstrong All Stars – De 27059; New Orleans Function/Pt. 2 73. Paul Ash O. – Col 694; Rose Colored Glasses/Her Beaus Are Only Rainbows V+ lbl scrs 74. Georgie Auld O. – Var 8199; Shake Down The Stars/Imagination V+ to E-

75. Bailey’s Lucky 7 – Ge 5030; Apple Sauce (-_)/U Know U Belong To Somebody Else (-_) E76. Bailey’s Lucky 7 – Ge 5153; Down By The River (-B)/March Of Mannikins (-_) E- lbl tear/E-

77. Buster Bailey Rhythm Busters – Voc 3848; Afternoon In Africa/Dizzy Debutante E/ EE78. Buster Bailey Rhythm Busters – Voc 4089; Planter’s Punch/Sloe Jam Fizz E+ 79. Buster Bailey Rhythm Busters – Voc 4564; Man With A Horn Goes Berserk/Light Up E+ 80. Buster Bailey O. – Elite 6; Pine Top’s Boogie Woogie/Eccentric Rag E 81. Buster Bailey O. – Elite 7; Blue Room/Am I Blue E+ 82. Mildred Bailey Swing Band – Voc 3057; Someday Sweetheart/When Day Is Done E 83. Phil Baker – Col 521; Big Butter And Egg Man/Ann And Her Little Sedan E rim flk nap 86. Sidney Bechet O. – Voc 4575; What A Dream/Chant In The Night E 87. Benson O. – Vi 19140; Wolverine Bls/Virginians; House Of David Bls EE+ 88. Benson O. – Vi 19685; I Had Someone Else Before I Had U/Oh How I Miss U Tonight E+ 89. Bunny Berigan O. – Vi(gl) 25872; Wearing Of The Green/Wacky Dust E+ 31. Georgia White – De(sb) 7323; When My Love Comes Down/Daddy Let Me Lay It On You E-/V+ 90. Paul Biese O. – Vi 19314; Cinderella Bls/Blue Evening Bls E91. Barney Bigard Jazzopaters – Vri 564; Four And One-Half Street/Solace E 32. Jimmy Yancey – Bb 8630; Crying In My Sleep/Death Letter Bls E+ 92. Barney Bigard Jazzopaters – Vri 596; Get It Southern Style/If You’re Ever In My Arms 33. Jimmy Yancey – Vi(gl) 27238; Yancey’s Bugle Call/35th And Dearborn E+ E+ 34. Jimmy Yancey(?) – private acetate (probably late ‘40’) labeled “piano blues” 93. Bontsema’s Hotel Tuller O. – Ge 5394; Somebody Stole My Gal/You Are Easy To on both sides (if it is not Yancey, he certainly plays like him) E 35. Yas Yas Girl – Voc 04013; He May Be UR Man/My Independent Man V+ rim flk nap/VV+ Remember V+/V++ but use small stylus (less than 2.5 mil) to avoid blasting 36. Yas Yas Girl & Her Rhythm Rascals – Voc 04331; Don’t You Leave Me Here/ 94. Pete Bontsema’s Hotel Tuller O. of Detroit – Ge 20015; Somebody Stole My Gal/ Yas Yas Girl; You Can’t Shoot Your Pistol E+ sol You Are Easy To Remember V++ 37. Yas Yas Girl – Voc 04455; Don’t You Make Me High/Love With A Feeling EE95. Pete Bontsema’s Hotel Tuller O. of Detroit – Ge 20016; Salt Your Sugar/ 38. Yas Yas Girl Jazz Boys – Voc 05180; U Can’t Have None Of That/I’d Rather Be Drunk V+/ Samuel Anflick, vn, Pete Bontsema, p; Dreamy Melody V+ E-

39. Yas Yas Girl Jazz Boys – Voc 05286; I Just Keep On Drinking/I Got To Have It Daddy E40. Yas Yas Girl – Ok 05870; Man To Man/Worried Heart Bls E41. Yas Yas Girl – Ok 06340; How Can I Go On/Blues Before Daybreak E+ 42. Henry Allen O. – HMV B4970; Swing Out/Feeling Drowsy E+ 43. Henry Allen O. – Voc 3244; Would You/You E44. All Star Band – Vi(gl) The Blues/Blue Lou EE45. Ambassadors – Voc 15153; That Certain Party/I Never Knew V++ 46. Ammons, Lewis & Johnson – Par R2947; Café Society Rag/ Pete Johnson Boogie Woogie Boys; Lovin’ Mama Bls E+ 47. Louis Armstrong Hot 5 – Ok 8535; Savoy Bls/Hotter Than That V+/lite lams nap V+ 48. Louis Armstrong Hot 5 – Par R2242; Once In A While/Squeeze Me N49. Louis Armstrong O. – Ok 41276; Black And Blue/Ain’t Misbehavin’ EE+ 50. Louis Armstrong O. – Odeon B35601; Tiger Rag/Song Of the Islands E+ 51. Louis Armstrong O. – Ok(blue lbl) 41497; Walkin’ Baby Back Home/I Surrender Dear E+ 52. Louis Armstrong O. – Ok(red lbl) 41504; You Rascal You/Sleepy Time Down South E+ 53. Louis Armstrong O. – Par R1100; Shine/If I Could Be With You E+ 54. Louis Armstrong O. – Bb 7506; Hustlin’ And Bustlin’ For Baby/Sittin’ In The Dark E 55. Louis Armstrong O. – De(sb) 623; I’ve Got My Fingers Crossed/I’m Shooting High E

96. Pete Bontsema’s Hotel Tuller O. of Detroit – Ge 20017; Holding Hands/Slumbering (w) V++

97. Will Bradley O. – Col 35333; Hallelujah/Johnson Rag E 98. Tim Brymm Black Devil O. – Ok 4310; Wang Wang Bls/Sirene Of The Southern Sea E99. Chick Bullock LL (TEAGARDEN) – Per 15888; Extra!/What’s Good For Goose E 100. Chick Bullock LL – Mel 60610; Ace In The Hole/My Gal Sal E 101. Cab Calloway O. – Br 7530; BWYPCH/I Ain’t Got Nobody E102. Cab Calloway O. – Br 7685; When You’re Smiling/Are You In Love With Me Again V+ 103. Cab Calloway O. – Br 7748; The Wedding Of Mr. & Mrs. Swing/Copper Colored Gal E+ 104. Papa Celestin – Boris Rose acetate of live performance; I Got Rhythm/ Sharkey Bonano; She’s Crying For Me E+ 105. Chocolate Dandies – UHCA 54; Dee Blues/Bugle Call Rag (master pressings) E+ 106. Alix Combelle O. – Swing 148; Oui/Ecoutez Ca E- lbl scrs 107. Eddie Condon O. – Br 6743; The Eel/Home Cooking E 108. Coon-Sanders O. – Vi 21680; Blazin’/Virginians; Low Down E+ 109. Billy Cotton Band – Regal Zono MR1413; The Third Tiger/St. Louis Bls E112. Frank Dailey O. – Vri 573; Scattin’ At The Kit Kat/Southland Serenade V+ 113. Putney Dandridge O. – Voc 3291; If We Never Meet Again/Here Comes UR Pappy E-

!38

114. Dorothy Donegan – Cont 6033; Dorothy’s Boogie Woogie/Yesterday E+ 115. Tommy Dorsey Clambake 7 – Vi 26023; Sheik Of Araby/Chinatown My Chinatown E116. Tommy Dorsey O. – Vi 26437; Milneberg Joys/Pt. 2 E 117. Tommy Dorsey O. – De 27396; Lullaby Of Broadway/As Time Goes By E+ 118. Tommy Dorsey O. – De 28077; Keel Row/Love Where Are You Now E 120. Cliff Edwards – Col 1869; Singin’ In The Rain/Orange Blossom Time EE-

181. Fletcher Henderson O. – Ban 1639; Sleepy Time Gal (-2)/Peabody O.; Don’t Wake Me E 182. Fletcher Henderson O. – Ban 1639; Sleepy Time Gal (-3)/Peabody O.; Don’t Wake Me E

183. Fletcher Henderson O. (as Sam Hill O.) – Or 290; My Dream Man/ Oriole D.O.; Follow Swallow E-

184. Fletcher Henderson O. (Dixie Stompers) – Har 166; Tampeekoe (-2)/Jackass Bls (-2) E185. Fletcher Henderson O. (Dixie Stompers) – VT 1166; Tampeekoe (-2)/Jackass Bls (-3) V+

186. Fletcher Henderson O. (Dixie Stompers) – Har 197; Static Strut/Hard To Get Gertie

121. Fred Elizalde Music – Br(E) 3848; If I Had You/King Solomon Miners; Avalon Town E V+

187. Fletcher Henderson O. (Dixie Stompers) – Har 209; Dynamite/University 6; Ace In The Hole EE122. Duke Ellington O. – Vi 22791; Brown Berries/It’s Glory V+ to E188. Fletcher Henderson O. (Dixie Stompers) – Har 283; Alabama Stomp/WMCA Bcstrs; All Alone V+ 123. Duke Ellington O. – MW 4989; Jungle Nights In Harlem/Hot Feet V++ + 124. Duke Ellington O. – Bb(buff) 6727; The Duke Steps Out/Haunted Nights E- sol 189. Fletcher Henderson O. – Bb(gl) 10246; St. Louis Shuffle/Variety Stomp E+ 125. Duke Ellington O. – HMV B6106; Stevedore Stomp/Sweet Jazz Of Mine E 190. Fletcher Henderson O. – JC 61; Swamp Bls/Off To Buffalo E+ 126. Duke Ellington O. – Br 6987; Solitude/Moonglow V+ sol 191. Fletcher Henderson O. – Col(blue lbl) 1913; Wang Wang Bls/Blazin’ E+ 127. Duke Ellington O. – Br 7650; Clarinet Lament/Echoes Of Harlem V+ sol 192. Fletcher Henderson O. – Par R2283; Livery Stable Bls/Cl. Hopkins O.; Harlem Rhythm Dance 128. Duke Ellington O. – Master 137; Alabamy Home/All God’s Chillun Got Rhythm V+/ E+ V++ 193. Fletcher Henderson O. – Par R2783; Hop Off/Dixie Stompers; Snag It E+ 129. Duke Ellington O. – Br 8186; A Gypsy Without A Song/Rose Of The Rio Grande E+ 194. Fletcher Henderson O. – Col 2352; What Good Am I Without U/Keep A Song In Ur Soul sol V+ 130. Duke Ellington O. – Br 8200; Watermelon Man/Love In Swingtime E+ 195. Fletcher Henderson O. – Col 2559; Sugar/Blues In My Heart E 131. Duke Ellington O. – Br 8204; Lambeth Walk/Prelude To A Kiss E+ 196. High Hatters – Vi 22046; Daddy Won’t You Please Come Home/Takes You E+ lbl 132. Duke Ellington O. – Br 8221; Hip Chic/Blues Serenade V+ to Efades 133. Duke Ellington O. – Br 8231; Mighty Like The Bls/Buffet Flat E+ sol 198. Earl Hines O. – De(sb) 654; Japanese Sandman/Julia E+ 134. Seger Ellis O. – Ok 5966; No Jug No Jazz/Sleepy Time Down South EE+ 199. Earl Hines Qt. – Voc 3586; Honeysuckle Rose/Inspiration V+ 135. Fred Erb Dixieland Band – Esquire(US) 1112; Somebody Stole My Gal/Sister Kate V+/ 202. Hotel Pa. Music – Har 1086; Nobody’s Sweetheart/’Tain’t No Sin V++/1” lam nap V+ E+ + 136. Ruth Etting – Col 2199; It Happened In Monterey/Exactly Like You E203. Bob Howard O. – De(sb) 927; Swingin’ On The Moon/Mendel’s Son’s Swing Song 137. Ed Farley O. – Delvar 114; Jazz Me Bls/Margie E+ V+ 138. Ernie Fields O. – Voc 5157; High Jivin’/Just Let Me Alone E204. Bob Howard O. – Voc(E) S224; On Revival Day/Sweet Emalina My Gal E sol 139. Fisk Univ. Jubilee Singers – Col 2; You May Carry Me…/I’ve Done What You Told Me To E+ 205. Bob Howard O. – Voc(E) S233; Keepin’ Out Of Mischief Now/Beale St. Mama EE+ 140. Fisk Univ. Jubilee Singers – Col 163; You Better Get Somebody/Hope I’ll Join That Band E wol sol 141. Earl Foutz’s Jass Band – Thomas Transcriptions (acetate), Roanoke, VA (11/23/52); 208. Harry James O. – Br 8035; When We’re Alone/Life Goes To A Party E+ Bonaparte’s Retreat/Anytime E+ 210. Jimmy Johnson O. – Par R2683; Harlem Woogie/After Tonight E142. Georgians – Col 142; Savannah/Doodle Doo Doo E211. Pete Johnson Boogie Woogie Boys – Par R2717; Cherry Red/Baby Look At You E+ 144. Golden Gate O. – Or 155; California Here I Come/Ferera & Franchini; Aloha Oe EE- 212. Isham Jones O. – Vi 24695; Blue Lament/Out Of Space V+ 145. Golden Gate O. – Everybody’s 1025; Tea For Two/I Want To Be Happy E213. Isham Jones O. – De(sb) 262; Tiger Rag/I’ve Found a New Baby E+ 146. Jean Goldkette O. – Vi 21166; Here Comes The Showboat/My Ohio 214. Jonah Jones O. – Key 614; Just Like A Butterfly/Lust For Licks E+ Home (IN VICTOR STORE STOCK SLEEVE) E+ 215. Maggie Jones – Col 14044; Jealous Mamma Bls/Four Flushing Papa VV+ 147. Jean Goldkette O. – Vi 22077; Birmingham Bertha/Coon-Sanders O.; And Especially You E148. Nat Gonella (tpt w/Rhythm) – Par(Aust) A6460; Tiger Rag/Rhythm Section only; Tiger Rag E+

216. Richard M. Jones Jazz Wizards – Para 14001; Hot And Ready/It’s A Low Down Thing E+

172. Fletcher Henderson O. – Ed 51277; Linger Awhile (B)/Stevens Trio; Teach Me E+/lbl scr E+

250. Red McKenzie Rhythm Kings – De(sb) 609; Georgia Rockin’ Chair/Wouldn’t I Be A Wonder E+

218. Tempo King Band – Voc 3899; The One Rose/I Can Always Dream E 149. Benny Goodman O. – Col 3167; Dr. Heckle And Mr. Jibe/Texas Tea Party E+ 219. Jerry Krueger O. – Voc 4927; Rain Rain Go Away/Summertime E 150. Benny Goodman O. – RCA 420-0025; Bumble Bee Stomp/And The Angels Sing E+ 220. Gene Krupa Swing Band – Vi(sc) 25263; Mutiny In Parlor/I’m Gonna Clap My Hands 151. Benny Goodman Qt. – Vi(gl) 25705; Handful Of Keys/Vieni, Vieni E+ E 152. Benny Goodman Trio – Vi(gl) 25711; Silhouetted In Moonlight/BG Orch.; Don’t Teach My Old Heart… E+ 153. Benny Goodman O. – Col(gl) 35210; There’ll Be Some Changes Made/Jumpin’ At The Woodside 226. Art Landry O. – Vi 19488; Lazy Bls/It’ll Get You E+ 227. Art Landry O. – Vi 19866; Swamp Bls/RW Kahn O.; Down And Out Bls E+ E 228. Lanin O. – Ge 4796; Leave Me With A Smile/Wabash Bls V++ 154. Bobby Gordon O. – Voc(gl) 2926; Loveless Love/Lady From St. Paul E 229. Sam Lanin O. – Per 14990; ICGYABL/Joe Green O.; Happy Days E/E+ 155. Joe Gumin O. – Col 2571; I’ll Think Of You/Jingle Bells E156. Mal Hallett O. – Per 14618; She’s A Cornfed Indiana Girl/Lou Gold O.; Bye Bye Blackbird 230. Harlan Lattimore O. – Par R1297; Got The South In My Soul/OM5; Anything E+ E231. Claude Laurence O. – Swing 143; Minor Swing/Brumes Dans Le Soir E 157. Lionel Hampton O. – Vi(sc) 25586; Rhythm, Rhythm/China Stomp E+ 232. Levee Syncopators (as New Orleans Pepsters) – VD 81843; The Rackett (-A)/ 158. Lionel Hampton O. – Vi(gl) 26362;Ain’t Cha Comin’ Home/12th Street Rag E+ Bay State Broadcasters; St. James Infirmary E159. Lionel Hampton O. – Vi(gl) 26371; When Lights Are Low/Hot Mallets E+ 234. Ted Lewis O. – Col 35684; Royal Garden Bls/Dallas Bls E+ 160. Lionel Hampton O. – Vi(gl) 26423; The Heebie Jeebies Are Rockin’ /Gin For Christmas 235. Ted Lewis Band – Col 2113; Aunt Hagar’s Bls/San V+ E+ 236. Ted Lewis Band – Col 2560; An Ev’ning In Caroline/Old Playmates V+ sol 161. Lionel Hampton O. – Vi(gl) 26608; Tempo And Swing/My Buddy E+ 238. Louisiana Rhythm Kings – Br 4845; Swanee/Meanest Kind O’ Blues E162. Harlem Hot Shots – Bb(buff) 5253; My Galveston Gal/Can This Be The End Of Love V+/ 239. Louisiana Rhythm Kings – Br 4938; Pretty Baby/Tell Me V++ E240. Louisiana Rhythm Kings – vinyl test; Lady Be Good E+ 163. Ace Harris Sunset Royal O. – Voc 3864; Hurly Burly/Who E+ 242. Abe Lyman O. – Br 2481; Bugle Call Rag/Queen of Egypt V++ 164. Ace Harris Sunset Royal O. – Voc 3935; Rhythm ‘Bout Town (-1)/One Little 243. Manhattan Imperial O. – Pur 11229; Farewell Bls/Frisco Syncopators; Bambalina Word Led To Another E V+ nd 165. Clyde Hart Band – Regis 7002; Riding On 52 St./All The Things You Are E+ wol 244. Mike Markel O. – Ok 40959; We Two/Dawn V+ scrs, lite lams nap, edge warp 166. Coleman Hawkins O. – De(sb) 661; Netcha’s Dream/Chicago E+/E 245. Franklyn Marks O. – Master 139; Cats In The Cornfield/Washboard Bls E+ 167. Coleman Hawkins All Stars – Vi(gl) 26219; Crazy Rhythm/Honeysuckle Rose E 246. Rudy Marlow O. – Diva 3137; Let Me Sing And I’m Happy/Get Happy V++ 170. Fletcher Henderson O. – GG 1173; Down Hearted Bls (2)/Lannin O.; Louisville Lou 247. Freddy Martin O. – Bb 7712; Milneberg Joys/Wolverine Bls E+ E+ 248. Sara Martin – Ok 8041; Sugar Bls/Achin’ Hearted Bls E+ 171. Fletcher Henderson O. – Ed 51276; Shake Your Feet (-A)/Stevens’ Trio; Rainbow Trail 249. Red McKenzie – Col 2587; I Found You/I’m Sorry Dear E+ E+ 173. Fletcher Henderson O. – Re 9668; You Know Me Alabam (-1)/Glantz O.; Where Is E 174. Fletcher Henderson O. – Re 9673; Wait’ll You See My Gal (4)/Jealous (-4) V+

251. McKinney’s Cotton Pickers – Vi 23020; Laughing At Life/Never Swat A Fly V++

252. McKinney’s CP – Vi 23024; After All You’re All I’m After/I Miss A Little Miss V+ lbl fades

253. McKinney’s Cotton Pickers – Bb 7695; Save It Pretty Mama/I Found A New Baby E+ 175. Fletcher Henderson O. – Re 9680; Charley My Boy (-1)/Missouri JB; Doodle Doo Doo E- 254. Jimmy McPartland’s Squirrels – HRS 1003; Panama/I’m All Bound Round… E+ 176. Fletcher Henderson O. – Re 9680; Charley My Boy (-2)/Missouri JB; Doodle Doo Doo E+ 255. Memphis Night Hawks (as Roy Palmer) – BRS 16; Jockey Stomp/Endurance Stomp E+

256. Mezz Mezzrow Trio – Session 10-008; Milk For Mezz/Really The Bls E+ sol 257. Eddie Miller w/Gordon Jenkins O. – De(dj) 27603; Ellington Echoes/Pt. 2 E+ 258. MBRB (as Baron Lee) – Mel 12414; White Lightning/Wild Waves E/lite scr nap E wol 179. Fletcher Henderson O. – Re 9683; Grass Is Always Greener (-1)Chiclet O.; June Night V+ 259. Mills Brothers – Br(E) 01800; Lazy Bones/Nagasaki E+ 180. Fletcher Henderson O. – Re 9683; Grass Is Always Greener (-2)Chiclet O.; June Night 260. Armand Molinetti O. – Swing 147; Elia/En Foret E+ EE+ 261. Monette Moore Swing Shop Boys – De 7161; Rhythm For Sale/ 177. Fletcher Henderson O. – Re 9682; I Can’t Get The One I Want (2)/6 Black Diamonds; Charleston Cabin E 178. Fletcher Henderson O. (as Manhattan Musicians) – NML 1099; I Can’t Get The One I Want/Master Melody Makers; He’s A New Kind Of Man E

!39

Two Old Maids In A Folding Bed (-B) E

342. Fats Waller Rhythm – Vi 25834; You Had An Ev’ning To spare/Skrontch E+ E+ 347. Clarence Williams Blue 5 – Ok 8465; Black Snake Bls/Old Folks Shuffle V++ sm sol 348. Mary Williams – De(sb) 1021; Isabelle/Corny Rhythm E+ 349. Mary Lou Williams – De 1155; Swingin’ For Joy/Clean Pickin’ E+ 350. Mary Lou Williams – De 2797; Mr. Freddie Bls/Sweet Patunia EE-

262. Monette Moore & Sam Price Trio – De 48047; Another Woman’s Man/Please Mr. Blues E 344. Ted Weems O. – Vi 21670; If You Want the Rainbow/Baby Doll

263. Russ Morgan O. – Br 8128; Diga Diga Doo/Sophisticated Swing E- lite lams nap 264. Lee Morse Southland Serenaders – Col 1063; What Do I Care/I Hate To Say Goodbye EE+

265. Lee Morse BGB – Col 1584; Mississippi Mud/I Must Have That Man E266. Lee Morse BGB – Col 1806; Miss You/In The Hush Of The Night E267. Naylor’s Seven Aces – Ge 5470; Say Say Sadie/Driftwood VV+ 268. NORK – Br(E) 02212; Tiger Rag/Panama E+ 269. NORK – De(sb) 388; Dust Off That Old Pianna/Since We Fell Out Of Love V+ 270. NORK – De(sb) 401; Baby Brown/No Lovers Allowed E+ 271. Red Nichols 5 Pennies – Br 4701; Hallelujah/Sometimes I’m Happy E+ 272. Red Nichols 5 Pennies – Br 6312; Goin’ To Town/Goofus V++

351. Edith Wilson w/Johnny Dunn’s Hounds – Col A3479; Nervous Bls/Vampin’ Liza Jane EE353. Yerkes Musical Bell Hops – Rad 1180; Blue Hoosier Bls/Bwy Music Masters; Midnight Rose E-

10” LP’s 354. Louis Armstrong, Bing Crosby, Rosemary Clooney & The Hi-Lo’s – Columbia un-numbered promo (7”): “Music To Shave By” for Remington Shavers E+ 355. Tony Bennett – Columbia CL 2507; Alone At Last N274. Norton’s D.O. – Tremont 503; Sweet Little U/Carl Gay D.O.; I Never Care About Tomorrow EE- 356. Tenors Wild And Mild (Morris Lane, Eddie Lockjaw Davis & Frank Culley; 275. Red Norvo O. – De(sb) 670; The Wedding Of Jack And Jill/Polly Wolly Doodle E+ Pontiac PLP-523 E 1” bottom seam split 276. Red Norvo O. – Br 7896; Jiving The Jeep/Remember E357. Second Session At Squirrel’s (Ashcraft) – Paramount 104 E+ 277. Red Norvo O. – Br 7975; Russian Lullaby/Clap Hands Here Comes Charlie E+ 358. The Third Squirrel (Ashcraft) – Paramount 108 E+ (pasted front cover, which 278. Geo. Olsen O. – Vi 19457; Beale St. Bls/International Nov. O.; Boll Weevil Bls V++ has some wear & tear is loose) 279. Original Creole Stompers – AM 532; BWYPCH/E-Flat Bls E- wol 359. The 4th Bix Festival - Paramount 110 E+ (pasted front cover which has some 280. ODJB – Bb 7454; Drop A Nichol In The Slot/Jezebel V+/V++ wear & tear is loose) 281. OM5 – Voc 14506; Aggravatin’ Papa/Four O’Clock Bls V+ 12” LP’s 282. OM5 – Vi 19805; Military Mike/Bass Ale Bls E+ 360. Bill Mitchell & Hal Smith – Echoes of Chicago; Euphonic 1225 N283. Palais Royal Californians – Col(Aust) 0517; Milneberg Joys/That Certain Party V+ 361. Miff Mole’s Molers – 1927 (with Sophie Tucker); Parlophone PMC 7120 N284. (Parenti’s) La Veeda D.O. – Col 1549; I Need Some Lovin’/Strut Yo’ Stuff E 362. Jelly Roll Morton – The Immortal (Paramount, Autograph & Rialto titles); Milestone 2003 N285. Jack Pettis Pets – Vi 21793; A Bag Of Bls/Freshman Hop E 286. Sid Phillips Band – HMV BD6103; Steppin’ In Society/Ain’t Nobody Here But Us Chickens E+ 287. Sid Phillips Band – HMV POP269; It Goes Like This/Farewell Blues – Rock and Roll Style E+

288. Charles Pierce O. – UHCA 71; Jazz Me Bls/Sister Kate E 289. Ben’s Bad Boys – Vi 21971; Yellow Dog Bls/Wang Wang Bls V+ 290. Ben Pollack O. – Vi 22089; True Blue Lou/Coon-Sanders O.; Flippity Flop V+ to E291. Bob Pope O. – Bb(buff) 6452; Big Chief De Sota/These Foolish Things V+ 292. Louis Prima N.O. Gang – Br 7431; Swing Me With Rhythm/Sugar Is Sweet V+ 293. Louis Prima N.O. Gang – Br 7628; It’s Been So Long/Sing Sing Sing E 294. Snoozer Quinn & Johnny Wiggs – Wiggs 10; Singing The Bls/ Snoozer Quinn; You Took Advantage Of Me E+

363. Jelly Roll Morton – The Other Sides (unissued takes from Victor, 1927-30); Raretone RTR 24002 N-

365. New Orleans Owls – Vol. 1 (1925-26); VJM 21 N366. Original Memphis 5 – 1926-29 (Edison, Brunswick & Vocalion titles); IAJRC 26 N367. Frankie Newton – At The Onyx Club (1937-39); Tax 8017 N-

368. Frankie Newton – Swinging In 52nd Street, 1937-39 (w/unissued takes & titles); Jazz Archives 9 N-

369. Keith Nichols Red Hot Syncopators – Doctors Jazz; Stomp Off 1135 N-

370. Keith Nichols-Claus Jacoby’s Dreamland Syncopators – Territory Jazz; Stomp Off 1150 N-

295. Erno Rapee O. – HOW M5A1; River Stay Way From My Door + Some Of These Days 371. Keith Nichols (piano solos) – Chitterlin’ Strut; Stomp Off 1159 N372. Keith Nichols-Claus Jacoby Moonlight Broadcasters – Radio Nights; Stomp Off 1193 NE+

296. Don Redman O. – Vri 635; The Man On The Flying Trapeze/That Naughty Waltz E- 373. Red Nichols – Real Rare Red (The Acoustical Years (1925-27) (Cotton Pickers, Lanin, 297. Don Redman O. – Ok 3829; Stormy Weather/Sweet Sue E+ Hottentots, Brillhart, Signorelli, Markel, Lee Morse, etc.); Broadway 120 N299. Kid Rena Jazz Band – Delta 801; Gettysburg March/Lowdown Bls E+ sol 374. Red Nichols – Wabash Dance Orch. (on Duophone, 10 titles (1928)) + early Ben 300. Kid Rena Jazz Band – Delta 807; Get It Right/Weary Bls EE+ 301. Maurice Rocco Rockin’ Rhythm – De 8523; Tonky Bls/Rocco’s Boogie Woogie V+ store Pollack Victors; Broadway 1032 Nsol 375. Jimmie Noone + Earl Hines – At The Apex Club (1928); Decca DL 79235 N302. Maurice Rocco Rockin’ Rhythm – De 8544; Little Rock Getaway/Java Jive E 376. Jimmie Noone O. – 1928-49; IAJRC 18 N303. Gene Rodemich O. – Br 2663; Won’dring Bls/Scissor Grinder Joe E+ 377. Leon Oakley Lakeshore Serenaders – New Orleans Joys; Stomp Off 1013 N304. Adrian Rollini O. – De 359; Somebody Loves Me/Davenport Bls E 378. Jimmy O’Bryant’s Washboard Wonders – 1924-26; Biograph 12002 N305. Vincent Rose O. – Per 15905; Nasty Man/My Dog Loves Your Dog E lbl fades 306. Luis Russel’s Stompers – Ok 8424; Plantation Joys/Please Don’t Turn Me Down V 379. Original Dixieland Jazz Band – 1917-36; RCA LPV-547 N380. Tomas Ornberg’s Blue 5 – featuring Kenny Davern; Opus 3 – 8003 N307. Babe Russin O. – Vri 636; Roses In December/Love Or Infatuation E+ 309. Blue Scott Blue Boys – Bb(buff) 6520; Rubbin’ Rubbin’/I Can Dish It – Can U Take It 381. Tomas Ornberg’s Blue 5 – Come Back Sweet Papa; Stomp Off 1043 N382. Dick Oxtot’s Golden Age Jazz Band – Down In Honky Tonk Town; Arhoolie 4010 NE+ 383. Paris Washboard – When We’re Smiling; Stomp Off 1182 N310. Ben Selvin O. – Col 2554; Little Mary Brown/Charlie Cadet VV+ lbl fades 384. Bent Persson recreates Louis Armstrong’s 50 Hot Choruses For 315. Milt Shaw O. – Mel 12040; Blue Again/To Whom It May Concern V+ Cornet (1927); Vol. 1; Kenneth KS2044 N316. Milt Shaw O. – Mel 12060; I’m So Afraid Of You/The River And Me V+ 317. Nat Shilkret O. – Vi 21515; When Sweet Susie Goes Steppin’ By/Dusky Stevedore EE- 385. Bent Persson recreates Louis Armstrong’s 50 Hot Choruses For Cornet (1927); Vol. 2; Kenneth KS2045 N318. Tony Short (piano solos) – De(E) F8525; Milton Street Moan/Dipper Mouth Bls E+ 386. Bent Persson recreates Louis Armstrong’s 50 Hot Choruses For 319. Zutty And His Band – De(sb) 431; Runenae Papa/Look Over Yonder V+ Cornet (1927); Vol. 3; Kenneth KS2046 N387. Bent Persson’s London Stompers – Livin’ High; Stomp Off 1167 N320. Zutty And His Band – De(sb) 432; Clarinet Marmalade/Anything For You E+ 388. Billie and De De Pierce – New Orleans Jazz; 321. Zutty Singleton O. – De 18093; King Porter Stomp/Shim-Me-Sha-Wabble E Folk Lyric 110 N- (1” bottom seam split plus some cover stains) 322. Noble Sissle O. – De(sb) 847; Rhythm Of The Broadway Moon/I Take You E+ 389. Piron’s New Orleans Orchestra – 1923-25; Retrieval 128 N323. Bessie Smith – HJCA 77; Gin House Bls/Me And My Gin E+ 390. Danny Polo’s Swing Stars – 1937-39; TOM 41 N324. Bessie Smith – HJCA 81; Jazzbo Brown From Memphis Town/Squeeze Me EE+ 325. Trixie Smith – MF 100; Everybody’s Doin’ Charleston Now/Love Me Like You Used To E+ 391. Prague Jazz Phonics – In Edinburgh; Stomp Off 1236 N326. Snooks Memphis Ramblers – Vi 22704 (in original Victor stock sleeve); You Don’t 392. Paul Quinichette – For Basie; Status ST2036 NNeed Glasses/Building A Home For You E+ 393. Snoozer Quinn – The Legendary, with Johnny Wiggs; Fat Cat 104 N328. Blue Steele O. – Vi 20971; Sugar Babe I’m Leavin’/Girl Of My Dreams (w) E 394. The Ramblers – Zuiderzee Blues (1938-39); Panachord 2013 N329. Rex Stewart Sydney 6 – Wilco 104; Indiana/Sydney Sobs E+ 395. Charlie Rasch (piano solos) – Runnin’ Wild; Idion 3204 N330. Georgie Stoll O. – De(sb) 976; Swanee/The Girl Friend E+ 396. Red Onions & Ottilie; Mad Dog; Stomp Off 1090 N331. Swanee Swingers – De(sb) 1022; Slappin’ The Bass/Take It Easy E 397. Don Redman O. – Redman’s Red Book, 1932-36; Must 8002 N332. Art Tatum – Br 6553; Tea For Two/Sophisticated Lady ENOTE: The following Django Reinhardt LP’s are taken from the Swing label (except 333. Art Tatum – De(sb) 1373; Anything For You/Liza E for the early titles) 334. Art Tatum Band – De 8563; Corrine Corrina/Lonesome Graveyard E+ 398. Django Reinhardt – Pathe 054-16001; Djangologie Vol.1 (1928-36) w/Louis Vola O., 335. Art Tatum Band – De 8577; Rock Me Mama/Lucille (-B) E- sol/E L’Orch. Du Theatre Daulon, Michel Warlop O., Garnet Clark, QHCF N336. Frankie Trumbauer O. – Lucky(J) 60164; I’m Old Cowhand/Diga Diga DoE+/lbl blemish E+ 399. Django Reinhardt – Pathe 054-16002; Djangologie Vol.2 (1936-37) w/QHCF N337. Joe Venuti Blue 4 – Okeh vinyl test; Penn Beach Bls (mx 81822-B issued) E+ 400. Django Reinhardt – Pathe 054-16003; Djangologie Vol.3 (1937) w/QHCF + solo N338. Joe Venuti Blue 4 – Okeh vinyl test; Running Ragged (mx 403078-B issued) E 401. Django Reinhardt – Pathe 054-16004; Djangologie Vol.4 (1937) w/Stephane 339. Joe Venuti Blue 4 – De(sb) 625; Tap Room Bls/Mystery E+ Grappelly, Andre Ekyan, Dickie Wells O., Coleman Hawkins All Stars + solo 340. Don Voorhees O. – Col 1123; Baby’s Blue/Radiolites; The Calinda V+ N341. Fats Waller Rhythm – Vi 25753; My First Impression Of You/Am I In Another World 402. Django Reinhardt – Pathe 054-16005; Djangologie Vol.5 (1937) w/Eddie South, E+ Stephane Grappelly, Bill Coleman O. + solos N-

!40

403. Django Reinhardt – Pathe 054-16006; Djangologie Vol.6 (1937) w/Eddie South, QHCF, Michel Warlop O. N404. Django Reinhardt – Pathe 054-16007; Djangologie Vol.7 (1937-38) w/Michel Warlop O., Stephane Grappelly, Phillippe Brun O., Benny Carter O.. + solos N405. Django Reinhardt – Pathe 054-16008; Djangologie Vol.8 (1938-39) w/Benny Carter O., Larry Adler, Rex Stewart Feetwarmers, Andre Ekyan, QHCF N406. Django Reinhardt – Pathe 054-16009; Djangologie Vol.9 (1939-40) w/Grappelly, Arthur Briggs O., Alix Combelle O., Phillippe Brun O., Andre Ekyan + solos N407. Django Reinhardt – Pathe 054-16010; Djangologie Vol.10 (1940) w/Django’s Music, Andre Ekyan, QHCF, Hubert Rostaing , Alix Combelle O., Noel Chiboust O. N408. Django Reinhardt – Pathe 054-16011; Djangologie Vol.11 (1940) w/Noel Chiboust O., Rostaing-Barelli O., QHCF N409. Django Reinhardt – Pathe 054-16012; Djangologie Vol.12 (1940-41) w/Trio de Saxophones, QHCF, Christian Wagner O., Pierre Allier O., Festival Swing 1941 & 1942, Django’s Music, Andre Ekyan N410. Django Reinhardt – Pathe 054-16013; Djangologie Vol.13 (1942-43) w/Hubert Rostaing O., Django’s Music, QHCF, solos N411. Django Reinhardt – Pathe 054-16014; Djangologie Vol.14 (1943-46) w/Django O., Django’s Music, Django’s American Swing Band, QHCF N412. Django Reinhardt – Pathe 054-16015; Djangologie Vol.15 (1946-47) w/QHCF N413. Django Reinhardt – Pathe 054-16016; Djangologie Vol.16 (1947-49) w/QHCF, Django & Grappelly N414. Django Reinhardt – Pathe 054-16017; Djangologie Vol.17 (1949) w/Django & Grappelly Quintet N415. Django Reinhardt – Pathe 054-16018; Djangologie Vol.18 (1949-50) w/Django & Grappelly Quintet, QHCF, solos N416. Use this number to bid on the entire set of 18 LP’s. 417. Lucky Roberts – Ragtime King; Everest FS 304 N418. Adrian Rollini – His Quintet & Trio feat. Bobby Hackett, 1938-40; Tax 8036 N419. Pee Wee Russell w/Rhythm Cats – Complete 1940 Rhythm Cats transcriptions; Shoestring 109 N-

420. Jan Savitt O. – Top Hatters (1939-41); Decca DL 79243 N- (cutout) 421. Bob Scobey’s Frisco Band – Rompin’ And Stompin’; RCA LPN-2086 N423. Artie Shaw O. – Free For All (1937-39 Brunswick/Vocalions); Epic EE22023 N424. Artie Shaw O. – Vol. 1; (1937-38 transcriptions & airchecks); First Time 1501 N425. Artie Shaw O. – Vol. 3; (1937-38 transcriptions & airchecks); First Time 1503 N426. Joel Shaw O. – Vol. 1, 1931-32; TOM 52 N427. Joel Shaw O. – Vol. 2, 1932; TOM 53 N-

470. Red Nichols – With Sam Lanin O. (1925-28); Broadway 105 N471. Red Nichols – Real Rare Red (1922-30); Broadway 110 N472. Red Nichols O. – 1936 Transcriptions; Circle 110 N473. Red Nichols O. – Class of ’39 (1939 Radio Transcriptions); Blue Lantern 1000 N474. Red Nichols 5 Pennies – 1949 Lang Worth Transcriptions, Vol. 1; Blue Rhythm 1 N475. Red Nichols 5 Pennies – 1949 Lang Worth Transcriptions, Vol. 2; Blue Rhythm 2 N476. Red Nichols – Lots of Nichols; Audiophile M-1055 N477. Red Nichols 5 Pennies – Syncopated Chamber Music; Audiophile XL-326 N478. Ray Noble O. – Notable Noble (1929-34); World 429 N479. Muggsy Spanier Jazz Band – Relaxin’ At The Touro (1952 World Transcriptions); Jazzology 115 N-

480. Muggsy Spanier O. – Broadcast from The Blue Note (Chicago) 1953; Jazum 34 N481. Ethel Waters – 1938-39; RCA(Fr) 741067 N482. Ethel Waters – Who Said Bluebirds Are Blue (from 1950’s telecasts); Sandy Hook 2060 N-

483. Ethel Waters – On The Air (1933-51); Totem 1041 N484. They All Played Banjo – 1904-16 C. Rogers, Morley, Picoux, Earle, Oakley, etc.); Fountain 403 N-

Darky Stories, Coon Songs, Minstrels, Ragtime, Negro Dialect, etc. 485. Frank Banta & Jack Austin – Col A3687; A Bunch Of Keys/Kitten On The Keys E

486. Ralph Bingham – Vi 18587; Mrs. Rastus Johnson’s Joy Ride/Brother Jones’ Sermon E+

487. Harry C. Browne – Col A1999; Nigger Loves A Watermelon Ha Ha Ha/Old Dan Tucker V++ sm sol 488. Arthur Collins – Vi 16015; I Think I See My Brother Coming Now (Coon Song)/ Steve Porter; Flanagan On A Broadway Car V+ 489. Collins & Harlan – Vi 16103; That Welcome On The Mat Ain’t Meant For Me/ Arthur Collins; If I’m Going To Die, I’m Going To Have Some Fun V++ 490. Collins & Harlan – Vi 16483; Moonlight In Jungle Land (Darky Duet)/ Billy Murray; Casey Jones V++

491. Collins & Harlan – Vi 17077; That Baboon Baby Dance/Billy Murray; The Gaby Glide E+

492. Collins & Harlan – Vi 17248; I’m Goin’ Back To Memphis Tennessee/ American Qt.; Down In Dear Old New Orleans V++

493. Collins & Harlan – Col A633; Sweetest Gal In Town/F. Duprez; Vaudeville Rehearsal V++ 494. El Cota (xylo) – Col A1118; Black And White (Rag)/Fred Van Eps; The Whitewash Man E+

495. Golden & Hughes – Vi 17020; Darktown Poets (Darky Specialty)/Collins & Harlan; Everybody’s Doing It Now E 496. Golden & Hughes – Vi 17047; Matrimonial Troubles (Darky Comedy)/Billy Murray; Nothing To Do Until Tomorrow E+ 497. Harmonizers – Pathe 20729; Darktown Quartet Rehearsal/Bernard & Kamplain; Tyrol 428. Noble Sissle Sizzling Syncopators – 1929-34 (HMV, Brunswick & Decca titles); CJM 22 E N498. Haydn Qt. – Vi 125; Cornfield Medley V+ slight rough start V+ 429. Ray Skjelbred & Barbara Lashley – Sweet And Lowdown; Stomp Off 1152 N499. Honey Gal & Smoke – Spt 9383; Social Functions/Pt. 2 V+/lbl fade V+ 430. Ambrose O. – Soft Lights And Sweet Music; Dance Music of the Thirties; Joy 271 N- 500. International Music Company (Buffalo, NY) – Special K-3 (made by Rodheaver 431. Mildred Bailey – The Majestic (1946-47 issued and unissued takes/titles from Co.); The Stuttering Klansman/The Klansman And The Rain E Majestic); Savoy SJL 1151 N501. Metropolitan Band – Clico (of Toledo, OH) 3010 (light blue lbl, black print); Gems of 432. Mildred Bailey – Here Is (1944-45 titles); King Jazz 20035 N- 1” bottom seam split Southern Songs E slight rough start 433. Bunny Berigan – Young Bunny – 1931; Parade of Hits un-numbered N502. Billy Murray – Col A459; Rambler Minstrel Company/Byron Harlan; Where Morning Glories Twine 434. Bunny Berigan O. – Early Bunny (NBC Thesaurus recordings); Golden Era 15041 EN503. Vess Ossman – Std A232; The Colored Major/Ed. Rubsam (bells); Dance of Fireflies V+ 435. Bunny Berigan – Vol. 1 (1938-39 Airchecks); Shoestring 100 N504. Vess Ossman – Col A937; St. Louis Tickle/Prince’s Military Band; Silver Bell V+ 443. Sidney deParis – DeParis Dixie; Blue Note B-6501 (cutout) N505. Vess Ossman – Vi 16779; The Buffalo Rag/Spencer & Holt; Barnyard Serenade E 506. Prince’s O. – Col A1784; Nigger In The Barnyard/Hunt In Black Forest V+ to E-/sol 445. Roy Eldridge – Live At The Three Deuces (1937); Jazz Archives 24 NV+ 446. Roy Eldridge – At The Arcadia Ballroom, 1939; Jazz Archives 14 N507. Arthur Pryor Band – Vi 16469; Darkie’s Dream/Wm. Reitz (xylo); Sorgenlos Polka 447. Roy Eldridge – Roy, The Early Years (1935-49, ARC, Vocalion and EE+ Columbia titles); Columbia 38033 (2 LP’s) N508. Standard Male Qt. – Standard A376; I’se Gwine Back To Dixie/Cal Stewart; 448. Duke Ellington – Early Duke (1924-31); Jazz Panorama 12 NEvening Time At Pun’kin Centre V+ 449. Ella Fitzgerald – Forever Young, 1939-41; Swingtime 1007 N509. Van Eps Trio – Vi 17601; Notoriety Rag/Chinese Picnic And Oriental Dance V++ 450. Ella Fitzgerald O. – Live From The Roseland Ballroom, 1940; Sunbeam 205 N510. Vaudeville – Standard 3190; Ev’ry Little Bit Helps V+ 451. Benny Goodman Trio & Quartet – Live, 1938-39; CBS(Fr) 13289 N511. Victor Dance O. – Vi 16460; Four Little Sugar Plums/Murray & Haydn Qt.; Light Of Silvery Moon 452. Benny Goodman Trio & Quartet – Live, Vol. 2, 1937-38; CBS(Fr) 63086 NE 453. Roy Fox O. – With Vocal Refrain (1938); Halcyon 9 N512. Vocal Quartette – Std A361; Medley Of Plantation Songs/Baritone; Bonnie Jean V+ 454. Jimmie Grier O. – 1932 Broadcasts from the Cocoanut Grove; Sunbeam 303 N513. Vocal Quartette – Cort F694; Ragtime Dream/This Is The Life V++ 455. Henry Hall – This Is Henry Hall (1932-39); World SHB 48 (2 LP’s) N12” - 78RPM 456. Henry Hall BBC Dance O. – Help Yourself To Happiness (1932); Saville 156 N514. Fisk University Jubilee Qt. – Vi 35097; Old Black Joe/Rev. Myers; When Malindy Sings E 457. Henry Hall BBC Dance O. – What A Perfect Combination (1933-35); Saville 178 N515. Golden & Hughes – Vi 35544; A Love Sick Darky/Matrimonial Difficulties E+ 517. Vess Ossman Banjo O. – Vi 35536; Kangaroo Hop/Merry Whirl E 458. Henry Hall BBC Dance O. – Seein’ Is Believin’ (1935-37); Saville 193 N518. Vess Ossman – RCA Billion Record commemorative; Tell Me Pretty Maiden (1901)/ 459. Woody Herman O. – 1937 Transcriptions; Hindsight 116 NBoston Symphony O.; Semper Fidelis (1940) V++ 460. Earl Hines – 1929 Complete Victor Recordings (with alternates); RCA (Fr) 7023 N519. Prince’s Band – Col A5868; Two Key Rag/Welcome Honey To Your Old Plantation Home E+ 461. Claude Hopkins O. – Harlem 1935 (transcriptions); Jazz Panorama 13 N520. The Psaltree Sermon (Negro Dialect) – Distributed by Dialect Record Co. (pressed 462. Hal Kemp O. – 1934 World Transcriptions; Circle 25 Nby RCA CS057395/96); Pt. 2 V++ slight rough starts 463. Red McKenzie – Just Friends (1929-36 inc. 1936 Broadcast w/Jerry Sears O.); Emanon 2 521. Van Eps Banjo O. – Col A5618; Old Folks Rag/Valse Marie E N-

522. Victor Minstrel Co. – Vi 35095; Virginia Minstrels: Virginia + Gentlemen Be Seated + Darky Song-Humming Coon + Climb Up Little Chillun/Peerless Qt.; Foster Songs E 523. Victor Minstrel Co. – Vi 35108; Alabama Minstrels: Fly, Fly, Fly + My Rosie Rambler + 465. Glenn Miller O. – CBS Chesterfield Shows, Vol. 5 – Oh So Good (1940-42); Magic 29 NLinda/Arthur Pryor Band; Old Heidelberg (medley) E+ 466. Glenn Miller O. – Live At The Glen Island Casino (1939); Magic 31 N524. Victor Minstrel Co. – Vi 35202; Carolina Minstrels: In The Morning By The Bright 467. Glenn Miller O. – Live At The Meadowbrook Ballroom (1939); Magic 34 NLight + Everyone Has a Whistle Like Mine + Melancholy Mose/Golden & 468. Red Nichols 5 Pennies – 1926-30 (inc. some La. Rhythm Kings titles); Coral(G) 97024 NHughes; Whistling Pete-Minstrel Specialty (Darky Comedy) E 469. Red Nichols 5 Pennies – 1926-31 (inc. unissued & alternate takes); MCA 1518 N464. Glenn Miller O. – CBS Chesterfield Shows, Vol. 4 – Stardust (1940-42); Magic 25 N-

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525. Victor Minstrel Co. – Vi 35233; Mississippi Minstrels, No. 22: I Guess I’ll Have To Telegraph My Baby + I Want To Go Back To the Land Of Cotton + Remus Takes The Cake/Peerless Qt.; Down On The Levee (Descriptive Negro Medley) E 526. Victor Minstrel Co. – Vi 35280; New Orleans Minstrels, No. 27: At A Georgia Campmeeting + Alls I Wants Is My Black Baby Back + On Emancipation Day/ Golden & Hughes; Unlucky Mose (Darky Specialty) EE+ 527. Bert Williams – Col A6141; Elder Eatmore’s Sermon On Generosity/ Elder Eatmore’s Sermon On Throwing Stones E 528. Bert Williams – Col A 6216; You Can’t Do Nothing Till Martin Gets Here/How Fried E- lbl fades

608. James P. Johnson – Sig 28105; Blues For Fats/Blueberry Rhyme V+ to E610. Art Kahn O. – Per 15709; Baby/Look Who’s Here V++

611. Irving Kaufman – Col 2108; Singing A Vagabond Song/There’s Danger In UR Eyes Cherie E+

613. Kentucky Colonels – Voc 14738; I’m Goin’ South/Wow E614. Billy Kyle – De 2740; Finishin’ Up A Date/Between Sets E+ 618. Arthur Lange O. – Cam 555; Big Boy/Bwy Broadcasters; It Had To Be You EE+

620. Howard Lanin O. – Vi 19711; When Eyes of Blue Are Fooling U/On A Night Like This V+

621. Howard Lanin O. – Vi 19797; Melancholy Lou/Don’t Wake Me Up Let Me Dream V+

529. “My Boy” – 6 one-sided Brunswick white label radio programs in Negro dialect (1929-30?) +

622. Harry Leader Band – Voc 3290; My Sweetie Went Away/Smoke Rings E 626. Lewis-Johnson-Ammons – Voc 4606; Boogie Woogie Prayer/Pt. 2 E639. Abe Lyman O. – Br 2679; A New Kind Of Man/Romany Days V+ 640. Humphrey Lyttleton Band – Par PZ11308; Chicago Buzz/Forgotten Woman Bls E 641. Sherry Magee Dixielanders – Voc 5281; Shake It And Break It/Tin Roof Bls E642. Sherry Magee Dixielanders – Voc 5436; Bluin’ The Blues/Satanic Bls E 643. Wingy Mannone O. – Voc 3023; Takes 2 To Make Bargain/From Top Of Ur Head E+ 644. Markel’s O. – Ok 4549; Doo-Dah Bls/Lola Lo V+ 646. Johnny Marvin-Wm. Carola (Uke & guitar) – Vi 20386; 12th St. Rag/Memphis Bls E+ 531. Victor Salon Group – Vi 36000; Song Of The Bayou (Rube Bloom)/Two American Sketches E- 650. Clyde McCoy O. – Col 2466; Black And Tan Fantasy/The Nightmare EBack to 10” 78’s 651. Clyde McCoy O. – Mel 60803; Creole Love Call/The Nightmare E+ 533. Durelle Alexander – Ban 51101; Animal Crackers In My Soup/When I Grow Up V+ 652. Dick McDonough O. – Mel 61101; South Sea Island Magic/Afterglow E 538. Blue Lu Barker – De 7770; Lu’s Blues/I Don’t Dig You Jack E+ 653. Dick McDonough O. – Mel 71111; An Old Flame Never Dies/You An I Know E539. Bud & Jack Billings – Vi 40031; Birmingham Jail/Columbus Stockade Bls V+ 655. Red McKenzie Rhythm Kings – De(sb) 587; Every Now & Then/Monday In Manhattan V+ to E657. Memphis Slim House Rockers – Premium 860; Havin’ Fun/Slim’s Blues E 540. Blues Chasers – Per 14432; Charleston/What A Smile Can Do E+ 658. Nilo Menendez O. – Vi 24632; Hot And Spicy/Princess V++ sol 541. Broadway D.O. – Ed 51013; Haunting Bls/Atlantic D.O.; Georgette E+ 542. Broadway D.O. – Ed 51302; An Orange Grove In California/Jazz-O-Harmonists; I’m Goin’ South 659. Merry Melody Men – Emer 10317; Kentucky Bls/Rosie E slightly noisy starts E+ 664. Mezzrow-Bechet Quintet – King Jazz 140; De Luxe Stomp/Gone Away Bls E 543. Cleo Brown – De 477; Pelican Stomp/Boogie Woogie E+ 665. Mezzrow-Bechet Quintet – King Jazz 142; Out Of Galion/Ole Miss E 544. James Brown w/Famous Flames – Federal 12258; Please, Please, Please/ 670. Mills Blue Rhythm Band – Ok 6119; Ride Red Ride/Congo Caravan E Why Do You Do Me EE673. Miff Mole Band – Manhattan 101; Dixieland One Step/ICGYABLB E+ 550. California Ramblers – Re 9737; I’ll Take Her Back/Sam Lanin O.; When I Was Dandy V+ 674. Miff Mole Band – Manhattan 102; Livery Stable Bls/Livery Stable Bls E+ 552. Charleston Chasers – Col 861; Someday Sweetheart/After You’ve Gone E675. Webster Moore O. – Har 1192; Just A Little Closer/Betty Co-Ed E/sol E553. Charleston Chasers – Col 1989; Turn On The Heat/What Wouldn’t I Do For That Man E+ 676. Joe Morgan O. – Ban 32072; Just A Gigolo/I Had To Lose You E- some lite scrs 555. Herman Chittison – Bb 11333; The Man I Love/Flamingo E+ 678. Russ Morgan O. – Br 8157; Sheik Of Araby/Way Down Yonder In New Orleans E 556. Larry Clinton O. – Vi 26018; Dipper Mouth/Milneberg Joys E sol 679. Jelly Roll Morton – General 4003; The Crave/Buddy Bolden’s Bls EE+ 557. Larry Clinton O. – Vi 26414; Down Home Rag/Johnson Rag E sol 680. Bennie Moten O. – Vi 21693; Get Low Down Bls/Kansas City Breakdown V+ 558. Larry Clinton O. – Vi 26481; Sunday/Study In Surrealism E681. Mound City Blue Blowers – Voc 2973; Indiana/You’ve Been Taking Lessons In Love EE-/ 564. Bing Crosby – Bb 7102; Wrap Your Troubles In Dreams/The Little Things In Life E+ E565. Bing Crosby – Br 6694; Beautiful Girl/After Sundown V+ to E682. Musical Comedy O. – Diva 2672; You Took Advantage Of Me/Do I Hear You Saying V+ 566. Bing Crosby – Br(silver lbl) 6936; Straight From The Shoulder/Love in Bloom EE-/E- 684. Ozzie Nelson O. – Br 7523; Tiger Rag/The Whisper Song V++/E567. Bing Crosby – Cq 9551; Sweet Georgia Brown/Some Of These Days E685. Ozzie Nelson O. – Br 7615; I’m Gonna Clap My Hands/Don’t Count Your Kisses E 568. Bing Crosby – Mel 13128; We’ll Make Hay While The Sun Shines/Blue Prelude E+ 686. Ruby Newman O. – Vi 22931; Can’t We Talk It Over/Because I Worship You EEsol 687. New Orleans Boot Blacks – Boris Rose 17/18; Mixed Salad/I Can’t Say E+ 569. Bing Crosby – Mel 13134; Good Night Lovely Little Lady/Shadows Of Love E 688. Red Nichols 5 Pennies – Br 4373; Indiana/Dinah E570. Bing Crosby – Mel 13136; Temptation/Shadow Waltz E 689. Red Nichols 5 Pennies – Br 4500; The New Yorkers/I May Be Wrong V+ 571. Bing Crosby – Voc(blue lbl) 2830; Beautiful Girl/The Day You Came Along E 690. Red Nichols 5 Pennies – Br 4701; Hallelujah/Sometimes I’m Happy V+ rim flk nap 576. The Crows – Rama 5; Gee/I Love You So E691. Red Nichols 5 Pennies – Br 6312; Goofus/Goin’ To Town V+ sol 579. Bill Doggett – King 5204; The Madison/Ocean Liner E 694. Red Norvo O. – Br 7896; Remember/Jiving The Jeep EE-/E 580. Dorothy Donegan – Cont 6034; Tiger Rag/Limehouse Bls E wol 695. Red Norvo O. – Br 8085; More Than Ever/Serenade To The Stars E+ 582. Sonny Dunham O. – Var 8234; Memories Of You/Blue Skies E+ 696. Red Norvo O. – Br 8171; After Dinner Speech/A Cigarette And A Silhouette E+ 699. George Olsen O. – Vi 19573; Why Couldn’t It Be Poor Little Me/Ralph Williams O.; Wait 585. Seger Ellis – Ok 41061; Sweet Sue/Beloved V++ E586. Chick Endor – Vi 21922; Good Little Bad Little You/Love Me Or Leave Me E700. OM5 – Col 7; Walk Jenny Walk/Last Night On The Back Porch EE+ 588. Five Birmingham Babies – Pathe 036218; Pickin’ On Your Baby/ 701. Oriole O. – Br 2616; Eccentric Rag/Gene Rodemich O.; Eileen E You Better Keep The Home Fires Burning VV+ lbl scr 589. Five Birmingham Babies – Pathe 036236; Mamie/What Do We Get From Boston V+ 702. Johnny Otis 5 – Savoy 731; Double Crossing Bls/Beale St. Gang; Back Alley Bls V++ wol 703. Charlie Parker All Stars – Savoy 936; Barbados/Parker’s Mood V+ to E590. T.J. Fowler O. – National 9075; T.J. Boogie/What’s The Matter Now EE706. Professor Ragtime – Joco 110; Rock Island Rock/Mel-Low Bls E+ 591. Lou Gold O. – VT 1920; Walking With Susie/Bert Lown O.; Big City Bls V++ 708. Fred Rich O. – Col 1778; I Kiss Your Hand Madame/Yours Sincerely V+ to E592. Green Bros. Novelty O. – Ed 51321; New Orleans Wiggle (-B)/Glad (-B) E 593. Slim Green – De 7104; With Every Breath I Take/Cocktails For Two E-/lbl scrs, sol 710. Maurice Rocco – Guild 117; Cocktails For Two/.Sugar E sol 711. Ernest Rogers – Vi 20502; Willie The Chimney Sweeper (Rogers is composer)/no int. EE594. Walter Gross – Bb 10795; I’m Always Chasing Rainbows/A Slight Case Of Ivory V+ 713. Royal Star Trio 426; Xylophonia/Dancing Stars E714. Elder Oscar Sanders & Cong. – Per 0274; Everybody Will Be Happy Over There/ sol Preaching With Singing V- lbl wear 595. Walter Gross – Bb 10937; Creepy Weepy/Improvisation In Several Keys E+ 715. Adrian Schubert O. – Crown 3129; Now UR In My Arms/Moonlight Savings Time V+ 597. Harmonizing Four – Gotham 773; I Trust In God/I Want To Know E716. Adrian Schubert O. – Crown 3317; My Silent Love/Lazy Day EE598. Fletcher Henderson O. – Voc 14636; Down Hearted Bls/Gulf Coast Bls E717. Seattle Harmony Kings – Vi 19772; Darktown Shuffle/If I Had a Girl Like You V+ 599. Fletcher Henderson O. (as Lenox D.O.) – Per 14394; Me Neenyah/no int. EE+ 600. Fletcher Henderson O. (Dixie Stompers) – Diva 2526; Black Maria/Baltimore V+ to 718. Ben Selvin O. – Col 1337; In My Bouquet Of Memories/Ramona (w) E 719. Ben Selvin O. – Col 1900; Am I blue/My Song Of The Nile (w) EE+ E720. Ben Selvin O. – Col 1964; I’m In Love With You/The Web Of Love E 602. John Lee Hooker – Mod Hollywood 20-688; Weeping Willow Boogie/Whistlin’ And 722. David Silverman O. – Vi 19195; Mama Goes Where Papa Goes/Mean Bls E- sm lbl tear/ Moanin’ Bls E wax blemish lite swish/E E603. Hudson-DeLange O. – Master 125; Stardust/Bugle Call Rag EE723. Six Black Diamonds – Re 9503; Beale Street Mama/Sam Franklin O.; I Cried For You V+ 604. Eddie Hunter & Alex Rogers w/Lucky Roberts-p – Vi 19247; Bootlegger’s Ball/ 724. Six Black Diamonds – Ban 1252; No No Nora/Underneath The Sippi Moon EEI’m Done V+ lbl fades 725. Six Nite Lights (‘Vibraphone Novelty Band’) – Par E6153; Jovial Jasper/Mighty Lak A Rose E605. Bull Moose Jackson Buffalo Bearcats – King 4189; I Want A Bow-Legged Woman/ 726. Bob Skyles Skyrockets – Bb(buff) 7017; Rhythm King/The Farmer V+/V++ All My Love Belongs To You E727. Jabbo Smith O. – De 1712; Absolutely/How Can Cupid Be So Stupid E 606. Blind Lemon Jefferson – Para 12631; Mean Jumper Bls/Balky Mule Bls V+ crk to lbl 728. Mamie Smith Jazz Hounds – Ok 4253; Don’t Care Bls/Lovin’ Sam From Alabam V+ 607. Earl Johnson Dixie Entertainers – Ok 45092; Ain’t Nobody’s Business/ 729. Willie The Lion Smith – De 2269; Passionette/Morning Air EThree Night’s Experience V+ lbl scrs/V+ •Record mx2598; Part 1, Dialogue E •Record mx2599; Part 2, Deep River (female vocal) E •Record mx2600; Part 3, Goin’ Home (spiritual) E rim bite 7 grvs •Record mx2604; Part 4, Dialogue E •Record mx2605; Part 5, Dialogue E •Record mx2606; Part 6, Dialogue E Two “regular” 12” 78’s 530. Henry Hall BBC Dance O. – Col 7337-M; Southern Holiday (A Phantasy of Negro Moods) feat. The Composer (Reginald Forsythe) At the Piano/Part 2 E-

!42

732. Southampton Soc. O. – Per 14433; Cross Words/Ah-Ha E735. Leith Stevens Swing Club O. – Voc 4350; Love’s Old Sweet Song12th St. Rag E 737. Sylvians – HMV B5420; Longing For Someone/Sitting On The Stairs (w) E738. Art Tatum Swingsters – De(sb) 1198; I’ve Got My Love To Keep Me Warm/With Plenty Of Money And You V+ to E739. Art Tatum – De 1373; Liza/Anything For You E sol 740. Art Tatum Band – De 8563; Lonesome Graveyard/Corrine Corrina E 741. Tennessee Tooters – Voc 14967; Hot, Hot Hottentot/How Come You Do Me EE+ slight edge warp

742. Tennessee Tooters – Voc 15068; What-Cha-Call-‘Em Bls/Milneberg Joys EE+ 743. Tennessee Tooters – Voc 15086; Charleston/I Had A Sweet Mama EE+ 745. Travelers – De(sb) 5461; Raggin’ The Fiddle/Toodle-Oo Rag E746. Frank Trumbauer O. – Var 8236; Little Rock Getaway/Honky Tonk Train Bls E+ 748. Fred Van Eps – Ok 4829; Down South/Harry Reser; Turkey In The Straw E 749. Wesley Wallace – Jazz Info 3; No. 29/Jabo Williams; Jab Bls E+ 750. Thomas Waller – HMV B8845; Water Boy/Lonesome Road E+ 751. Fats Waller – Bb 10263; Love Me Or Leave Me/Valentine Stomp E753. Frank Westphal – Col A3930; Pianola/Dusting The Keys E 754. Henry Whittier – Ok 40120; The Weepin’ Bls/Double Headed Train V 755. Cootie Williams O. – Voc 4425; Swing Pan Alley/Chasin’ Chippies E- sol 756. Cootie Williams O. – Voc 5618; Blues A’Poppin’/Black Butterfly E760. Teddy Wilson – Br 7563; Rosetta/Liza EE+ 761. Teddy Wilson O. – Br 8438; Jumpin’ For Joy/The Man I Love V+ 762. Julie Wintz O. – Har 436; Vo-Do-Do-De-O Bls/She Don’t Wanna V+ to E763. Yas Yas Girl – Voc 03638; Blues Everywhere/I’d Rather Drink Muddy Water #2 E-/V 764. Yas Yas Girl – Voc 05337; Want To Woogie Some More/I’ll Try To Forget V++/E765. Duke Yellman O. – Ed 51806; Oh If I Only Had You/Mary Lou E+ 766. Yerke’s D.O. – Ge 4662; Now And Then/Joe Coleman O.; Rosie Medley V++ 768. Lovie Austin Bls Serenaders – Para 12277; Peepin’ Bls/Jimmie O’Bryant’s Washboard Band; Georgia Break Down VV+ lbl scrs

Black Bottom Outside V++ lite lams and wax blemish along rim, ¼” lite sound 804. George McClennon Jazz Devils – Ok 8397 (laminated pressing); Pig Foot Blues/ Cotton Club Stomp V++ lite scuffs & scrs nap 805. Viola McCoy w/Fletcher Henderson Jazz Five – Br 2591; I Ain’t Gonna Marry…/ If Your Good Man Quits You… E806. Hazel Meyers – Voc 14723; Mason-Dixon Bls/Chicago Bound Bls E 807. Sodarisa Miller – Para 12276; Sunshine Special (-2)/Be Yourself (-2) V/VV+ 808. Miff Mole’s Molers- Ok 41098; Crazy Rhythm/You Took Advantage Of Me EE809. New Orleans Owls – Col 688; New Orleans Romp/Tampeekoe EE- sm rim flk nap 810. King Oliver O. (as Savannah Sync.) – Br 6046; Who’s Blue/Honey That Reminds Me E+

811. Tiny Parham Musicians – Vi 38060; Tiny’s Stomp/Stompin’ On Down EE+ 812. Tiny Parham’s Four Aces – De 7780; Frogtown Blues/ Sam Theard w/Tiny Parham’s 4 Aces; Spo-De-O-Dee E+ 813. Helen Proctor – De 7666; Blues At Midnight/Cheatin’ On Me EE-/E+ 814. Dan Russo O. – Br 4708; ‘T’ain’t No Sin/Sweetheart E815. St. Louis Rhythm Kings – Col 349; Papa De-Da-Da (-3)/ She’s My Sheba, She’s My Sheik (-2) V++ 816. Bessie Smith – Col 14115; I’ve Been Mistreated/Red Mountain Bls V+ 1” l;am nap/ V+

817. Bessie Smith – Col 14137; Hard Driving Papa/Money Bls V+ lite lams & scrs nap, lbl scrs

818. Bessie Smith – Col 14158; Lost Your Head Bls/Gin House Bls V+ 819. Bessie Smith – Col 14312; Empty Bed Bls/Pt. 2 E sol 820. Bessie Smith – Col 14324; Put It Right Here/Spider Man Bls V+ lbl scrs 821. Bessie Smith – Col 14354; Yes Indeed He Do/Devil’s Gonna Git You V+ 822. Bessie Smith – Col 14527; Blue Spirit Bls/Worn Out Papa Blues E+

823. Bessie Smith w/Bessemer Singers – Col 14538; Moan Mourners/On Revival Day E+ 824. Mamie Smith (w/Harlem Trio (Bechet)) – Ok 4926; Kansas City Man Bls/Lady Luck Bls VV+

769. Mildred Bailey w/Casa Loma O. – Br 6190; Blues In My Heart/Sleepy Time Down South E 825. Victoria Spivey – Ok 8370; Spider Web Bls/Hoodoo Man Bls E-

826. State Street Swingers – Voc 03319; Oh Red!/Whippin’ That Jelly VV+/V+ 827. Priscilla Stewart – Para 12240; Delta Bottom Bls/I Never Call My Man’s Name (-2) V 772. Esther Bigeou – Ok 8029; Nervous Bls/Clarence Williams; Dance They Call Georgia Hunch V+ 828. Roosevelt Sykes – De 7432; Drunken Gambler/Hard Lead Pencil E+/EE+ 770. Walter Barnes O. – Br 4187; How Long How Long Bls/My Kinda Love V++ 771. Helen Baxter – Ok 8080; Satisfied Bls/Daddy Ease It To Me V+ to E-

773. Boswell Sisters – Br 6218; An Ev’ning In Caroline/River Stay Way From My Door V+ to E- 829. Eva Taylor w/Clarence Williams Blue 5 – Ok 4927; Yes We Have No Bananas Bls/Oh Daddy Bls

E 774. Boswell Sisters – Br 7412; Dinah/Alexander’s Ragtime Band E 775. Connie Boswell – Br 6603; The River’s Takin’ Care Of Me/Under A Blanket Of Blue E 830. Eva Taylor w/Clarence Williams Harmonizers – Ok 8145; Ghost Of The Blues/ When You’re Tired Of Me VV+ 776. Ada Brown – Ok 8694; Down Home Dance/Crazy ‘Bout My Lollypop E+/E 831. Frankie Trumbauer O. – Ok 41044; Jubilee/Larry Abbott O.; I’m More Than Satisfied 777. Butterbeans & Susie – Ok 8163; Construction Gang/A to Z Blues V++ pdig/V++ E+ lite lams along rim + wax blemish, lite sound the first 15 seconds of record 778. Ida Cox w/Lovie Austin Bls Sere. – Para 12085; Worried Mama Bls (-1)/ 833. Frankie Trumbauer O. – Private dub; Love Nest/High Up On A Hill Top E+ Mama Doo Shee Bls (-1) V++ slight rough start/V++ 834. Georgia White – De(sb) 7209; New Dupree Bls/Pigmeat Bls E 779. Ida Cox w/Lovie Austin Bls Sere. – Para 12325; One Time Woman Bls (-1)/ 835. Georgia White – De(sb) 7332; Mistreated Bls/New Trouble In Mind E+/E- sm lbl with Charlie Jackson; How Long Daddy How Long V+ tears 780. Celestin’s Orig. Tuxedo Jazz O. – Col 14200; I’m Satisfied You Love Me/Give Me 836. Georgia White – De 7783; Papa Please/Panama Limited Bls E+ Some More V++ 2” lite lam nap/V++ lite lam nap, lite scr nap 781. Celestin’s Orig. Tuxedo Jazz O. – Col 14259; Just For U Dear I’m Crying/As U Like It V++ 837. Paul Whiteman O. – Col 1484; If You Don’t Love Me/In the Evening EE838. Paul Whiteman O. – Col 1723; How About Me/Cradle Of Love E 782. Georgia Washboard Stompers – De(sb) 7003; Tiger Rag/Farewell Bls E 839. Paul Whiteman O. – Col 1993; When You’re Counting The Stars Alone/At Twilight 783. Jazz Gillum – Bb 34-0709; I Couldn’t Help It/Deep Water Bls E+ E+ 784. Lillian Glinn – Col 14360; Lost Letter Bls/Packing House Bls E+ 785. Harlem Hamfats – De(sb) 7395; Rampart and Gravier Bls/Broken Hearted Bls E+ 840. Paul Whiteman O. – Col 2491 (Potato Head); Choo Choo/ Ben Selvin O. (black lbl); Sing Another Chorus Please E786. Marion Harris – Br 4806; You Do Something To Me/Wasn’t It Nice EE841. Clarence Williams Wshbrd Band – Ok 8672; Steamboat Days/Mississippi Bls 787. Edmonia Henderson w/Lovie Austin Bls Sere. – Para 12095; Brownskin Man (-1)/ E+ Traveling Bls (-2) V 788. Fletcher Henderson O. – Voc 15030; When U Do What U Do/Memphis Bound V+ to 842. Clarence Williams Rhythm Rascals – Par(Aust) A3805; You Ain’t Too Old/ Organ Grinder E+ E843. Teddy Wilson O. – Br 7867; Carelessly/How Could You E+ 789. Fletcher Henderson O. – Col 2732; Honeysuckle Rose/Underneath Harlem Moon 844. Wolverines – Ge 5453; Copenhagen/Oh Baby V+ to V++ wax fade nap/V+ some lbl scrs EE+ 845. Wolverines – Ge 5454; Susie (-A)/Riverboat Shuffle V++ rim flk 1 groove/V++ 790. Edna Hicks – Para 12023; I Don’t Love Nobody… (-2)/Hard Luck Bls (-3) V 846. Wolverines – Ge 20062; I Need Some Pettin’/Royal Garden Bls V+ 791. Edna Hicks w/Fletcher Henderson Trio – Para 12090; If You Don’t Give Me… (-2)/

Where Can That Somebody Be (-2) V+ sm sol/V++ 792. Earl Hines O. – Vi 38096; Blue Nights/Grand Piano Bls E- lbl scrs, sol/EE793. Hitch’s Happy Harmonists (as Cross Town Ramblers) – Ch 15030; The River Bottom Glide/Richard Hitter’s Blue Knights (as Queen City Blowers); Stomp Off Let’s Go EE+/sm rim flk nap E 794. Billie Holiday O. – Voc 3543; Don’t Know If I’m Comin’ Or Goin’/Where Is The Sun E+ 795. Billie Holiday O. – Voc 4457; The Very Thought Of You/I Can’t Get Started E 796. Alberta Hunter – Para 12010; After All These Years (-2)/Don’t Talk About Me (-2) E 797. Alberta Hunter – Para 12017; Chirping The Blues (-2)/Somebody Else Will Take Your Place (-1) V++ lite edge warp 798. Lil Johnson – Mel 60356; If You Can Dish It/I’m Bettin’ On You EE-/E 799. Curtis Jones – Voc 04330; Loving Blues/Who You’re Hunchin’ E+ 800. Maggie Jones – Col 14059; If I Lose Let Me Lose/Early Every Morn’ V++ 2nd post hole 801. Nora Lee King – De 7866; Why Don’t You Do Right/Georgia White; Mail Plane Bls E+ 802. Sara Martin w/Clarence Williams Harmonizing 4 – Ok 8099; Graveyard Dream Bls/ A Green Gal Can’t Catch On V+ 803. Sara Martin w/Clarence Williams Blue 5 – Ok 8461; Cushion Foot Stomp/Take Your

!43

DEVOTEES OF CLASSIC JAZZ 1900 - 1955

SINCE 1963

Dr.Jazz promotes Classic Jazz in a very broad sense by publishing a high quality magazine, releasing exclusive music cds and a highly frequented website. Dr. Jazz also organises the Dr. Jazz Days, two well-attented events a year. Tijdschrift voor Classic Jazz & More nr 240 56e jaargang voorjaar 2018

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Revue Nègre

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On our own DJ-label, we release exclusive recordings of well known national and international artists. Over the last years we released cds of Count Basie, The Ramblers, Lionel Hampton, several compilation cds of Dutch jazz orchestras, and our latest release

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Our Dr. Jazz Magazine offers you four times a year over 80 pages with everything from in-depth jazz research to reviews of the latest books, videos, dvds and cds. Illustrated with many rare photographs. Internationally relevant articles are in English, others in Dutch. Published quartely. See for copies and subscriptions https://bit.ly/2P2LdTE

DJ108 Duke Ellington and his orchestra Heading for Newport Visit our shop for this exclusive release and all other titles. Mind you snooze you lose! https://bit.ly/2zJ81lZ

The Doctor Jazz Days are musicfilled days with hundreds of jazz lovers. Start your day in the Collectors’ Hall with more than 50 stalls, and perhaps find that rare 78 or LP you have been looking for. After lunch there will be great performances of well known Dutch jazz orchestras. See our website for all information, the October 2018 program and line-up. You can also find the upcoming dates on our website. https://bit.ly/2Iy1TQw

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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

VJM's Wants Section The tradition continues... the original and proven method for finding those elusive discs, tapes, CDs, literature etc. Up to six lines free to subscribers for at least 3 issues. Let VJM do your junking for you! Can we remind users of the Wants Section to check that their listing is both up to date and still relevant your co-operation in this is appreciated.

FESS WILLIAMS GENNETT 3336 IN E- or better condition. also Cantrell & Williams G&Ts, Zonophones, Nicoles (latter as Ed. Cantrell) or cylinders - Has ANYBODY got them? Ask your non-jazz collecting friends as well! Bennie Moten, OKeh 8184, 8194 in E- or better, Louisiana Five on 6” Emerson and Lyric 4233, Roy Spangler ‘Cannon Ball Rag’ on Rex/ Keenophone, Pete Hampton, many discs and cylinders, Gene Greene English Pathes - still a few needed, Frisco J.B. Ed 50440, 50950, 51081, Sophie Tucker cylinders (a few), Aeolians (any in E- or better). Your price or really good trades offered for any of the above. Let me know what photographs (originals, not copies) of early black bands/performers you have! MARK BERRESFORD Email: mark@vjm.biz LPs WANTED: RCA 741.115 (Original Memphis Five); RCA PM 42405 (Jelly Roll Morton, Vols. 1/2) RCA NL 89560 (Cab Calloway); Swaggie 817 and 819 (Joe Venuti/Eddie Lang); VJM VLP55 (Eddie Condon). PAUL SHAPIRO, PO Box 22126, Juneau, AK 99802, USA. Email: pbshapiro71@gmail.com TOP PRICES PAID for 1920s-1930s San Francisco dance band & jazz 78s on Flexo, Titan, MacGregor & Ingram / MacGregor & Sollie, Phonograph Recording Company, etc. Also looking for 1930s British dance bands on Octacros, Hudson and Teledisk, Wisconsin territory bands on the US Broadway label (catalogue numbers 1300 and higher), and Columbia ‘Personal Record’ 78s by the Princeton Triangle Club Dance Band / Equinox Orchestra. HENRY PARSONS, (510) 388-1282, 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, Te d d i n g t o n , T W 1 1 0 P D , E N G L A N D . E m a i l : lesong@blueyonder.co.uk

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 STORYVILLE mag n° 68 – 69. Babs Gonzales Ok 7079 – Ap 9621. Email: philhawkins@earthlink.net 469 – Crazy 1002 & 1003 – London 575 & 578 – End 1008 – Prest 45-204 – AJ 906 – Tina 004 – Exp 001 – 004 - 010 Wanted: Hotchkiss School Jazz Band, Dance Band, Choir, or LEON TERJANIAN 14, rue de l’Elmerforst 67200 Strasbourg, any musical group with "Hotchkiss" on 78rpm personal FRANCE – email: leon.terjanian@sfr.fr labels. Need for School project. Any information on them would also be appreciated, but would like to buy the records. EMILIO CACERES: Tus Ojos Lindos / Adios, Mi Chaparrita on Also, would like to buy copy of Jimmy Dorsey's 7 minute Victor 32245 or Bluebird B-2505; Amor y Misterio / The Last "Bugle Call Rag" Reader's Digest CD 056C. Fred Ollison, P.O. Round Up on Victor 32206 or Bluebird B-2230. These issues Box 36384, Grosse Pointe Farms, MI 46236, USA. Email: only. Decent condition. ANTHONY BARNETT, 14 Mount fothree@aol.com. Street, Lewes, East Sussex BN7 1HL ENGLAND. email: ab@abar.net £100 paid for a video or dvd of “Stan Kenton on Parade” (a Canadian TV Show). Other Stan Kenton TV and Radio shows WANTED: ORIGINAL MEMPHIS FIVE EMERSON 10741 required, especially Kenton on the 1957 Nat King Cole TV 31st Street Blues. Your price, or really excellent trades offered. Show. ROY HOLMES, 18 Rutland Drive, Morden, Surrey, RALPH WONDRASCHEK, Kaiserstr. 54, 69115 Heidelberg, SM4 5QH, ENGLAND. Tel. (0208) 648 8858. GERMANY. Email: rwondraschek@yahoo.de Email: 450RCD@gmail.com F R E D E L I Z A L D E - Wa n t e d o n N e ovo x c a s s e t t e s 923/925/927/929/933. Your price paid - within reason! BILL PEARSON, 15 Beech Avenue, Melksham, Wilts, SN12 6JP, ENGLAND. Email: bill.pearson@gmail.com

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, WANTED: Pre-war Cajun records, especially Blind Uncle N16 7UG, ENGLAND Gaspard and Amédé (sometimes spelled Amadé, Amédée or Amadie) Ardoin. Please state condition and price. Or, I have EDISON BLUE AMBEROL Dance Band/Jazz cylinders wanted many jazz records to trade for Cajun. Philip Fukuda, P.O. Box - 4857, 4880, 5025, 5084, 5097, 5162, 5210, 5360, 5373, 190071, San Francisco, CA 94119-0071, U.S.A. 5374, 5402, 5464. I have several rare Jazz/Dance Blue Email: 78rpm@sbcglobal.net. Amberol duplicates for trade, or cash paid. DAVE LOMAX, !46

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

12 Close,– De Davyhulme, Manchester, M41 7WH, 650.Amersham Sam Price Bluesicians 7732; Cow Cow Bls/Swing Out In The Groove E-/E ERWIN GUETTLER, Auf dem Ratskamp 22, D-31303 ENGLAND GERMANY 651. Louis Prima N.O. Band – Voc 3388; Mr. Ghost Goes To Town/Goose Hangs High V++ sm lbl Burgdorf, tear 652. Louis Prima N.O. Band – Br 7657; Darktown Strutter’s Ball/Alice Blue Gown E+ lbl tears

Special

653. Mae Questel Boop) – De(sb) In Our Little Wooden1941. Shoes/ Good CAL 735. WILLIE LEWIS(Betty ‘Avalon’ elite1544; Special, Zurich COLLINS ‘Cross Country’ Concord CJ166, Petit Hank Williams – MGM 10696; Why Don’t You Love Me/APhilippe House Without Love EE+ Want wol or a trade from my Jazz/ ‘Parfums’ 736. Hank Williams MUS3020, – MGM 11202; Let’s Turn Back The Years/Half As Much E price paid forYouE-FororChristmas better V+ copy, Musica Martin Taylor/Ike Isaacs ‘After 654. Ramona & Roy Bargy – Vi 24260; My Cousin In Milwaukee/A Penny For Your Thoughts E 737. Hank Williams – MGM 11479; Ramblin’ Man/Take These Chains From My Heart E Swing/Dance 78 collection. Please state your wants. JOHN Hours’ Antoria JTC-1. CDR Copies OK. MIKE CHAPMAN, 17 655. Ramona & Roy Bargy – Vi 24268; What Have We Got To Lose/Ramona; Tony’s Wife EE738. Road Hank Williams – MGM 11533; I Won’t Be Home No More/My Love For You V++ HALLBERG PRISING, Loftv. 17, 142 35 Skogas, SWEDEN. VV+ North Avenue, Brentwood, Essex, CM14 4XQ, 656. Razaf (The Melody Man) – Ge 3102; I’m Gonna Charleston Back To Charleston/Cecelia 739. Elvis Presley – RCA 20-6383; Baby Let’s Play House/I’m Left, You’re Right E sol ENGLAND 657. Croonin’ Andy (Razaf) – Har 76; Give Me Just A Little Bit/Falling For You E+ 740. Elvis Presley – RCA 20-6420; Heartbreak Hotel/I Was The One EE- sol FATS WALLER RECORDS Vic Let 20492, 20655, 20890. 660. Doris RhodesORGAN w/Joe Sullivan O. – Col 35449; There Be Love/Serra Sue E+ 741. Elvis Presley – RCA 20-6604; Hound Dog/Don’t Be Cruel EE-/EE661. or Fred better condition please. PHIL TAYLOR, Silver Lane, Rich O. – Col 1751; I’ll Tell The World/Ben Selvin O.; He3 She And Me E- GERARD SEKOTO. Does anyone have copies of the 742. Elvis Presley – RCA 20-6637; I’ve Got A Woman/I’m Counting On You E 662. Fred Rich O.W.Sussex, – Col 1878; Why Can’t 9RP, You/Used To You E sm rim flk nap Billingshurst, RH14 ENGLAND recordings South AfricanAll painter made in UR Paris in the 743. Elvisthis Presley – RCA 20-6870; Shook Up/That’s When Heartaches Begin EE-/E 666. Mabel Robinson w/4 Blackamoors – De 8568; Don’t Give Up The Old Love/Search early 1950s? ROB ALLINGHAM 4 Gibbins Place, Modern Jazz Your HeartPAID And SeeorE sol GOOD PRICES trades for U.S. Brunswick monthly M o n744. t g unknown o m e r (sounds y Pa like r k Nat , 2 1 9Cole 5 ,TrioSwanna-be) o u t h –Aredf rlbli cshellac a . test; E mGroovy/Drifting ail: King 667. Harry Roy Band – Par F2387; Original Step/Leicester SquareJan., Rag E+ supplement catalogs/leaflets for Dixieland Sept. &One Nov. 1931, and recordiana@gmail.com V+ 668. Lillian Russell (“Privately Recorded March 12, 1912”) – Collector’s 745. Jazz At The Philharmonic – Arco 1218; Crazy Rhythm/Pt. 2 (Prez, Bird, Dizzy, etc.) Feb., Mar., April, May, June & July 1932. Also want monthly Record Shop 8; Come Down Ma Evenin’ Star E large Wall Hangers listing current releases, advertising LEE E+ MORSE Urgently needed for a discography/biography 672. Simmons’ University Cowboy Band – Vi 40168; Simmons University Medley/ 746. Wilbert Baranco Rhythm Bombardiers – B&W of 41; record Night Andcatalogues, Day/Weeping Willie E pamphlets, and dealer counter displays 1931 to 1934. John project, Photos, printed materia, copies The Whistling Farmer Boy E store sol, lbl fades 747. Miles Davis All Stars – Savoy 977; Little Willie Leaps/Charlie Parker Stars; Chasing Bird Newton, P.O. Box 7191, Wilmington, DE 19803 U.S.A. label photos and any unissued records, tapes orAllCD(for 673. Singing Strings – MacGregor 1226; Mr. Ghost Goes To Town/Two Guitars EEEmail: NewtonJJ2@aol.com research only) in fact anything to do with Lee Morse and her 675. Roy Smeck – Re 8547; Laughing Rag/Ramona E- rim flk nap 748. Gaucho O. – Savoy 783; Jungle Mambo/Tequilla E life and recording career. All contacts will be answered. 676. Roy Smeck – De(sb) 1089; Slippery Fingers/Guitarese E- sol 749. Clyde Hart All Stars (feat. Diz & Bird) – Cont 6013; That’s The Bls/What’s The Matter Now 678. Willie Smith Quintet – KeyNOT 620; Willie Weep For Me/September In The Rain E- Raymond RAY NOBLE SONGS PERFORMED BY NOBLE OR AL F MItchell 71 Combe Road, Farncombe, E 679. Joe Sullivan – Par R1686; Gin Mill Bls/Honeysuckle E+ Dance Band Godalming, Surrey, GU7 3SL England BOWLLY wanted. Sam Browne and otherRose British 680. Joe Sullivan – ParofR2006; Onyx Bringdown/Little Jay Hawkins – Ok 7072; I Put A Spell On You/Little Demon E-/E versions sought Brighter Than The Rock Sun,Getaway By TheE+Fireside, EMail750. :- Screamin’ langstune@hotmail.com. 681. John Sylvester O. – Per 14335; I Wanna&Jazz Some More/Temperamental Goodnight Sweetheart, Happy Contented, If You SayPapa Yes V++ 751. Jon Hendricks with Dave Lambert Singers – De 29572; Cloudburst/Four Brothers E 682. Art Tatum Private performance); Eyes/St. Louis Bls V+ 752. Illinois Jacquet AllNEWS: stars – Apollo 756;wants Bottomsin Up/Ghost A Chance E Cherie, I’ll –Do Myacetate Best,(liveLove Is TheDark Sweetest Thing, Love CAPITOL RECORD Many 1942,Of1943, 1944 688. Frankie Trumbauer O. – Par R2644; High Up On A Hill Top/Raisin’ The Roof E+ 753. Howard McGee Cuboppers – Roost 502;Rehwinkel Cubop City/Pt. 27, 2 E+33619 Locked Out, The Very Thought of You, What More Can I Ask, and 1945. Offers toAfro Ulrich Neuert, Am 689. Frankie Trumbauer O. – Br 6146; In Merry Month of Maybe/Crazy Quilt V+ lbl scr 754. Don Senay w/Charles Mingus O. – Debut 112; Edge Of Love/Fanny E+ etc. MARK Larches, Old Bedford Luton, Germany. Email: uneuert@uni-bielefeld.de 692. Varsity 8 – SPRY, Cam 444;19 TakeThe Oh Take Those Lips Away/Jos. FranklinRoad, O.; Somebody Else EBielefeld, 755. Thelonious Monk Quintet – BN 1589; Four In One/Straight No Chaser V++ Beds, LU2 7PX, ENGLAND. sprymw@btinternet.com 694. Virginians – Vi 18881; My Honey’sEmail: Lovin’ Arms/Cuddle Up Bls V+ to E756. Thelonious Monk Trio – Prestige(dj) 838; Trinkle Tinkle/These Foolish Things E wol JIMMIE RODGERS Victor 23751 in E The or Boogie/Voot better. Top Price 697. Virginians – Vi 18965; Sister Kate/Gee But I Hate To Go Home Alone EE757. Bob Mosely All Stars – Bel-Tone 751; Baggin’ Rhythm V++/ECDs ON STOMP OFF: #1208, Neeley;Bls#1231 Teo Des paid.758. Also, Carter Family 23807, 23835, 23845, MW 7446 698. Virginians – Vi 18978; Kiss Mama Kiss Don Papa/Choo-Choo E Charlie Parker O. – Merc 11058; Bloomdido/Melancholy Baby E 699. Virginians – Vi 19018; Da-Da Strain + I’ve#1302 Got To Cool My Doggies/He May Be Man E and CQ9574. Plante Washboard Wonders; Louis Mazetir & Your Neville AlsoSeptet want– Dial string and Night jug Inbands. 759. Charlie Parker 1002;bands Ornithology/A Tunisia MARK E 706. Waring’s Pa. – Vi Neville 21508; Farewell Bls/Stack O’Send Lee Bls notice E Dickie; #1324 Dickie to; DAN BLAESING PO Box Hills IL 60514-0043 USA 760. Charlie Parker Qt. 43, – Dial Clarendon 1019; This Is Always/Charlie Parker Quintet; Dewey Square V+ 709. Washboard Sam – Bb6083 34-0705;Hwy Good Old Cabbage Greens/StopOR And Fix It E Email: 761. Charlie Parker Qt. – Clef 89129; Cosmic Rays/Kim E+ ½” hr crk nap WHITTENBARGER 238 Jacksonville 97530, blaesingmark@aol.com 710. Ted Weems O. – Vi 22137; Miss Wonderful/no int. E 762. Sarah Vaughn w/Dizzy Gillespie O. (feat. Bird) – Cont 6024; Mean To Me/ USA 713. Frank Westphal O. – Col 22; Oh Sister Ain’t That Hot/Art Kahn O.; Foolish Child ESigning E- some wear RAY CHARLES LP Off - ‘live in lblJapan’. Sleepy John Estes - any 714. Josh White – Br(E) 03749; House of The Rising Sun/Strange Fruit E+ 763. Rubberlegs Williams w/Clyde COOK, Hart O. (featOrchard Diz & Bird) – View, Cont 6020; 4-F Blues/ JAZZ PERIODICALS/JOURNALS/BOOKLETS, etc., published 78s. Prices please. KEITH Sibford 715. Josh White – Asch 358; St. James Infirmary/No. 12 Train V+ I Want Every Bit Of it OX15 V+ in720. Great Britain, Europe, USA and Canada. Must be in good Road, Hook Norton, Oxon, 5JU, ENGLAND Paul Whiteman O. – Col 1974; Waiting At The End Of The Road/Love Me (w) V+ Some Country and Western Swing condition with O.no missing pages, cut-outs. listE721. Paul Whiteman – Vi 24322; The Gold Digger’s Song/Pettin’Wants In The Park 766. Al Dexter – Voc 03636; Broken Hearted Bls/Car Hoppin’ Mama V++ available. kept for trade King Oliver; VJR 27, J.R. Morton; HMV JF56 722. WhoopeeSurplus Makers – Perback 15126; issues St. Louis Bls/Bugle Call Rag V+ etc. RAY WANTED: 769. Light Crust Doughboys – Voc 05201; Oh Baby Bls/Beer Drinkin’ Mama V+ WHITEHOUSE, Harbour Milnrow, Lancs, JK2763, 2877,Mountaineers Bessie; –HJCA McClennon; BBNow/ 8957, 723. George Williams 33 & Bessie Brown –Lane, Col 14033; If You Hit Rochdale, My Dog…/No Second 771. Modern Bb(buff)67, 6911;T.Who’s Cryin’ Sweet Papa Handed Lovin’ For Mine E-/lite scrs EOL16 4EL, ENGLAND Chicago R.K; BB B6371, Ma Rainey; Jazz Doc 015, Everybody’s Truckin’ V+ to E- sol 724. Sandy Williams Big 8 – HRS 1022; Tea For Me/Sandy’s Bls E Missourians; VicBoys V38071, 38084, 38145, HMV 773. Roy Newman – Voc 03999; Tamiami Trail/Everywhere You GoJF21, E725. Teddy GOODMAN: Wilson – Br 7543; Every Now And Then/It Never Dawned On Me EE+ BENNY Unissued concerts, broadcasts and McKinney’s C.P./Hines; VicAll 22683. RICHARD RAINS , 73 774. Riley Puckett – Col 15250; Bound ‘Round The Mason Dixon Line/MOTHER E+ 726. Julie Wintz O. –and Diva 2438; Magnolia/Astorites; One O’ Clock V++ BEN Teignmouth telecasts (jazz classical performances)on LPBaby or CD. Road, Teignmouth, Devon, TQ14Of Old 8UN, 775. Sons Of The Pioneers – De 5222; A Melody From The Sky/Hills Wyomin’ E734. Bob Zurke O. – Vi 26420; Fit To Be2585-D, Tied/Peach4434-X, Tree Street 4478-X, E- sol 777. Bob Will Playboys – Voc 776760 04275; Gambling Polka Dot Bls/Alexander’s Ragtime Band V+ to SELVIN: Columbias DC104, 4544- ENGLAND. Tel. (01626) EX, Parlophone R1073. I will pay good prices for any of them!

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

!47

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

r B l u es 7 a 8’ -W e s r

Photos of Blues Singers!

John Tefteller Wants To Buy Your Blues Items!

$500 to $50,000! Blues records, especially the Paramount label. Paying $500 to $50,000 each, depending on record, condition and rarity.

Release Sheets!

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

Race Record Sleeves!

$50 to $500!

$50 to $10,000!

Race Records sleeves: Paramount, Vocalion, Brunswick, Victor, Okeh, Gennett and Black Patti. Paying $50 to $500 each, depending on sleeve, condition and rarity.

To contact John Tefteller:

Original record company release sheets, advertising flyers and promotional catalogue featuring Blues singers and/or Blues cartoon art. Paying $50 to $10,000 each, depending on item, condition and rarity.

(800 ) 955–1326 (USA only) • (541) 476–1326 Cell Phone: (541) 659-7175

Call me when you’re ready to sell!

John@Tefteller.com

P.O. Box 1727 Grants Pass, OR 97528–0200 USA

A deluxe double package with fifty sides of Blind Willie McTell and other East Coast blues guitarists. Disc One has Georgia’s favourites and finest, in incredible sound quality. From McTell, Curley Weaver, Buddy Moss, Julius Daniels, Kid Prince Moore and Ruth Day to unknown artists taken from the rarest 78s including many previously unissued test pressings, field recordings, ‘mystery and party’ records. Disc Two features McTell’s complete last session including previously unheard recordings and interviews with McTell himself! Plus a bonus interview by Larry Cohn with Ed Rhodes. Box packaging with superior booklet and extensive notes by Paul Swinton and Chris Smith. The long awaited…and last!!? Frog Blues and Jazz Annual No 6 is very near completion – but it looks like we have missed the pre-Christmas print spot. So a January publication looks most likely. But it’ll be worth the wait – believe us!! Already looking better than anything that has gone before… “Collectors gonna have a heart-attack when they see what we brung ‘em” Watch this space.

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.

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 unwanted Paramount and Gennett test pressings. 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 oct 2018.indd 1

01/10/2018 15:55

In 2006 it was King Oliver’s Creole Jazz Band... In 2012 it was Bix and the Wolverines...

Now, Off The Record teams up with

to bring you

ry to ers a l sf ve Re Tran n w by so ne n e B ug o D

NEW ORLEANS RHYTHM KINGS Complete Recordings: 1922-1925 • All 42 master and alternative takes on 2 CDs, newly transferred by Off The Record’s Doug Benson from choice copies of the original 78s and meticulously pitch-corrected for the clearest, truest sound you’ve ever heard! • Exciting, history-making performances by Leon Roppolo, Paul Mares, Jelly Roll Morton, George Brunies, and others • 40-page full-color booklet with dozens of rare photos and an extensive essay by Sue Fischer telling — for the first time from original sources — the detailed, fascinating story of the NORK • Engaging commentary on each of the recordings by 2-time Grammy nominee David Sager

TO ORDER

Method 1: Order online at the Rivermont website: www.rivermontrecords.com Method 2: Send cheque or money order payable to “Rivermont Records” to: Rivermont Records, P. O. Box 3081, Lynchburg, VA 24503 USA In U.S.A.: US $30 each postpaid / In Canada: US $35 each postpaid Outside North America: US $40 each postpaid (Prices may vary slightly online)