Vintage Jazz Mart Issue 184

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

No: 184

SUMMER 2019

In This Issue...

Ted Lewis - An Interview...

Picnic at Piping Rock...

Reviews, Ramblings, and a Jamboree of Jazz & Blues 78s!

r B l u es 7 a 8’ -W e s r

Photos of Blues Singers!

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P

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Blues records, especially the Paramount label.

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Release Sheets!

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

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Race Records sleeves: Paramount, Vocalion, Brunswick, Victor, Okeh, Gennett and Black Patti.

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

VINTAGE JAZZ MART ISSUE No. 184 SUMMER 2019

The digital edition of Vintage Jazz Mart, whilst colourful and convenient, is not attracting the numbers of readers necessary to make it a worthwhile ongoing proposition, what with the high hosting and payment collection costs, so its future is in the balance. There are cheaper, less userfriendly, ways to deliver a digital version of VJM, such as downloadable pdfs and I am looking into how this could be achieved, and would welcome any ideas readers with experience of digital publishing may have. As a consequence, whilst single digital issues can be bought (and back issues are absolutely free), we have decided not to offer any further digital subscriptions until the future of the digital edition is decided one way or another.

and stamp their own personality on The Yellow Peril. To this end I am looking for a new Editor and proprietor to take over VJM within the next year. This is a unique opportunity to own and run the world’s oldest and most respected Jazz and Blues trading magazine, with its sixty-six years of history, its unparalleled presence and reputation among jazz and blues record collectors worldwide, and its database of subscribers, some of whom have been with us since issue number 1 back in 1953. If you think you have the energy and dynamism to continue the VJM story I’d love to hear from you. Email me at mark@vjm.biz and tell me why you’d like to be the third Editor in VJM’s long and distinguished history.

VJM has maintained its current subscription rates for an unbelievable six years - can anyone name any other publication - or anything else for that matter - that has maintained its price for so long, come paper, printing and postal increases? Alas, this is longer tenable, and we are forced to increase the subscription rates to British, European and all other countries with the notable exceptions of the USA and Canada - the putrid value of the pound against the dollar (thank you, David Cameron…) means that for the time being we are able to hold their subscription rates, but this may change depending on the exchange rate and the ongoing Brexit saga. The new subscription rates take immediate effect, but I hope you will agree that VJM still offers great value for money.

You will notice we’ve had something of a ruthless cull of the VJM Wants Pages, removing entries from people with long-expired subscriptions and those who asked to be removed. Whilst the wants section has always played a useful role for collectors to let the world know what they are looking for, it has been underused of late and its future fate is in the balance. You, dear readers, have the opportunity to voice your thoughts; for me as Editor, its main use is as a means to fill up a page when needed, bearing in mind we have to produce VJM in four-page sections. There will be times when it is omitted because of this production constraint, but your opinion is welcome as to its value. In the words of the old adage, use it or lose it!

Next year sees the 30th anniversary of Russ and I taking over VJM from its founder, Trevor Benwell. In that time many changes have taken place - notably the greater emphasis on articles, research and reviews - which have given the magazine a broader appeal beyond just record buyers. We have also managed to maintain a healthy subscription database, attracting a younger audience at a time when similar magazines have fallen by the wayside.

However, I would like to spend more time pursuing other interests and activities, and also feel that the time is right to let someone else take over the reins of power, so to speak,

Finally, we’re delighted to publish the first of what we hope will be several interviews conducted by the distinguished academic and author James A. Drake. Back in the late 1960s whilst studying at Ohio State University, he played clarinet “for pin money” in a local jazz band, and in that time interviewed some of the greatest living jazz clarinettists, including Benny Goodman, Jimmy Lytell, Artie Shaw and Barney Bigard. His musical insight and affinity with his subjects give his interviews a special value, all too often lacking in other, more journalistic, interviews; this is particularly borne out in the one with Ted Lewis, featured in this issue. Enjoy!

Cover: Ted Lewis & His Band on the set of the film ‘Is Everybody Happy?’, 1929. At rear: Dave Klein, John Lucas, Bob Escamilla, Jack

AUCTIONS END SUNDAY 21st JULY 2019 COPY/ADVERT DEADLINE FOR THE NEXT ISSUE WILL POSITIVELY BE: 22nd SEPTEMBER 2019 WE CANNOT GUARANTEE PUBLICATION OF ANY ADVERTS RECEIVED AFTER THIS DATE! IN THIS ISSUE: Ted Lewis - An Interview, 3; Picnic at Piping Rock, 19; Ate’s Discographical Ramblings, 22; Reviews, 23, Auctions begin page 28, Wants Section page 47.

INDEX OF ADVERTISERS Beasley Books 25 Bear Family Records 46 M. Berresford 28 Birmingham Record Fair 48 Blues & Rhythm Inside Back Cover W. Bor 35 J.M. Castro 38

CLPGS 48 Dr. Jazz Magazine 45 Frog Records Back Cover Chris Hillman Books 21 Kempton Park Record Fair 27 H. van der Laan 39 W. Lane 37

Memory Lane Magazine 48 J. Prohaska 40 D. Reiss 26 J. Tefteller Inside Front Cover H. Thygesen 36

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VINTAGE JAZZ MART

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

www.vjm.biz ISSN 2516-807X

Published by Mark Berresford Rare Records Ltd

EDITOR

MARK BERRESFORD, The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England.

(Tel) 01773 550275 Email: mark@vjm.biz ASSOCIATE EDITOR

RUSS SHOR, PO Box 4181 Carlsbad CA, 92018-4181, USA; Phone /FAX 760-214-5465 Email: russellshor@cox.net

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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.

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VINTAGE JAZZ MART - Founded in 1953 by Trevor Benwell, and published by Mark Berresford on the basis of friendship and camaraderie and the love of music which knows no international boundaries.

2

TED LEWIS - AN INTERVIEW In conversation with James A. Drake

A commercial and academic author and retired college president, James A. Drake earned the Ph.D. degree from the Ohio State University. To earn “pocket money,” Drake played piano and clarinet in a pub near the Ohio State campus. “I was the back-up ragtime pianist when the owner of the place, who was a fine pianist, took a night off,” Drake recalled, “but I was mainly the clarinetist in the small band that he hired to play there. Because I had studied clarinet with a well-known local teacher, I regarded it as ‘my’ instrument, so I collected recordings of the great jazz clarinets—especially Ted Lewis, whom I had met when he gave a show at the Ohio State Fair in the 1950s.”

In 1968, through an Ohio State professor, Jerome D. Folkman, the rabbi of Temple Israel in Columbus and a personal friend of Ted Lewis, Drake conducted what became one of the most thorough interviews that Lewis ever gave. During the next ten years, with funding from pioneer recording director and arranger-conductor Gustave Haenschen, Drake conducted similarly detailed interviews with clarinets Artie Shaw, Benny Goodman, Jimmy Lytell and Barney Bigard, among others.

“Each of these legendary clarinetists had very different perspectives about their instrument and their careers,” Drake said. “Most of them were not ‘fans’ of Ted Lewis’s clarinet style, but all of them acknowledged and respected him as a pioneer in popularizing jazz as a musical form.”

Ted Lewis, aboard ship returning from Europe, 1928.

Mark Berresford Collection

Drake has also written extensively about vocalists, especially opera singers. His biographies of Rosa Ponselle and Richard Tucker, to which Luciano Pavarotti contributed the forewords, and of Lily Pons (with a foreword by Beverly Sills), received international acclaim in the press. Drake lives in Merritt Island, Florida, USA, and writes online articles for various music-related websites

Is that the instrument you were playing when you joined the Earl Fuller band?

Well, I still had the Lambert when I went with Earl, but not too long after I settled in New York, I tried out a clarinet made by a fellow named Brancati, O. M. Brancati, who had a store on Lexington Avenue. I heard that he had an arrangement I’d like to ask you several questions about the clarinet. with Vandoren in Paris to ship him barrels, pads, keys, When I had the privilege of meeting you between your spring, and such. His [Brancati’s] workmen would assemble shows at the Ohio State Fair about ten years ago, the clarinet and adjust the instruments to suit the client. you used in your show was an Albert system. I know of some players who started with the Albert and then switched Do you have a preference in mouthpieces? to Boehm. Did you ever do that? Can you play both I think I’ve tried them all at one time or another. For a systems? while, I was playing with a glass mouthpiece. The one I The Albert [system] was popular with the ragtime fellows, learned on was a wood mouthpiece. It was okay because it but the Boehm was what many of the New York fellows were was well seasoned, but I was always worried that I might drop playing. I tried to learn it, but it was so different than the it and put a chip in the tip. I worried about that with the glass Albert that I just couldn’t stick to it. So I stayed with the mouthpiece too. I used a hard-rubber mouthpiece on and Albert. off, and it was very stable. I use Bakelite mouthpieces most of the time.

Do you recall the name, or brand, of your first B-flat clarinet?

I wondered if you were using a plastic mouthpiece these Yes, it was a Lambert. It was a good name in clarinets. days.

Made in Paris, and imported over here.

I should try one of the newer ones. Plastic has come a long way, and I hear that some of them are pretty good. !3

You use a standard metal ligature. Did you always use a metal one?

Yes, and I’ve had several different ones. The one I liked the best had three screws instead of two. Now, the old players, the ones who came up from New Orleans, they used string for a ligature. Some of them used fishing line to hold the reed in place.

What prompted you to make that battered hat a kind of signature, along with your clarinet and your distinctive way of delivering a song?

Well, the top hat was always associated with high society.

You know, “a top hat, a white tie, and tails,” as Irving Berlin wrote.

If you wore a top hat, people might say that your nose was up in the air, that you were stuck up. If a fellow put on airs, somebody might say, “He’s high-hatting us,” meaning Of the several New Orleans clarinets who came to New York that he’s got his nose in the air. So to take a beat-up top hat when the jazz movement started, did any of them have an and wear it was a little like what Chaplin did with the derby. influence on your playing?

It was taking a high-society hat and putting it on a riverboat tramp. It was my trademark, but there were others who used Oh, yes—there were several, as you say, but Al [Alcide] a battered hat for a similar effect. Harpo Marx was one.

Nunez was the one I really admired. All of the New Orleans fellows he played with thought Al was the tops. He had a But why a beat-up top hat, when you were always dressed in nickname, “Yaller,” which was the way the fellows who a dark suit or a tux? played with him pronounced “yellow.” I don’t know if you The contrast was what I was after. I wore the hat like the know this, but Al was with the band that became the Original Currier and Ives comic characters did. That’s where I got that Dixieland Jazz Band when they were just a five-piece band from. playing in Chicago. About the time I started with Earl Fuller’s band, word was coming out of Chicago that Al Nunez was Would that have been from the “Darktown” series of Currier the hottest clarinetist of them all. & Ives?

You’ve seen those, have you? That’s where all of the Negro What was it about his playing that influenced your style? acts came from.

They patterned themselves after those In one word, everything! If you listen to the records he [Darktown] characters. If you’re familiar with the great Bert made with the Louisiana Five, you hear how easily he could Williams, you’ll know that a couple of his characters from his play in the upper register—and I mean an octave above what “Follies” acts were made up and dressed up like those Currier almost any other clarinetist could play. You don’t hear his & Ives Darktown characters. low register in those records, because it didn’t record very well, but his low-register playing was almost like what you’d Back to the clarinet, do you recall the first clarinet you hear from a classical clarinetist.

Oh, he could do the learned to play? growling, “reedy” low notes that you hear Sidney Bechet play Well, the first one was the E-flat, the smallest clarinet, and when he’s on clarinet. But Al could play like a conservatory then when I got big enough I went to the B-flat [clarinet]. The graduate when he wanted to. Every note he played had the E-flat one was a metal Albert [system] clarinet. That’s the one same quality, high to low and low to high, and his vibrato I learned on. never varied from top to bottom.

Was the clarinet your first instrument?

Your own clarinet sound and your high-register playing are No, I started with a piccolo, believe it or not. I was just a really distinctive. Has your tone and your style changed a tyke and my fingers weren’t long enough to reach the keys of lot from when you were starting out with the Earl Fuller a clarinet. band?

You mean my “wah-wah” vibrato? That’s the style I In a Columbia catalog supplement from the late-1920’s, developed when I was with [the] Fuller [band]. We were a there is a photo of you playing saxophone.

Did you novelty act, a “clown band.” The kind of music we played, “double” on sax and clarinet in your band, or any of the meaning the songs we played, were called “nut songs” back bands you played with before you formed your own group? then. I developed that high-register “wah-wah” as my part of Only when I had to, meaning when another sax player was the act. I always held the clarinet pointed upward, and necessary for an arrangement. The sax was the electric guitar moved it all around—left and right, up and down—while I of the 1920’s, you know. You may have heard of Rudy was playing. Sometimes I would do a dance while I was Wiedoeft— playing, or I’d mimic a guy marching with big, high steps.

That’s where the top hat came in, too.

Yes, the composer of “Saxophobia,” and the man from whom Rudy Vallée borrowed his first name.

In your show, and also in your second RKO album, in the That’s right. Rudy Wiedoeft, and a group called the Six introduction you make to “Wear a Hat with a Silver Lining,” Brown Brothers, and also a fellow who worked for me from you talk about your famous hat. “Since Nineteen-Six / it’s time to time, Bennie Krueger, were the ones who were played the sticks /from Maine to Mandalay” is one of my considered the top men on sax in those days. favorite lines. Can I induce you to talk about how you acquired your famous hat?

Staying with Rudy Vallée for a moment—and he was just I tell that story in my act—I won it in a dice game. That’s here [in Columbus] about two months ago, and I interviewed not the shabby one I wear onstage, though. That first hat was him about this—he said that when he put together his first a pretty nice, shiny top hat. It wasn’t my exact size, so I wore band, the Yale Collegians, he did an impersonation of you. it cocked to the side. I have about a dozen of them.

His impersonation of you, along with the one he did of Maurice Chevalier, became part of his show at the Paramount Theater. I would guess that you and Maurice !4

Chevalier and Al Jolson have been impersonated more than any other performers. Would you agree?

If you’re talking about performers in general, not just singers and musicians, I think you’d have to add Groucho [Marx] to that list. But, yes, I saw Rudy’s impersonation in one of his shorts [short films], and it was pretty good because he could imitate my swaying and my “strut,” you might call it. And he could play the clarinet in my style, too.

He had to be in the spotlight, no matter where he was or what he was doing. Everybody in the business knew Al and respected him as a great performer, a big star, but Al was a loner.

Your delivery of a song is so distinctive that I think it’s right to say it’s unique. How did you develop it? Where did it stem from?

From Cohan. George M. Cohan. He “talked” a song, you Of the stars you just mentioned, I think I’m the easiest to know. I saw every one of his hit shows, and each one was imitate because I don’t really sing, I “talk” a song. Chevalier greater than the one before it. Have you seen the movie with and Jolson “talked” lyrics too, but they were singers. They Jimmy Cagney? talked a little just for an effect. Now in my case, a fellow can get himself an old battered top hat, and a white-tipped cane, Yes, several times. and a clarinet—even if it’s just a prop and they don’t play it.

Jimmy Cagney was a dancer, you know, but his style was And if they can mimic my inflections and my gestures, why, nothing like Cohan’s. But when you see him dancing as they can do me pretty easily.

Cohan in that movie, you’d swear you were seeing George M. Cohan. Now, Jimmy doesn’t sound like Cohan, but he “talks” Were you and Al Jolson friends? the lyrics like Cohan did. The only difference was that Cohan I knew Al, of course, but Al was a fellow who didn’t would sing more of the lyrics than Jimmy Cagney does in that socialize much. I’ve belonged to the Friars Club for more film. Jimmy’s not a singer, he’s a dancer. Cohan could sing years than I can remember, and I love going there and playing “straight” when he wanted to. cards with my friends in show business. Al wasn’t like that, you see. Al was always “on,” even when he wasn’t onstage.

Ted Lewis (second row from bottom, far right - No. 2), brother Edgar (second row from bottom, fourth from right right - No. 19) and Oscar Ameringer (No. 12), Circleville, c. 1902. Photo courtesy Ted Lewis Museum

!5

Ted Lewis (3rd from right) with parents Benjamin and Paulina Friedman, plus members of The Greenwich Village Follies’ cast, Chicago, June 1920. Photo courtesy of The Ted Lewis Museum.

Going back to the very beginning of your career, who was “Cricket”?

Cricket Smith was his name. He had a band that he and several other Negro barbers had put together. Not that all of the players were barbers. They were black musicians who happened, some of them, to be barbers. (Contrary to some reports this was not the trumpeter William Crickett [his baptismal name] Smith (1881-1947). Cricket Smith’s other claim to fame is that he was the father of jazz violinist Hezekiah ‘Stuff’ Smith, and gave him his first violin lessons Ed).

have, say, eight bars of half-notes and quarter notes, and a rest here and there. But since these fellows couldn’t read music, they held onto a note if they wanted to, or added what you call “grace notes” here and there, which made their playing swing.

In interviews I’ve read, you have given a lot of credit to “Cricket” and his influence on your playing style. How would you describe what you learned from him?

Syncopation. I learned that from [Cricket Smith’s] band.

What they played was totally different from what we thought of as a “band,” which was a marching band, a military band, in those days. Very oom-pah-pah. The black band players were playing in a syncopated style.

What was the name of his store?

The name? You mean my father’s name, or the name of the store?

How did you come to know Cricket Smith?

I used to sweep out his shop. I was good at sweeping out stores. My father had a dry-goods store, and one of my “jobs” was to sweep the inside of our store, and sweep the walkway outside it.

Both, if you please.

My father’s name was Ben, or Benny as he was called, Benjamin Friedman. Benjamin and Friedman—they were my parents. The store was Friedman’s Bazaar. It was on West Main Street in Circleville. It was about, maybe, seven or Were they trained musicians, any of them? eight blocks from the house I grew up in. It was a two-story They didn’t read music. They played by ear, and they would home, or three-story if you count the attic, which we also play a melody to suit themselves. The sheet music might !6

used, on West Mound Street in Circleville, at 158 West Well, we were playing a concert in the park, and one of the Mound. pieces was the “Poet and Peasant Overture.” Being German, Oscar Ameringer liked the Suppé overtures, especially “Poet How many were in your immediate family? and Peasant” and the “Light Cavalry” one.

They were I’m the second oldest of five kids; my brother Edgar was the popular back then. Our band had played [“Poet and first, then me, then my brother Milt (or Milton), Leon, and Peasant”] so many times that frankly, I was sick of it.

Max. We also had a clerk at my father’s shop living with us, and at times we also had a laundress living with us.

In the middle, and again toward the end of the overture, there’s a passage in ¾ time and the woodwinds, especially You began in a municipal band in your hometown, am I the clarinets, are more prominent in those parts. The brass right? section “rules the roost” in the opening of the overture, then It was what used to be called a “cadet band,” and it was the strings and brass, then the woodwinds. Anyway, I think I formed by a German bandmaster. In Circleville, in fact in the played the first [section] the way it’s written. But in the big Ohio cities, it was the Germans who were usually the second [section], I stood up and “noodled” my way all the bandmasters. And were the teachers, too. way through that passage.

I was all over the place, improvising in the upper register. Well, as soon as that concert was over, I got fired!

Did Ameringer re-hire you after he calmed down?

No, and it wasn’t long after that when I went to Columbus and started playing there. Later on, after I got well known in New York, he apologized to me about ten times.

What took you to Columbus from Circleville?

Well, my father wanted me to go to college, to learn how to run a business and maybe become part of the family business. So he paid my tuition to go to a business college in Columbus.

Was that Bliss College?

I think it was called Columbus Business College back then, but it’s still going, I think. I was only there one term, one semester, and it wasn’t for me. The classes mere mostly in the morning, and I’m not a morning type of fellow. Showbusiness folks are night-time folks, you know. So I didn’t stay in [business] college. But if I do say so myself, I’ve done pretty well in business. Not the kind my father had in mind, but in show business.

Do you recall where you lived in Columbus?

A boarding house on East Town Street, about two blocks from Town and High Street. I think it’s still there.

Do you recall the name of the store you worked in?

Yes, Goldsmith’s Music Store, on South High Street near where the Capitol building is. At that time, it was a very large operation. They sold all kinds of musical instruments, and phonographs, and player pianos, and they also sold and That would have been Oscar Ameringer who formed and led demonstrated sheet music for customers. I did odd jobs there —sweeping up, and raising and lowering the awnings, and that band?

Yes, Oscar Ameringer.

He called himself “Professor” doing deliveries, mainly. I did learn how to adjust keys and Ameringer. Just like I call myself “Professor Lewis” when I do springs on the clarinet, and how to shave reeds, and how to put in pads. But I was just an errand boy.

“Medicine Man for the Blues.”

May I ask you about your religious upbringing? Although I’m a goy, I study with two rabbis at Ohio State, one Orthodox, Rabbi Marvin Fox, and one Reformed—the great man Rabbi [Jerome D.] Folkman, who has made this interview possible for me. Not being Jewish, I don’t know if there are strict lines that separate Orthodox, Conservative, and Reformed Judaism, but if you had to characterize your family when you were growing up in Circleville, in which tradition would you place your family?

First of all, in Circleville there were only, I think, five I’ve heard a version of it, but I’d much rather hear it from families including ours that were Jewish. My father came Ted Lewis personally! !7 Was he the Oscar Ameringer who became a prominent Socialist, and either founded or wrote for labor-union newspapers?

Yes, indeed. He came to Circleville from Cincinnati, and I think he lived in Columbus for a while, too. He was very friendly with John L. Lewis, the mine-worker leader. Oscar was our bandmaster in Circleville. And he kicked me out of that band. Do you know that story?

Was that your first band, meaning the first one that was called the “Ted Lewis Band?”

No, my first band was a little before that. I had put together a band in 1915, just five pieces, two clarinets, two cornets, and a Sousaphone. We played shows at Coney Island. We also played a few dates at the Brighton Beach Pavilion.

When you formed that first band and were playing at Coney Island, were you playing in the style we hear on your first Columbia recordings?

No. We were playing songs that were suited to that type of a small band. We weren’t improvising. We were playing “straight.”

When would you say that you first began playing jazz, then?

Well, the group that popularize jazz was the Original Dixieland Jazz Band. Nick LaRocca was the one who made that group what it was.

When they got the gig at Reisenweber’s in New York, and then when Victor picked them up and started promoting their records, that’s when jazz really took off. Now, I had been playing in that style before the Original Dixieland Jazz Band. I was with a band called Earl Fuller’s Novelty Orchestra.

When and how did you become associated with the Earl Fuller band?

It was either at the end of 1915 or early in 1916 (It was the Earl Fuller, 1917. Mark Berresford Collection

from what you’d call a Conservative background today.

There was no temple in Circleville, and the Jewish families that lived there, if they got together much at all for religious purposes, got together in one of their homes. Honestly, I don’t remember much of anything about what it meant to be Jewish until I came to Columbus and saw the beautiful synagogues there. I’m sure you know the name Lazarus, the department-store family. The patriarch was Simon Lazarus, and he and several other wealthy Jewish families donated the money and headed the fund drives for those wonderful temples in the East end. As for me, to be honest I’m not [an] observant Jew. Adah and I were married by a rabbi after [our] civil ceremony because we wanted a mitzvah, a blessing, for our mariage. But being on the road like I’ve been throughout my career, I couldn’t follow the dietary laws and say all the prayers you’re supposed to say before and after meals, and at sunrise and sunset and throughout the day. But I’m Jewish and I’m proud of it, and I really like this temple [Temple Israel] where my brother belongs. And everybody here loves Rabbi Folkman. I bet he’s a good professor.

Indeed he is—and please tell him I said so, although he’s not going to give my any bonus points for a compliment!

Staying with the subject of Columbus and your time there, did you play any of the vaudeville houses in Columbus?

Much later, yes, but not at the time I’m talking about. At Goldsmith’s, I met a man named Gus Sun, who had a vaudeville circuit that played the East Coast. He hired me, and it was through him that I got to New York. I was hired by a band that played at Rector’s, which was a very posh restaurant in Manhattan.

spring of 1917 - Ed). Earl heard my little five-piece “nut band,” as I called it, and he liked my style, so he offered me a job. It wasn’t until I got to know him that I found out he was an Ohioan, too. He was from Warren, Ohio.

Did Earl Fuller just lead the band, or did he play in it too?

Earl was a pianist, what we used to call a “novelty pianist” in the style of Zez Confrey and Felix Arndt. Do you know those names?

Yes, “Kitten on the Keys” and “Nola” and so many other piano pieces that I wish I could play!

Are you a musician too?

No, sir, except in a very liberal use of the word “musician.”

I play clarinet at a little bar on High Street, a block north of the [Ohio State University] campus. The owner is a ragtime pianist, and three nights a week I am his clarinetist. But I hesitate to say that I am a clarinetist in the presence of the great Ted Lewis! !8

If the money and the tips are helping you get your doctor’s were willing to take a chance on sticking with me, so they degree, it doesn’t matter how well you play. came along.

I’ll remember that, sir. Going back to your days with Earl Fuller, were the Fuller band and the Original Dixieland band the major jazz bands in Manhattan around the time that the U.S. entered World War One? No, there were others in and around New York that were novelty bands, although what they were playing was our [New York] version of New Orleans jazz. Ben Selvin was there, and he had a novelty band, and Gus Haenschen had a banjo orchestra that he’d brought from St. Louis.

The Warings, Fred and Tom, had a banjo orchestra, and there was the Original New Orleans Jazz Band too. So there were several, and all of them were copying the Original Dixieland Jazz Band—not the “live” band, but their Victor records.

Victor really promoted those records.

Did you and Earl Fuller become competitors, then?

Not really. He was winding down, tired of the grind. When I was with him, the band had done several trial recordings for Victor, but very few of them were released. We had better luck with Columbia, and that’s how I got into Columbia and why I stayed with them after I had my own band. Columbia, you know, was the David to Victor’s Goliath. Columbia would try new things that Victor was reluctant to do.

Victor, as I said, promoted the Original Dixieland records pretty well, but that wasn’t what the [Victor] management wanted in 1917 and 1918. Their biggest selling band was the [Joseph C.] Smith band, which was a “society” outfit. Now that changed when they got [Paul] Whiteman, but that was after the Original Dixieland fellows had run their course.

You left Earl Fuller’s band, as we were talking about earlier, Earl, you see, wanted to be like Joseph C. Smith and be a to form your own band. Was that a mutual decision? society band. And that was exactly what I didn’t want to be.

Well, yes and no. He was older, and doing three shows a night, every night but Monday, was wearing thin for him. Did you and Earl Fuller stay in contact after you became And to be honest about it, I had an act pretty much planned famous on your own? out, and I needed my own band to do my act the way I had Just incidentally. Earl went into radio when it became big. conceived of it. I was full of pep and eager to get started, and He stayed in radio, pretty much in the Midwest. Somewhere I talked to several of the guys in the [Fuller] band, and they around World War Two, I think, he was the musical director

Colour advertisement from the August 1923 Columbia New Records Supplement. Mark Berresford Collection.

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for a big station in Cincinnati. So he did all right for himself record expected to hear singing. Not necessarily ballad—another Ohio boy who made good in the music business. singing, but you couldn’t just talk the lyrics, you had to sing them.

I’d like to ask you more about the unique way you perform the lyrics of your songs. On your Columbia recordings, your When I recorded When My Baby Smiles at Me the first time, early acoustic ones, you seem to sing more than you did I was singing into a metal horn, and my band was on when you made your electrical Columbias, and your Decca bleachers that were in a circle, or semi-circle, right behind recordings several years later. me. If you listen to that [Columbia] record, I sing the line Well, that had to do more with the way recording was done “When my baby smiles at me” just like it’s written. On any of back then, and also the way that records were promoted. All the later [recordings], I did it like this: “When my baby”— of the record companies put out annual catalogs that [listed] and I say “baby,” I don’t sing it—“smiles at me”—I sing the their records according to categories. So there would be a words “smiles at,” but on “me,” I speak it. On the first record, section for dance records, a section for symphonic records, a I sang the next line, “My thoughts go roaming to paradise,” all section for popular music—ballads, waltzes, and what-not— on pitch, singing it “straight,” in other words. The recording and a section for humorous records, monologs and such, and director wanted to hear that “g” in “roaming” on the always a special section for records of opera arias and an recording. Later, I would do it like this: “My thoughts to overture or section from a symphony. There may have been roamin’—roamin’—way up there to paradise, yessir,” and I’d one or two others [i.e., categories], but that was the idea, the “talk” the line. way these catalogs were put together.

Do you remember where did you make your first recordings When I made my first records for Columbia with my own for Columbia? band, around 1919, if the label of the record had the words In New York. The very first ones were [recorded] in space “vocal refrain” or “vocal chorus,” the people who bought the they rented on an upper floor of a building on Sixth Avenue.

Ted Lewis was a pioneer broadcaster. Here he and the band are playing over the air in Cleveland, Ohio, 24 October 1922. L-R: Frank Lhotak, Harry Raderman, Frank Ross, Ted Lewis, Harry Barth, John Lucas, Dave Klein, Walter Kahn. Mark Berresford Collection.

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Then they built a new set of studios on the top floor of the Gotham Building when it was finished. Those were nice studios because the building had, I think, twenty-three stories, and the studios were on the top floor, so none of the sounds of the traffic way down below could be heard. There were big windows on three sides of each studio—there were two separate studios, back to back—and in good weather, the windows would be open and it would be very comfortable in there.

so at ease above the top C on the clarinet. Were you always able to play that way in the upper register?

Yes.

I have to say, I can’t get over your altissimo playing on your Columbia records and in [the film] ‘Is Everybody Happy’, which Joe Franklin has as you probably know.

Joe Franklin? The little guy that Paul [Whiteman] hired to help him put together his radio shows? I have a copy of the film myself, but it’s beginning to deteriorate because of the type of celluloid they used in the movie industry in those days.

Of course, you had the special Ted Lewis silver label for your Columbia records. You made many recordings for Columbia, both acoustical and electrical. Do you remember any of your first sessions, which I believe were in 1919?

Yes, I signed with Columbia in 1919 and I stayed with them until the 1940s. Even when I was making records with Jack Kapp at Decca, I was still recording with Columbia too.

(Strictly speaking, this is true: Ted recorded dozens of 16” airshots for the Columbia Transcription Service in the late 1930s and 1940s - Ed) I don’t remember this many years later, but I think some of the first ones were Oh! and, of course, When My Baby Smiles at Me. I remember doing two versions of Oh!—one with my band, and another “take” with

But as I say, I just can’t say enough about your altissimo playing, your ease in the upper register on your Columbia Viva-Tonal records from the 1920s. I can see why you liked Artie Shaw—I think he’s the only other clarinetist who was

Was the “Viva-Tonal” the ones that were made with the microphone and electrical process?

Yes, that was the name Columbia used to distinguish its electrical recordings from the standard blue label discs they put out before then.

Ted Lewis at Columbia’s Bridgeport, Conn. pressing plant, 1928. Photo courtesy Ted Lewis Museum.

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one of the Kaufmans, I think it was Jack, doing a vocal chorus on the recording. Those were done in 1919 or 1920. (I think that Ted is referring to the two separate sessions at which “Oh” was recorded - November 24, 1919, and December 9, 1919, implying that he, not Jack Kaufman, sang on the first session, although Kaufman is named as being present on the Columbia file card -Ed).

recorded with my band and the Columbia people put them out under the name “Ted Lewis and His Band,” as opposed to the “Ted Lewis Jazz Band.”

You did record a number of blues, based on the Columbia ledgers. Do you remember some of those?

Sure. I remember Wang Wang Blues, which Henry Busse made popular later, Beale Street Blues, and W. C. Handy’s How many songs would you record on a typical day in the Memphis Blues and St. Louis Blues. We even recorded one Columbia studios? that was more of a novelty song, Aunt Hagar’s Blues.

Usually we’d record two. That doesn’t sound like much, but you have to understand that we would do maybe three or four Do you remember your first electrical recording for “takes” of each song. Between “takes” the sound engineer, Columbia when the Western Electric system with is who was behind a wall which the recording horn was sticking amplifiers and microphone replaced the old acoustical out of, would be listening to a throw-away playback on a wax “horn”? disc, and the band and I would stand around waiting. It I don’t remember why, but my band and I didn’t start making would take an entire morning or entire afternoon to get two the Western Electric recordings for several months after it was songs recorded in the days when there was just a horn and no installed in the Gotham Building studios. Ben Selvin, who microphone or amplification. was the A&R [artists and repertoire] man at the time, wanted to make sure that the new system could record everything Now, if we weren’t playing a gig and didn’t have to worry from a light-voiced soloist to a 20-piece band to a chorus of about time, we could do several songs in one day. We would maybe fifty of more voices. Ben is one of the brightest men break for lunch after a morning session, and then we’d come this industry ever had—and one of the nicest guys, too. He back and do two or three more, and we would record a convinced Rudy Vallée, who hated Nat Shilkret and the Victor couple more in the evening. I remember doing that in those people, to come over to Columbia and record for them. He early days. Once, we took an entire day and we turned out even gave Rudy his own “picture label” with his signature on seven or eight recordings. Not all of them were released, I it, similar to what I had in the earlier days with my face and don’t think, but we were exhausted by the end of that day. I my hat on a silver label, and to what Ben created for remember it was in the summer, and the new [Columbia] Whiteman when he switched from Victor to Columbia. studios on the top of the Gotham Building hadn’t been built yet—and, of course, there was no such thing as air- As we talked about earlier, Columbia used the term “Vivaconditioning back then—so we were recording in our Tonal” for its new electrical recordings. Personally, I think undershirts after a while. the Viva-Tonals give listeners an even greater sense of your altissimo playing than even the best acoustical discs did.

Looking at the Columbia recording logs from the 1920s, I What strength reed were you using on those Columbia Vivasee that you recorded a number of songs that were Tonals and in the movie “Is Everybody Happy?” associated with Whiteman—for example, “Everybody Step,” Well, I usually went with a #3, but all of us in those days “Three O’Clock in the Morning,” and “Marie,” for example. sanded the playing end, the thin end, of a reed to get just the Was there any rivalry behind picking those songs? right sound we wanted. As I told you before, I used a lot of None at all. You have to understand that those were popular different mouthpieces, even a glass one, but it was the reedsongs that everybody sang or played. Everybody Step was an shaving the made the differences. That and the fact that I was Irving Berlin song from one of his Music Box revues, and like an Albert system clarinetist. The upper register is easier to Alexander’s Ragtime Band a few years before, Everybody Step play on an Albert system instrument than any other clarinet was heard in every vaudeville house and naturally on system that I know of. It’s simpler—and that’s why it’s always recordings too.

I don’t remember Whiteman recording called “the simple system.”

Marie, but I know I did and so did Ben Selvin and many other bandleaders. Later, of course, Tommy Dorsey made what is You made a recording with Sophie Tucker singing “Some of probably the most famous recording of it. (Ted’s memory is at These Days.” Do you remember making that record for fault here, as the Tommy Dorsey version is a different song! Columbia in the late-1920s?

Ed) Oh, sure—I had known Sophie since we were playing the Manhattan restaurants like Rector’s, where I played when I I understand your point now. In those days, everybody came to New York. She was just making her way up the recorded whatever was popular, as long as it fit their vocal vaudeville bill with Keith-Orpheum in those days. She’s or instrumental style, correct?

Jewish, like I am, and if you know anything about Jewish That’s right. My band and I recorded songs that the popular vocal music, there’s a melancholy background to it that’s singers of those days were singing onstage—for instance, we similar to some of the blues songs that she sang. She was recorded Second Hand Rose, which was Fanny Brice’s song easy to work with, and she was still going strong when she in the “Follies,” and Margie, which Eddie Cantor made took sick a few months before she died [in 1966]. popular, and a lot of the songs that Al Jolson made famous. I used to follow the “Follies” to see which numbers got the Were you offered a contract by Victor when you were at biggest response from the audiences. Bert Williams, the Columbia?

Negro comedian, had some wonderful songs like When the No. They had other bands by the late-1920’s—[Jean] Moon Shines on the Moonshine, which my band and I Goldkette, [George] Olsen, and of course Whiteman—and I recorded at Columbia. Now, some of the songs that were was happy at Columbia. I did well for them, and they did what I’ll call “straight,” as opposed to jazz or blues, I well for me. They designed a special silver label for my !12

records.

That was the first time any of the record companies designed a special label for a performer. That became my trademark at Columbia.

You stayed with Columbia until you went with Decca Records, correct?

Yes, although around 1922 or 1923, Gus Haenschen tried to get me to sign with Brunswick when he was the A&R [artists and repertoire] man there. Brunswick put out some great-sounding records in the days before the microphones came in. I said no to Gus’s offer, but around the time that the new [electrical recording] process came in, Ben Selvin became Columbia’s new A&R man. I had known Ben since, oh, 1914 or around that time, and he was a really great guy to have as the new A&R man.

Had you known Jack Kapp, the founder of the American Decca company, before you signed with him?

Oh, yes. Jack worked for Brunswick, and he headed their low-priced records, which were released under the Vocalion label.

That was Jack’s label, although his supervisor was Gus Haenschen. A lot of people in the [recording] business thought he was crazy to start a new company to sell low-priced records when you could hear any singer or group you wanted to on radio for free.

But Jack had a vision for Decca, and he made it into one of the most successful businesses of its type. He got Bing [Crosby] to invest in it, and several of us who knew Jack also bought stock in Decca. I think Bing would agree that Jack made Bing’s career bigger than it had ever been.

Ted Lewis and Benny Goodman. Mark Berresford Collection.

You re-recorded most of your great songs for Decca. Are you pleased when you hear them even now?

They’re my best records by far! Jack always had the best sang the song. Well, he was so good that I suggested that we arrangers, the best studio musicians, and the best sound do the act “in two,” meaning that the curtain would be up engineers. Later, when the long-playing record and the little and we would have a good bit of the stage to work with.

45 record came out, those Deccas were dubbed into those new speeds in high fidelity sound, and they sound terrific.

Eddie was a black man, and I had him dress in an all-black tuxedo, with a top hat just like mine, so that he would be in There has always been talk that you didn’t play all of your the background a few feet behind me. The lighting men put a songs yourself, and that some of the studio men who later spotlight on both of us, and we moved in unison. From the became legends—and I’m thinking of Shaw and Benny first time we did it, I knew we had a hit because of the way Goodman in particular—actually played your clarinet parts. the audience reacted.

Is that true?

Not Artie, no, but I did have Benny play several of them. Do you recall how many “shadows” you have had over the My embouchure wasn’t as good as it had been, and I was years? never the clarinetist that Benny Goodman is, so I had him About six in all. For each one who has to go onstage with play several of my solos. His tone was much better, and he you, there has to be a back-up just in case the fellow gets sick mimicked my playing so well that if it hadn’t have been for the day of an appearance. Eddie Chester was the first, and he [his] tone, I would have thought I was playing my standards. was great. I also had Harry Stumpy with me for a while. He had been part of a duo called “Stump and Stumpy.” But the best of all was my buddy Charlie “Snowball” Whittier. We Do you recall the first time you conceived of performing were very good friends in addition to being stage partners.

“Me and My Shadow” onstage with an actual living “shadow”?

It’s somewhat ironic that Al Jolson is listed as one of the I was appearing at the Riverside Theater, one of the big writers of “Me and My Shadow.”

Keith-Orpheum theaters on Broadway, in 1929—or maybe it He did that with most of the songs he made famous, and he was 1928, I’m not sure now—when I got the idea. I had been could get away with it because he told the publishers that doing “Me and My Shadow” as part of my act, but was just since he was responsible for putting the song over, for making performing it the way I did the other songs in my “turn,” as it sell in the tens of thousands, he should get a piece of it. I we used to say in vaudeville. Well, there was a valet who doubt that he ever contributed a single word to any of those doubled as an usher, a nice fellow named Eddie Chester, who songs, including “Me and My Shadow,” which he never sang was around for several of my rehearsals. I happened to as far as I know. notice him mimicking my movements—my strut, my use of the white-tipped cane, and the little dance steps I used when I !13

Was that a relatively common practice for stars to insist that they be given songwriting credit for any hits that they made?

I don’t think so, for two reasons. One was George M. Cohan, who wrote his own songs and performed them.

Everyone in the business respected George M. Cohan, and since he never put his name on anything he didn’t write, everyone but Jolson tried to follow his example. Another very big star in those days was Harry Lauder, and he wrote almost all of the songs he performed—“Roamin’ in the Gloamin’,” “It’s Nice to Get Up in the Morning But It’s Nicer to Say in Bed,” and “I Love a Lassie.” And there was the team of Nora Bayes and Jack Norworth. They wrote and performed several hits, especially “Turn Off Your Light, Mister Moon Man” and “Shine On, Harvest Moon.”

The second reason was that the big fellows in ASCAP, and I’m thinking of Irving Berlin in particular, would never allow anyone to put their name on one of his songs.

I know that Jolson tried to get Berlin to put his name on one or two songs, but Berlin told him where to get off. In my case, I wrote part of the lyrics for “When My Baby Smiles at Me” with Andy Sterling in 1919. Bill Munro wrote the music, and Andy and I wrote the lyrics. I have a draft of the lyrics in my collection, and it shows who wrote which lines.

But to get back to your question, I never put my name on any song I didn’t contribute to. (I t h i n k Te d i s b e i n g economical with the truth here - cornetist Ray Lopez recalled in an interview with Dick Holbrook that Ted agreed to record his composition ‘Bees Knees’ “providing I cut him in for half, which I did very gladly” -Ed) * Ray Lopez and Dick Holbrook: ‘Mister Jazz Himself’, Storyville 69, Feb- Mar 1977, p. 103.

especially brass players, to lead the parade of the Hamlin wagons into town.

I used to practice almost day and night twirling that brass baton. It wasn’t like the white-tipped walking sticks I use in my act, not like what I use in “Me and My Shadow.” This one was longer, and it had a kind of bulb on one end. It was a tapered tube with the other end rounded off. I got so I could throw it in the air, catch it behind my back, do all sorts of tricks with it. I wasn’t the only bandleader who could “twirl,” you know. George Olsen used a baton in his floor shows. I think he had been a drum major.

As you hardly need me to say, there is an ongoing debate about who was first “jazz king,” Ted L e w i s o r Pa u l Whiteman. Would you comment on that debate?

To start with, look at the dates. When I was playing with Earl Fuller in 1916-1917, Paul was playing viola in a symphony orchestra. That was his background and training. His father was the conductor, or maybe director, of the Denver Symphony, which is where Paul got his start.

Then listen to his first records, and compare them to mine.

He didn’t make any recordings till at least two or maybe three years after I was recording with the Fuller band. Where he was lucky is that he was signed by Victor, and two of the songs his band recorded in one of their first sessions, “Whispering” and “The Japanese Sandman” were big hits.

Frankly, I never thought of Paul as a jazzman. He loved that “King of Jazz” title, and that “talkie” [of the same title] definitely put him over with the public more than his first records ever did, but if you listen to his radio shows and read some of the interviews he gave, what he talks about is not jazz in the New Orleans style, but what he liked to call “symphonic jazz.” Of course, he got that from being the one who introduced “Rhapsody in Blue,” and the one who Do you remember the name of the medicine show? I recorded it with George [Gershwin] at the piano. But he understand that there were a lot of them in the Midwest at didn’t have as much to do with that premiere as he claims he the turn of the century. did. Ferde Grofé and Gershwin were the ones who wrote the It was called Hamlin’s Medicine Show. It was quite a arrangement. production—like a circus coming to town. There would be posters put up everywhere weeks ahead, and the show would Paul was a solid musician—no question about that. He had come into town led by a marching band. [Oscar] Ameringer that symphonic training, and he was taught by his father. But used many of us in the cadet band, along with others, as any of the fellows who were in his bands will tell you, he was not a very good player, and just a so-so conductor. If you Another trademark of yours is your white-tipped cane, which you seem to be able to do anything with. You twirl it so fast that if it had lights on it, they would be a blur. How long has that been a part of your show, your act?

The baton-twirling? I had learned it as a kid, and I got to lead a very big medicine show when it came into Circleville.

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talk to Joe Venuti and ask him about Paul as a violist and violinist, Joe will tell you that [Whiteman’s] playing could be almost embarrassing. Yet he’d insist on playing a violin solo from the podium, always with a spotlight trained on him, and he’d be sharp or flat throughout the solo.

Did you get to know each other when you were both with Columbia in the late-1920’s?

Not really, no. The reason he left Victor and came to Columbia was because the head man at Victor, Nat Shilkret, had an ego like Paul did, and he wanted to decide what Paul would record. Paul thought he had made so much money for Victor that nobody there should be trying to tell him what to do. And there was another fellow [at Victor], Eddie King, who didn’t like jazz at all, and he was a “yes man” to Shilkret.

Now, Ben Selvin, who got the A&R job at Columbia around 1925 or 1926, knew Paul and knew how much interference he was getting from Shilkret, so Ben talked Columbia into giving Whiteman a much better contract. Not so much better money-wise, but better because Paul could pick all of his players and arrangers, and could record whatever he wanted.

And as they had done for me, the [Columbia] management designed a special label for Paul’s records.

As you know, there are music historians who maintain that jazz and blues began with a black players in New Orleans, and that white musicians, especially Whiteman, “stole” the music from its black originators and commercialized it. To the best of my knowledge, no one ever said that about you.

Do you have any thoughts about that?

Everybody who started playing jazz around the time I did, knew that this was New Orleans music and that the players who brought it to the north, whether we’re talking about the Midwest or New York, were blacks and Creoles.

Louis Armstrong was the giant of all of them, and everybody knew where Satchmo was from. He was King Oliver’s star player.

Same with Sidney Bechet. Practically every one of those early jazz and blues players you can name, whether it’s Jelly Roll Morton, or Luckey Roberts, or James P. Johnson, or the blues singers like Bessie Smith and Mamie Smith and Ethel Waters, they were all from the South.

I was thinking more about why Paul Whiteman, but not Ted Lewis, has come to be seen as the one who “stole” black music, commercialized it, and made a fortune from it without ever acknowledging its real origins.

I can only give you my opinion, and it’s that Paul promoted himself was the “King of Jazz.” If you’re going to advertise yourself as the King of Jazz, and you make a movie called “King of Jazz” and you’re the star of it, then you’re almost saying that this is your music, your invention, and that you’re the best one who can play it.

I never did any of that. And I never pretended to play “symphonic jazz,” or anything like it.

And I didn’t lead a band, let alone try to be a conductor. My band was the backdrop for my act, which has always been a stage act. I’ve never promoted myself as a bandleader because I’m not one. I came out of vaudeville, and my place is the stage, not a podium in front of a big band.

I’d like to ask you about films in which you have appeared. The first I want to ask about is the film “Is Everybody Happy?” What are your recollections of making the film?

I can barely remember the plot, to tell you the truth, because it was just the musical sections from a longer film.

I remember that the character I played was named “Ted Todd.” He was a jazz bandleader looking for a break in show business, and he had two women fighting over him. One of the first numbers I did in that film—it may have been the first, now that I think about it—was “Say It with a Tune.” My band I played another one called “New Orleans,” which was meant to be a “hot” contrast to a tenor or baritone, I don’t remember which, who had just sung a song in an opera-type voice.

An unusual Argentinian promotional flyer for ‘Is Everybody Happy’, presented

by Argentinian film and record pioneer Max Glücksmann. Mark Berresford Collection.

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One that I remember for sure is “Medicine Man for Your Blues.” I remember that one because it was the first time I ever sang and played that on film. I also remember not liking it when I saw the movie because I performed it

at too fast a tempo and delivered it too loudly. Then there was the “Pirates” scene, which was corny and probably should have been cut. (Ted is confusing his appearance in ‘Is Everybody Happy’ with the Warner Brothers revue film made at the same time, ‘The Show of Shows’, in which he appears alongside Noah Beery, in which he and his band perform “The Pirate Song” and “Lady Luck” - Ed). There was a ballad that they worked in called “Wouldn’t It Be Wonderful?” which was a good tune overall.

standpoint. She was her own manager and her own publicist —and that was unheard of in big-time vaudeville. Her song “I Don’t Care” was her big hit, and it was the peak of her act.

Now, she would tease the audience by saying, “Are ya happy now?” Then she’d say it again: “Are ya happy now?” Then she would say, “I don’t care”—and she would then sing “I Don’t Care.” I thought that was very effective, and the more I thought about it I came up with “Is everybody happy now?”

After a while, I dropped the “now” and just used “Is everybody happy?”

Now, I did a lot of playing in that movie, and I have to say that I was probably at my best on the clarinet in that film.

You know, it was a two-reeler and there weren’t any retakes, so everything had to be done right the first time. I played pretty well in that movie, and I played a lot more than I did in any later films I was in.

Your first movie, as we talked about, was “Is Everybody Happy?” Among the other films you appeared in during the 1930s was “Manhattan Merry-Go-Round” in 1937. That was essentially a revue made into a film, am I correct?

That’s right. It was a collection of acts of all kinds—I think even Gene Autry was in one of the scenes—and it was pretty The title of the film, “Is Everybody Happy?,” is the tag line typical of movies of the Depression period. I think my old that belongs to the one and only Ted Lewis. How and when friend Jimmy [James] Gleason was in every one of them! did you “invent” that line?

Have you ever heard the name Eva Tanguay?

Let me ask you about a later film in which you played and sang: “Hold That Ghost,” the 1941 Abbott and Costello Eva Tanguay, the “I Don’t Care Girl”? movie. You were in it, and so were the Andrews Sisters.

That’s her, yes. Back when I was starting out in New York, How did that come about?

Eva Tanguay was one of the top stars in vaudeville. She was a saucy little thing, and she was very shrewd from a business

Ted Lewis and his Band in the 1931 Paramount short ‘The Happiness Remedy’. Musicians L-R: Dave Klein, Red Nichols, Russ Morgan, Ted Lewis, Jack Teagarden, Toney Girardi, Jack Scharf or Rudy Van Gelder, Harry Barth. Mark Berresford Collection.

!16

The reason is pretty simple: the “ghost” plot couldn’t carry picking names, Guy Lombardo or Shep Fields or Kay Kyser or the film on its own, so the producers had to insert other acts Wayne King. Those fellows got where they were by sticking to make it a standard length movie. to a formula, and it’s not a formula that leaves much room for a “hot” soloist. Welk doesn’t pay anybody either—he pays Were the scenes with you and the Andrews Sisters filmed scale, or just a little over scale. He’s lucky to have Pete with Abbott and Costello present? In other words, was it Fountain because Pete draws people who wouldn’t watch done in continuity?

Welk.

No, no. Our parts were filmed separately and then inserted into the film. In fact, I don’t remember much of anything Welk’s show is really a musical variety show, sort of a cross about Bud and Lou during the shooting of that film. between the “Hit Parade” and a vaudeville bill—a pop song by the whole band, then an Irish tenor, and the Lennon Were they getting along off-camera or were they having the Sisters, and a violinist, then the kid with the electric guitar, troubles that caused them to split up a bit later? and then Pete Fountain. For a New Orleans jazzman, that’s I really don’t know because I wasn’t around them. I had not much of an opportunity to play. So we’ll see how long heard that Lou Costello wanted to be paid more than Bud that lasts with Pete. because he claimed it was his character that was getting all the laughs. But that’s never how comedy teams worked. The I have asked you about Jimmy Lytell and Benny Goodman, straight man, in their case Bud Abbott, was always paid more and there are several additional musicians and singers whom because the straight man sets up the joke that the other you either worked with or had in your bands different times, comedian delivers. With every comedy team that had a and I’d like to ask you about them. Let me begin with Red straight man, the straight man was always paid more.

Nichols.

Of course, he was known mainly for his recordings as “Red You have been so generous with your time this afternoon, Nichols and His Five Pennies.” I don’t remember ever having and I don’t want to take any more advantage of it than you Red in any of my bands, but he was a good cornet and have allowed me to. But I would like to end this interview trumpet player. I can’t say that he was a great one because he on the same topic we began, which is the clarinet. I can’t wasn’t. And he wasn’t “original” either—he took a lot of his think of a well-known clarinetist of the 1930’s and 1940’s phrasing from Bix Beiderbecke. Anybody who knew Red who didn’t play in one of your bands. In fact, I can’t think of well will tell you that. (Although Red Nichols never recorded any big-band member who didn’t play in one of your bands! with Ted Lewis, he - and Jack Teagarden - appear in the 1931 If you won’t mind giving me your thoughts about these short ‘The Happiness Remedy’ - Ed) clarinetists, I’ll really appreciate it. Let me begin with the two best-known ones, Benny Goodman and Artie Shaw. You hired both of them for your studio sessions, am I correct?

Yes, both of them played with me at different times when they were studio players. I had Benny play my some of my solos in my Columbia [electrical] records. Both are great players, but if you’re asking me which one I consider the best, it’s Shaw. I haven’t heard high-register playing like Shaw’s since Al Nunez. I’m not taking anything away from Benny, who’s a terrific improviser. But Shaw was tops in my book. I just wish he hadn’t walked away from it when he did.

Four other names, if I may: Johnny Dodds, Jimmy Lytell, Pee Wee Russell, and Lawrence Welk’s discovery, Pete Fountain.

Johnny Dodds was the real thing, one hell of a clarinetist!

You know, he replaced Al Nunez when Al had some medical [dental] problems. To me, he wasn’t anywhere near the player that Al Nunez was. You know, Pee Wee [Russell], who was probably the closest thing to the old New Orleans players, said that Al Nunez was the greatest jazz clarinetist who ever lived. That tells you a lot about both of them, because if they held one of those old “carving contests” like they had in New Orleans, Pee Wee could outplay just about anybody you’d put up next to him.

You mentioned Jimmy Lytell, who’s a favorite of mine. Jim can play anything you put in front of him—a hell of a studio clarinetist—and he can improvise with the best of them. And Jim is an Albert [system] player. Did you know that? Of course, that makes him special to me because he didn’t switch like the others did.

Now, about Pete Fountain, there’s no question that he’s a first-rate clarinetist. I don’t see how he can last with Welk, any more than he could have years ago with, and I’m just !17

How about the Dorsey brothers? Your opinions of Tommy and Jimmy Dorsey?

Tommy Dorsey was the finest trombonist, period. And I don’t mean the kind of playing he did in his big band—“Marie,” “Song of India,” and such—but as a jazzman. In the old days, as I mentioned before, they used to have what they called “carving contests” in New Orleans to see who could outplay whom. That’s how Louis Armstrong got famous in his early days. Well, if there was a carving contest for the trombone, Tommy Dorsey would have blown away anybody who came up against him.

Jimmy was the more versatile of the two, since he played both the sax and the clarinet. He was one of the few who was equally good on both instruments. I thought that on the clarinet, when he was playing jazz, he was up there with Benny Goodman.

Where would you place Sidney Bechet as a clarinetist?

That’s hard to do because Sidney Bechet could play almost every instrument! Do you know that record he made by what they now call “over-dubbing,” where he played every instrument and became his own “orchestra”? He spent a lot of his career in France and other parts of Europe, but he belongs up on a cloud with Satchmo and Duke Ellington.

“September Song”—“When I was a young man courting the girls”—which I did on that Unique LP. You ended Side Two with “Me and My Shadow,” but in a very novel way: you sang “The Cop on the Beat” and then used it as a ségué into “Me and My Shadow.”

You liked that, did you? Well, I had done that in personal appearances, but never on a recording until I made that LP. I made transition from the phrase “the cop on the beat … the man up in the moon … and me … me and my shadow, strolling down the avenue.” I’m glad you liked it.

On your “Million Memories” LP, you included a song by Gus Edwards and you prefaced it by talking about how famous he and his songs once were, and all the stars he created in his “newsboys” act. The song you chose was his “If I Were a Millionaire.” What led you to choose it as opposed, say, to “Goodbye, Little Girl, Goodbye” or one of his other betterknown hits?

I chose it because the sentiments he and Will D. Cobb put into “If I Were a Millionaire” are ones that everyone who has ever gone to school and wished they didn’t have to can dream about: “I’d buy up every schoolhouse in the nation / And I’d write upon the blackboards big and clear / Instead of one there would be two vacations / Each vacation six months twice a year/ I’d never let you go if it was rainin’ / And I’d make you stay at home if it was fair / I would buy you soda fountains / And build you ice cream mountains / If I were a millionaire!” I tell you, there isn’t a man or woman in this great country of ours who didn’t feel that way about school at least once in a while when they were kids.

Something I have wanted to ask you is about your movements on the stage, and how fluid and flexible your movements are. I hope you don’t mind me saying this, but you’re so flexible and every part of you seems so fluid when you move—your legs, your arms, even your fingers—that a man half your age probably couldn’t match. How do you do On a talk show recently, Artie Shaw and Beverly Sills were that? asked how they manage criticism, whether from music critics or gossip columnists like Dorothy Kilgallen. In so Well, part of it is the luck of the draw, I’m sure, because I many words, they said you must have, or else you must don’t have arthritis or any of those diseases that affect many develop, thick skin and then consider the source. You have people my age. I think a lot of it has to do with the mind— had a few critics during your long career, and one of them with mental attitude—and how you feel about your age. I seems to be Eddie Condon. As you may have heard, he said don’t think of age at all. Probably the best answer I can give in his recent book that “Ted Lewis could really make the you is that I work all the time, so I’m constantly onstage and clarinet talk, and when it did, it said, ‘Please put me back in constantly doing the kinds of movements you’re talking my case.’” about. When I can’t do that anymore, that’s when I’ll retire.

If he really wrote that, if those were his own words and not his ghostwriter’s, he can’t take any credit for being original.

Your most recent recordings have been the LPs you’ve made That line has been around as far back as I can remember, and on the RKO Unique label. The first one, if I have my it applies to any instrument that comes in a case, whether it’s information right, was “Me and My Shadow,” which you a violin or a trombone or a clarinet. But, look, he’s trying to followed with “A Million Memories.” Did you make those make some money to pay the rent, so he thinks he has to put Unique LPs in California or New York? down other people in the business. It doesn’t bother me not They were all made here in New York, at a studio on East only because it’s not original, but because you have to 45th Street. I really enjoyed making those LPs because they consider the source. Eddie Condon is no Eddie Lang. Eddie let me pick whatever songs I wanted, and I had my pick of Condon plays a four-string guitar.

A four-string guitar? arrangers to get them just the way I wanted each song to be Please! That’s nothing but an oversized ukulele. And maybe I heard. shouldn’t have given Eddie all the work I gave him!

The “Me and My Shadow” LP has many of the songs that have always been associated with you—“When My Baby Smiles at Me,” “Medicine Man for the Blues,” “Wear a Hat with a Silver Lining,” and of course the title-song of the album—but it also contains several that you do wonderfully even though they’re associated with other performers. I’m thinking of “September Song,” for example.

As you probably know, that was written for Walter Huston, who was not a singer. He sort of “talked” the lyrics, which made it a natural song for me. And I love the verse of

I can’t thank you enough for the time you have given me for this interview. I’m a proud Ted Lewis fan, and will never forget how kind you were to me ten years ago when I asked for your autograph. And I assure you that I’ll never forget how generous you have been to me today. Thank you again and again and again. _________________________________________ This interview was conducted in 1968 at Temple Israel, in Columbus, Ohio, courtesy of Rabbi Jerome D. Folkman.

!18

Picnic at Piping Rock

nor from Connecticut. There never seems to have been an Edgewater Inn at Greenwich, Conn., though, being close to the ocean, Old Greenwich town does boast an Edgewater Drive. It is also theoretically possible that one member of the group might have passed through there at some point, given that trumpeter Sylvester Ahola hailed from Gloucester, Mass., Decrypting vintage label copy is something of a black art, a couple of hundred miles up the coast. given the imaginative mendacity of record companies and the fascinating typing errors of their secretaries. The alleged One label toponym that has always intrigued me is Piping "Coqfus Five" on French Odeon doesn't represent a huge Rock — as in "Smith Ballew's Piping Rock orchestra", which intellectual challenge, but one still needs more than recorded briefly for Columbia in 1931. Rust's JR discography deductive reasoning to identify "Chuck Nelson" on has no time for them, despite a romping version of I Love Champion, or wade through the various alter-egos of the Louisa, with torrid solos from Pete Pumiglio, et al. However, "Denza Dance Band" on U.K. Columbia. Fortunately, at millennial snowflakes should beware of Howard Dietz's record fairs one no longer needs a backpack bursting cheerfully inappropriate lyrics, which scandalously confide, "I with Sutton's Pseudonyms and both volumes of Rust: these love a great big bosom". Indeed, the whole thing seems to be days it's all in the phone.

By Anthony Baldwin

Still, typos and pseudonyms apart, what about all those real or imaginary hotels and nightclubs mentioned on records, where bands may or may not have played — the label toponyms? Did Hal Kemp ever entertain at any supposed "Carolina Club", as per his Okeh releases? (probably not). Is Arthur Sims' "Creole Roof" on Okeh a reference to the same Milwaukee venue as Devine's "Wisconsin Roof" on Paramount? (apparently, yes). Did the 1929-30 Ambrose orchestra actually record in situ "at the May Fair Hotel, London", as suggested on their Decca label copy? — Unlikely, as all their known Decca sides at this period were made, variously, at Chelsea's Chenil Galleries, Battersea Town Hall or the Liverpool Victoria Hall, Southampton Row. However, Ambrose's Saturday night BBC broadcasts were indeed fed by landline from the May Fair.

Some toponymous information, such as the impressively detailed "Connecticut Collegians from the Edgewater Inn, Greenwich, Connecticut" on Worldecho, is entirely fictitious at every level. As they were essentially studio sharks on a Clerkenwell Road recording date in central London, the gentlemen of this orchestra were clearly neither collegians 19

JUufto <*W Recording Orchestra IVATIONS TELEPHONE 360

much of a showing, because all the Olympic distances, even the marathon, are too short for the famous Indians.

The belief is that the Indians' great endurance and stamina will not offset their lack of experience in the Olympic events and that the 26 miles of the marathon is entirely too short a distance for a runner who is accustomed to run 100, 200 and 300-mile races.

Famous for centuries for their lcng-distance running ability, the Taramumaras live remotely from the rest of Mexico and seldom have been seen in the United •e • •• States.

LAY POLO PLANS ?

Running is a passion with the LONDON OP)—The^-HaueHngham club polo committee already is lay- tribe, and visitors tell of seeing ing plans for its next attempt to teams of neighboring villages run | barefoot over stony mountain trails win the Westchester cup from the for two days and nights in comUnited States.

The attempt will be made in petition.

Their last appearance in the 1933, and the team probably will contain the old 1930 membership. United States was in^^J.927 when Louis Lacy, the Argentine, may ieams of men and wometr^runners wish, however, to be replaced by a competed in the Texas relays, running from San Antonio to Austin, younger man.

Captain C. T. L.-Roark, star of and in the Kansas relays, running the British play in the 1930 matches, from Kansas City and Topeka to Lawrence. likely will lead the new group.

• —— A suggestion is being considered that a British army team he sent MANITOBA'S FOREST. to America to compete against an Manitoba's forest area has beerf year. There has not been such a officially estimated at 137,000 contest since i Q ^ | square miles. ^^^^^^^^^^m

county jail, but as he had been incarcerated in the city jail since Saturday afternoon he was allowed to go. rickets On Sale Circus Day at Andrew Heme, arrested yesterday Brunner's A r c a d e Book Store afternoon for panhandling in Broadway, convinced the judge that he was a working man, when he raised his calloused hands for the judge's inspection. He was ordered to return to Schuylerville.

Richard McEleney arrested for public intoxication at the trolley station yesterday afternoon, was ordered to leave the city when he pleaded guilty last night.

DOORSOPENONEHOUREMUER WR PU6UC

THE PIPING ROCK Saratoga Springs

On Union A v e n u e

A Restaurant of Distinction Under the Direction of

THEODORE SPIELER Dinner DeLuxe $3.50 Also

1

A La Carte at All Times NO COVER CHARGE DURING DINNER BAI.X.BW

ARROWHEA

Established by gangland 'identities' Meyer Lansky, Frank Costello and Joe Adonis, the Piping Rock Club of SaratogaSARATO r Springs at one time had "12 roulette wheels, three craps tables, one card table and a bird cage". For visiting gourmets, the New York Daily News reported that pride of place on the restaurant's 1930 summer menu was the Red Flannel Petticoat — "... a cheese-and-tomato concoction that is dee-The "O vine."

by SMITH BALLEW A»d HIS PIPING ROCK ORCHESTRA Formerly of T h e "Villa Vallee", N. Y. G t y .

B R O A D C A S T I N G DIRECTLY F R O M T H E R E S T A U R A N T E A C N M O N D A Y , T H U R S D A Y and S A T U R D A Y O V E R W G Y .

7 P. M. to 2 A. M. Nightly

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Nightly From the outset, NBC had a wire to the bandstand, withDuring A l s oseason, o n the air from t o coa Vincent Lopez providing the music for the 1930 andcoast Evening the Smith Ballew orchestra making regular broadcasts there from July to September 1931. These hook-ups were carried by the NBC "Red" radio network, which included NYC Cuisine Under the station WEAF, WBEN Buffalo, WWJ Detroit, WRC THE COMPLETE ASSOCIATED PRESS Washington DC, WSB Atlanta, plus the powerful GEORGE 50kW F oSchenectady r m C h a rstation t of WGY, t h e which on its own reached Of the New "Patio L most ofSaratoga the eastern half of North America after dark. As a Races result, the Ballew band's name would have been familiar to appears every afternoon in the final sports edition of T h e Saratogian—out at 6 . 4Canada 5. listeners from to the Deep South — familiar enough For R Entries and results at all the tracks, and baseball refor sults. Columbia Records not only to bother recording them at PHONE H O depths U R S A H E Aof D Othe F EVE RY OTHER SPOR T I N Galso to include the Piping the Depression, but E X T R A W I T H COMPLETE RESULTS Rock billing. fhe Saratogian publishes three editions a d a y for racegoers—Saratoga entries in the 4 p.m. edition; Saratoga form chart, en trie* and late results in the 5 . 1 5 p.m. extra; complete form chart and complete racing at all tracks in the sports final, out at 6 . 4 5 .

Interestingly, it was only radio schedules in upstate New York that advertised the band as "Smith Ballew's Piping Rock Fm Phone—Saratoga 2 2 4 1 Get C O M P L E T E n e w s in your sports extra. Only Orchestra", though presumably that was how it was The Saratogian has it A L L at 6 . 4 5 . announced on air. New York City papers just called it "Smith Ballew's Orchestra", which might suggest that, back on the a disgraceful paean to loose living and,Tonight, specifically, "more manicured links, Locust Valley club members didn't much T o m o r r o w and Thursday beer", with Joe Venuti's voice much to the fore. care for the gangland associations.

Matinee 2 . 4 5 — 2 5 c

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LUZERNE VILLA

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Uncouth sentiments such as these seem to jar a little with the image of the most obvious "Piping Rock" candidate, I Jlrespectable Piping SHOWING namely the infinitely Rock Country Club in Long Island's discreetly plutocraticThey Locust Valley. After more both knew h o w he had met than a century of golf tournaments hisand elegant shows, death—why didn'thorse they tell?

A that will blast you the club still functions to this mystery day.out romance Although the more right of your seats.

Lionel Barrymore plays a greater privileged parts of Long Island provided the backdrop to role than he did in " A Free Soul"« Youclub's will be literally stunned by thewith much of "The Great Gatsby", thesuddenness connection and unexpectedness of this unusualto climax. entertainment was generally confined its handful of A n original story from the pen of successful but self-effacing showbiz Bayardmembers.

Veiller, w h o In wrotepopular the 'Trial of Mary Dugan", "Paid". music terms, the most significant event in the club's etc. Here's hit latest big one. history was probably the 1937 riding accident that crushed Cole Porter's legs, one of which eventually had to be amputated.

Will it

Piping Rock was only one of a handful of similar operations, COUNTRY CLUB known H A D Lcollectively E Y - L U Z E R N E , Nas . Y .the Saratoga Lake Houses, because of Miles From Saratoga Springs their18 attractive location. These included the Brook Club, Sreen F e a t — W e e k D a y s — S 1 . 5 0 opened Sby U N Dnarcotics A Y S — $ 2 . 0 0 czar Arnold Rothstein around 1920, and TIM O T O N N E L L ,Inn Professional the Arrowhead — a label toponym known to collectors of Meals Served A t V I L L A I N N Harold Veo's recordings for Edison and the 1928 Meyer AH Hours Davis Brunswick sides. Paul Whiteman played there in August Tel. L u s e m e 1 4 - F - 1 2 — 1 5 - F - 1 2 1930, and Ben Bernie the following summer.

After WWII, the nightclub business in Saratoga Springs began to fall off as a result of the 1951 U.S. Senate Committee report on organised crime, which found that Messrs. Lansky, Adonis and Costello "formed the eastern axis of a combination of racketeers working through the nation."

So what's the connection between Smith Ballew's "Piping This led to a Saratoga County grand jury indictment for Rock Orchestra" and the exclusive stables and lawns of the Lansky and three months in jail. He was also fined $2,500 for Country Club? The short answer is little but the name, which his involvement in the Arrowhead Inn on Saratoga Lake. some resourceful Manhattan mobsters decided to borrow for C o n v e n t i o n Hall a glamorous lakeside restaurant and illegal casino at Saratoga When Lansky was released in 1953, he decided to transfer Springs in upstate New York. Basically, they provided a front his attentions to more flourishing opportunities in Havana, for some anonymous investors from Manhattan and the Long where his good pal Fulgencio Batista had justN o vtaken power in elty—"SM ILE, D A R N Yhad O U SNBLE* Island 'Gold Coast' — who may well have been members of a military coup. This meant that the Lake Houses become Fable, the country club in Locust Valley. something of a millstone.

ELKS

CHARITY BALL

FRIDAY EVE.

AUG. 21st

Star-Gazette (Elmira, New York) · 14 Aug 1931, Fri · Page 22

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CONGRE

There's an old Vaudeville gag about two mobsters who bump into each other at the race track: — "Eh, Luigi, sorry to hear about the nightclub fire."

— "Shhh... that's next week."

True to form, Piping Rock burned to the ground on August 17, 1954, the Brook in 1959, and the Arrowhead in 1969.

21

Naturally, they were all generously insured.

-----------------------------------------------Coloured postcard: Boston Public Library

ATE’S DISCOGRAPHICAL RAMBLINGS DUKE ELLINGTON ON BRUNSWICK Brunswick had two 1000-series, one in France and one in the UK with the same numbers for different issues. An example is provided by James McElroy (UK) who reports Duke Ellington's Paducah/Harlem Flat Blues on Brunswick 1016.

UK Br 1016 is by Bob Haring from US Br 4852 (See Storyville 9). McElroy's 78 is a French issue. Is there a listing of this French Br 1000 series? Who has other records in this French series?

ART HODES ON SOLO ART AND ON CIRCLE South Side Shuffle on Circle is mx R2198 and this take is different from R2199 on Solo Art 12002 (a 10" record). It is doubtful that R2199 is on Solo Art too.

BIX BEIDERBECKE ON AURORA Dustin Wittman notes that DAHR (label listings on the internet) says that Aurora (Canada) 36-210 contains take 2 of Hoagy Carmichael's Barnacle Bill The Sailor while all known issues have take 1. Can anyone confirm?

BOBBIE LEECAN/ROBERT COOKSEY ON VICTOR Bernhard Behncke (Germany) doubts the instrumentation as traditionally given for the duo of Robert Cooksey and Bobby Leecan; Cooksey - harmonica / Leecan - guitar and kazoo.

But listening to Vi 20768 (with no mention of a kazoo on the labels) he notes that the kazoo starts on both sides just as the harmonica is silent, while the guitar player plays without stopping to 'change' instruments. Leecan probably had no rack for a kazoo as blues-musicians have for a harmonica.

Comments please.

LOUIS ARMSTRONG ON OKEH: RUSSELL OR NOT? Bernhard also writes about Louis Armstrong's Song Of The Islands (OK 41375). Discographies say that Armstrong was accompanied by Luis Russell's band based on the fact that it was recorded between two fine titles by Russell. Bernhard does not support this as he does not hear J.C. Higginbotham in the trombone solo, nor Pops Foster and Paul Barbarin in the rhythm section. He gets support from Ricky Riccardi, who is Archivist at the Louis Armstrong House Museum, Corona, New York. Riccardi notes that Armstrong had said: "I had real Hawaiians and violins on that record".

Björn adds that Rhapsody Junior is of course an early Ellington tune!

OKEH 8000 RESEARCH BY BO LINDQVIST Labels below are listed in Laurie Wright's OK 8000 book, but copies have not been found.

Okeh 8100: copy with labels reversed: 8100 A playing Crawdad Blues.

Okeh 8300: A large red Electric label.

Okeh 8406: Any labels Okeh 8455, 8948: large red Electric label with the legend ‘Not licensed for Radio Broadcast’ Okeh 8166, 8370, and 8417: Plain labels (i.e. without Electric or Truetone logo) on discs pressed with small center rings.

Okeh 8508, 8536 and 8582. large black labels have not been verified to exist.

Okeh 8602, 8633 and 8636 small black labels have not been verified to exist.

Okeh 8192, 8309, 8315, 8328 and 8351 Truetone labels on discs pressed with small centre rings have not been confirmed to exist.

Please check your collections and confirm labels please (preferably with scans) to Bo Lindqvist at lindqvist_50@hotmail.com - thanks!

CLARENCE WILLIAMS ON CHAPPELLE & STINNETTE AND ON EDISON Jörg Kuhfuss (Germany) owns two copies of the very rare Chappelle & Stinnette No. 5005. It has Clarence Williams singing Decatur Street Blues, backed by Chappelle and Stinnette singing Caterpillar Wobble. His first copy has master number C3-2 on the Williams side (as listed in JR6) .

His newly acquired 2nd copy has master number C3-1. The takes are definitely different: In the last 30 seconds of C3-1 Williams yells: "Blow it, boy - blow it" and "pick it boy - pick it" and in C3-2 he yells: "pick it boy - pick it" and "blow it, boy" (Also the flip side has 2 different takes: C3-1 is coupled with C5-2 and C3-2 with C5-1.

One more from Jörg, this one on Eva Taylor with Clarence, piano. Edison No 14046 has Have You Ever Felt That Way? JR6 only lists take b and take c. Jörg also has a copy with take a. Differences between takes are minimal.

AND NOW ONE REACTION: CLARENCE WILLIAMS AND LOUIS ARMSTRONG Okeh 8440, by Clarence Williams' Washboard Four with matrices 80362 and 80363. This was issued on other labels as by Louis Armstrong Original Washboard Beaters. Bernhard Behncke (Germany) notes that 80862/63 are indeed by Louis Armstrongs. He thinks that someone, working on an issue of the Williams titles, misread the master numbers (reading an 8 for a 3) and took out the Armstrong cards. He did not notice JAZZ IN A CLASSIC FILM Björn Englund writes: “Citizen Kane (1941) directed by that he was wrong but wrote parts from both file cards on the Orson Welles is considered by many critics to be the most labels. Could well be! outstanding American feature film of all time. Nominated for nine Oscars, it only received one (for the script). A picnic AND NOW ADRIAN ROLLINI scene at Everglades, Florida, lasts for 32 seconds: "Blues Several of Fred Elizalde's 1928 Brunswicks were reissued in a performer sings 'It Can't Be Love', lyrics from 'In a Mizz’". Decca album during the 1930s. They are noted in JR6 as The performers are not named in the script but were dubbings and it seems that Decca had no original metal identified by Buddy Collette in 2004 as Raymond Tate masters. However Mark White's text for the Ace of Clubs LP (trumpet), Loyal Walker (trumpet, "high notes"), Kurtland ACL1102 suggests that masters still existed when this was Bradford (alto sax), Buddy Collette (alto and baritone sax, produced around 1960. Can anyone supply a copy of the clarinet), Buddy Banks (tenor sax), Cee Pee Johnson (guitar text that came with the Decca 78 album? Who knows what and tom-toms), Johnny Miller (bass), Alton Redd (drums and really happened? (I have seen a copy and it categorically vocal). The actual performance would have lasted at least states that the original metals had been destroyed, hence the three minutes but, as so often happens in the film world, it need to make dubbings - Ed). was cut to almost nothing! Cee Pee Johnson appeared in several films at this time and his tom-tom playing recalled the Also I would like to hear the two titles by the California masterly tympani playing of Vic Berton in the 1920s. (In a Ramblers Dance Band, who recorded I Can't Do Without You and Jig Time, recorded in 1931 and issued as Parlophone Mizz was by Charlie Barnet and Haven Johnson).

CO149. I don't think it's with Rollini, but hearing is B U C K WA S H I N G TO N S E S S I O N O N VO CA L I O N believing.

DISCOVERED Another one from Björn: Three piano solos by Buck As for my forthcoming Rollini book, see www.amazon.com/ Washington under the name of FORD L. BUCK recorded in Adrian-Rollini-Music-Rambler-American/dp/1496825160/ ref=sr_1_4?k Chicago on 24 February 1927 C 709-710; E 4609-4610 W Black Bottom Vocalion test Reactions (and please refer to the relevant VJM issue!) and C 711-712; E 4611-4612 W Rhapsody Junior " new to a.vandelden@onsmail.nl. Thanks.

C 713-714; E 4613-4614 W The Girl Friend " SEGER ELLIS ON DECCA On 11 March 1937 Seger Ellis recorded 6 titles for Decca.

JR4 says that Irving Fazola plays clarinet (under the name Pancho Villa). Lars Walter (Sweden) notes that labels of (sunburst) Decca 1322 and 1350 do not mention this and wonders if the session's third title on Decca 1275 does. Does anyone have this?

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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?

B O O K : A M E R I CA N R E C O R D C O M PA N I E S A N D PRODUCERS 1888-1950. An Encyclopedic History. By Allan Sutton. Pub. by Mainspring Press, Denver, Colorado 2018.

ISNBN: # 978-0-9973333-3-6. xxvi + 730 pp. Heavy-duty library binding. Limited edition of 300 copies. Price $75 (USA), $ 125 (outside USA).

This is the book I have been waiting for since I began doing discographical research in 1954.

Th e r e h av e b e e n earlier, but ultimately shallow attempts to document American labels: Carl Kendziora started his"Label of the month” in Record Changer in 1949 and continued in Record Research after RC failed in1957; Michael Wyler had a series on American labels in Melody Maker which were later collected in his booklet A Glimpse of the Past (1957): Brian Rust published The American Record Label Book in 1978. But none of these were based on original research and often had many errors and misunderstandings (Rust, for example, gives the wrong location for the Gennett studios at the time the QRS recordings were made there).

Allan Sutton has proved in his previous work for his Mainspring Press Company that he is a tireless researcher who goes back to the original sources, including trade journals and court records. The result is really an Encyclopedia on the 78 era (including phonograph cylinders).

There are well over 1.000 entries in this hefty book (no illustrations) which, unlike his earlier work covering 1891-1943 (2000), is arranged by record companies instead of labels. There are MANY facts published here for the first time and it will take me weeks to digest it all.

Sutton was rightfully given a Lifetime Achievement Award by the Association for Recorded Sound Collections in 2013, but his attitude to other researchers, past and present, has often been dismissive - an unfortunate trait. There are no acknowledgements whatsoever of anyone helping him in his research, and he is not infallible, as has been shown in the past. For instance, twenty-six 1946-1950 jazz pirate labels

listed in Geoffrey Wheeler’s Collectors Guide to Jazz on Bootlegs & Reissues (2009) are missing. Also, a check of The World's Encyclopedia of Recorded Music, London 1950, reveals the present books lacks 39 American labels with classical music (most of them very obscure and probably with very small production runs).

I present below a few of the comments I made after a first read-through:p 13 AM / American Music. No, Bill Russell DID NOT "own studios in Pittsburgh, Canton, New Orleans”. Also, the 8 reissues from Paramount ( V1-2 (vinylite), 3-8) are not mentioned. p 122 Commodore Music Shop started in the summer of 1934, not 1936. CMS became UHCA in 1936 and 100-113 were repressed with this label. 114 finally appeared in 1942, but with a Commodore label. The Commodore label itself with original recordings instead of reissues (without the Music Shop moniker) started in January 1938 (French Swing was the first, from April 1937. Blue Note, the third, from January 1939). In addition to the studios mentioned, Commodore used the Baldwin and Reeves studios. p 147 (Decca) "When Brunswick was finally relaunched in mid-1944” (recte: April 1943!) p 215 GTJ "GTJ later expanded its rooster considerably to include Bunk Johnson and Willie (The Lion) Smith". No, the Bunk titles were reissues from Jazz Information. The Lion appeared on one side of an LP in 1958. Also, the Lu Watters titles were reissued from Jazz Man. p 353 Paramount masters were issued on Embassy, Savoy (Australia), Biberphon, Diamant (Germany), Cameo, Corona, Cremona Rex and Kalliope (Sweden; in addition to Star, mentioned). p 360 Solo Art. In addition to 20 titles by Albert Ammons / Pete Johnson and Meade Lux Lewis, at least 29 titles were recorded in Chicago in May 1939 by Cripple Clarence Lofton and Jimmy Yancey of which only 6 were issued on SA, the rest on Riverside LPs. p 383 Paradox Industries was started around August 1948 by Dante Bolettino under the name Globe Industries and produced the Paradox (later Pax), *British Rhythm Society, Jolly Roger, *Cosmopolitan and *Wax Shop labels up to 1951. (* = not listed by AS)

!23

p 439 The first Royal Roost issue was really #500 by Kai Winding as Billboard of 27-1-1949 states and not #501 by Harry Belafonte as AS states. Notice that the Roost catalogue series skipped #505-508 which were on the 3 Deuces label and also the matrix numbers 1009-1016 which were assigned to these titles. "The label's name was shortened to Roost following the Royal Roost's closure" (Ralph Watkins and Arthur and Bill Faden, the owners of the Royal Roost nightclub had provided the financial backing for the firm).

his music. Indeed, her profile of “Daddy John” is worth the cost of the book.

Author Ratfcliffe meticulously researched the region in which Hurt grew up — Avalon is in the center of the state near Greenwood, but, having only 500 or so residents at its peak, no longer exists as a community. He follows the family roots through slavery into the sharecropping days of the latter 19th Century (Hurt was born in 1892) though the mid 20th Century.

p 447 "Cupol in Switzerland!" (recte: Sweden)

The book details OKeh’s recording trip to Memphis in 1928 — the story of how the white fiddler Willie Narmour got the OKeh field staff to record Mississippi John Hurt has been well told. But the lesser-told part was that the supervisor of the session was Tommy Rockwell — friend to Bix Beiderbecke, Frank Teschmacher and the Chicagoans — who personally sought Hurt to make additional recordings, paying his way to New York and his hotel expenses. The author relates how Hurt, uneasy about traveling so far, asked Rockwell to accompany him on the long train journey.

p 475 Gennett on Ekophon (Sweden) p 542 Wallin's "At least one early Wallin's issue is known to have been pressed from Gennett masters recorded in New York and recordings of unknown origin appear on several other releases”. No, all issues are original recordings for Wallin's!

One astonishing fact I learned from this work was that in the 1940s the jukebox owners forced Signature and other labels After the New York session, Hurt returned to Avalon to make records with a maximum length of 2 minutes to get Mississippi to await more recording opportunities. One more plays! almost came up — A man named W.E. Meyer sought Hurt for his start-up label, Lonesome Ace, that used Paramount This is an essential work for all record collectors and facilities to record and press his records. Meyer recorded the researchers. The price in reasonable, but note that only 300 country banjoist Dock Boggs and the balladeer Emry Arthur. copies have been printed!

He wrote to Hurt that he had 22 songs he wanted recorded BJÖRN ENGLUND but before anything could come of the venue, Meyers became ill and the venture folded. (There are 3 known issues BOOK: MISSISSIPPI JOHN HURT: HIS LIFE, HIS TIMES, HIS on the Lonesome Ace label, two by Boggs and one by Arthur).

BLUES. By Philip R. Ratcliffe. University Press of Mississippi.

978-1-61703-008-6 308 pp, hardbound, illustrated. $35.00 The chapters that comprise “The Middle Years” normally www.upress.state.ms.us. would seem the least interesting, but, if fact, are the highlight of the book, completing the loving portrait of the man that W h e n t h i s b o o k opens the work. Fortunately for future listeners, he continued arrived in the post, playing for family and friends so he was still sharp when the my first thought was next wave came calling. how difficult it much have been to write a The final two sections of the book, his rediscovery and the b i o g r a p h y o f a goings-on after his death are predictably sad. Hurt was found b l u e s m a n wh o s e by a researcher named Bob Hoskins who knew a national early “career” was treasure when he heard one — and Hurt was definitely that. only three days in a From 1964 until his death 2 years later, Hurt was a favorite on r e c o r d i n g s t u d i o the folk and college circuit, not just for his jaunty good followed by 35 years natured songs, but for his engaging personality and impish of a w a i t i n g humor — he was a natural crowd pleaser. rediscovery. And it IS difficult: Mississippi The sad part is all too predictable: money brings lawsuits J o h n H u r t s p e n t and they started flying not long after Hurt reclaimed his most of his life in a songster career. Hoskins had forged a partnership with rural area of his Richard Spottswood to manage and record Hurt, but promptly state, farming and had a falling out. Later Another manager tried to squeeze doing odd jobs — them all out, followed by a lawsuit from Hurt’s first wife, ordinary i n whom he’d apparently never officially divorced, then a suit to themselves but the recover royalties from a record company, — all of which took picture that emerges nearly 50 years to resolve. The author, thankfully, takes no of the man is someone very extraordinary. He was a gentle sides in his detailed reporting of these legal battles, but they soul, a dedicated family man, a hard worker and a stoic who did compromise the happiness that Mississippi John Hurt could endure the worst with grace and humor. might have taken in the adulation he received from his young, mostly white, fans.

The foreword, written by his granddaughter, Mary Frances RUSS SHOR Hurt-Wright, lets the reader know immediately that he was imbued with a mystical serenity that projected well beyond !24

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 CD: The and BIG aurally” BROADCAST VOLUME 12.and Jazz and Popular The leaders CD opens oneit of red-star Edisons -to “visually identifies Joe Smith Sidney De Paris band whowith made bigthe in dreaded the 1920s and managed Music of the 1920s and 1930s.

Compiled by Rich Conaty.

26 the star on the label indicated it was likely to be a poor seller as the horn players as definitely appearing in Bessie’s two maintain that position into the Swing era of the following tracks.

Rivermont BSW-1167 www.rivermontrecords.com and dealers should order it with caution!

One wonders howfor reeler. decade, not least because of his status as chief arranger Rich Conaty was a the artist in question reacted to this declaration of lack of faith the Benny Goodman orchestra at precisely the time Goodman l a of r g this e r - tbook, h a n -under l i f e bywas thebeing Edison management.

The of artist in this and caseit’s is Anna hailed as the ‘King Swing’… for his I can only assume that the final section fi g u r e , w h o Chandler, a vaudeville performer, who was very popular lovers the heading of ‘influences and legacy’ where separate ground-breaking charts with this outfit that many jazz presented The Big Warand One, whose star was know World his name hisbut work.

I suspect thatwaning a goodfast fewbyof biographical sections on Connie Boswell, Janis Joplin, Ella during show she made My Sweetie Awayrecordings – her them when have probably never heard any ofWent his 1920s Fitzgerald, Big Joe Williams and Bob Broadcast Wills wereradio added as 1923 on New York City’s penultimate visit to the recording studio.

She’s accompanied ‘padding’. That these artists were included simply because and wouldn’t give the earlier ones, at least, much time if they WFUV-FM a house no great interest, but whose pianist they ‘admired’ Bessie Smith or coveredStation one of her songs – bydid.

But theorchestra, seeds of of Henderson’s orchestrating genius were e v e r y S u n d a y (possibly her regular accompanist at the time, Sidney seems rather a random selection. There are few discerning already germinating in the period covered by this CD and evening 42 years: some goodare soloaswork.

She has aforstrong blues or jazz musicians in history that didn’tforadmire or, Lanfield?) many ofcontributes the tracks here interesting their started when voice and a good and,work ironically, record however indirectly, were influenced byheher!

Smithouttogether arrangements as for delivery the hot solo providedthis by the stars was still a college in the Edison catalogue till the company’s final with Ma Rainey and maybe to a lesser he extent, Bessie’s non- remained playing them. student.

I only met demise in 1929, in spite of the red star! relative, Clara Smith and Rosa Henderson were THE pioneers at areleases record during the early 1920s, who through him theironce, record The Henderson orchestra was first and foremost a dance f a i r,delivery b u t hthat e w a s band, Nextplaying up, CliffatEdwards sings his trade-mark popularised a form of blues phrasing and I am this time at and the scats Club in Alabam, which is CD’s through Oh,ofLady Be Good!issues.

– a pleasant enough sure influenced ALL blues singers, botheverything male and this female of falsetto credited on some the Vocalion There has in theside past you like thatspeculation sort of thing.

Walter histhe co-star the that time and that we still hear today. liner notes suggest he ifbeen much about howCatlett, different bandinmight was: passionate, enthusiastic and tireless in his search for the stage sang away this number, butrecording never recorded A rare haveshow, sounded from the studio,it.with the unusual, the special, the must-hear and the unreissued 78s side by Mike Markel follows, Lulu Belle, which has a driving, It is finally worth noting that some truly excellent Bessie musicians not confined to the 3-minute format recording that featured on analysis air and made up the previous 11 arrangement features a good who I think,trombonist

by Don Redman Smith session is being undertaken byvolumes Wayne of B. pulsing demanded.

But in an and interview given, the Big Broadcast.

Rich died unexpectedly in December sounds very like Miff Mole, which he may well be, as the Shirley for The Ranson Hogan jazz Archive’s half-yearly somewhat later, he made the point that dance bands were 2016, and his friends and colleagues have completed this cornetist, who also plays an excellent and much longer solo, newsletter/magazine ‘The Jazz Archivist’. But waiting six expected to stick rigidly to the 3-minute formula, otherwise final CD at ofathe series, was at the planning at the isthe Redclub Nichols.

Nichols is also present’10oncents the next track, – hostesses – who charged a dance’ months time for awhich new chapter of any story isstage frustrating time of his death.

Each track is annotated by someone who Jersey Walk, one of the more sought-after items by Lee Morse. to say the least. In the meanwhile, I would recommend - with wouldn’t make enough of an evening. So what we hear on this worked withreservations him or knew himlatest well, ‘listeners so the liner notes are as her what backing to ofplay more CD rarely will beallowed very much the bands patrons the much Club Alabam the above - this companion’ to She copious and informative as you could wish!

Some of the than a few bars, but the Harry Reser-led group here gets a would have heard 94 years ago! Except, of course, they would the Bessie Smith library - according to John Clark. artists are well-known, but the record in question isn’t; others whole hot chorus – and a good one – on this, her last PAUL SWINTON have heard the band in glorious full frequency sound, whereas range from the little-known to the obscure. But all of them are recording we havefor to Pathé. make do with the best the acoustic recording worth a listen, even though they aren’t all by any means hot CD: FLETCHER HENDERSON & HIS ORCHESTRA - “DO studios could manage. In the case of Vocalion (from whose items.

Willard the Robison wasof one the morecome) individualistic THAT THING.” Vocalian and Pathé recordings 1924 - 25. 25 catalogue majority theseofrecordings the sound and musicians in the examples 1920s. Few recordings tracks. Frog DGF87 www.frog-records.co.uk (see advert in composers quality was amongst the better of of thehis period; Pathé,

Beasley Books

Jazz & Blues Books

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www.beasleybooks.com Beasley Books 1533 W Oakdale 2nd Floor Chicago, IL 60657 USA beasley@beasleybooks.com

Books on display at Chicago Rare Book Ctr, 703 Washington St. Evanston, IL 60202 773-472-4528 or 847-328-2132

33 !25

are particularly hot, and his 1928 version of I Just Roll Along Having My Ups and Downs is typical – except that it is extremely rare and extremely desirable because it contains Jack Teagarden’s first recorded solo. It’s only a few bars long and the recording quality is nothing like as good as that of his next solo outing, on Roger Wolfe Kahn’s She’s A Great, Great Girl – but it’s well worth waiting for, after Frank Bessinger’s pedestrian vocal. Skinnay Ennis sings a more spirited chorus on Hal Kemp’s Didn’t I Tell You?, another very rare item from 1928. It bounces along very nicely, with only one short but excellent solo, from guitarist Olly Humphries: for whatever reason – possibly because Ennis ‘dried’ and forgot the words – the solo is the middle eight of the vocal, and it must count as one of the earliest guitar solos on a dance band recording.

Out Of Nowhere is one of my favourite tunes; the rendering here, by Bob Haring, with vocal by Smith Ballew, is sadly somewhat run-of-the-mill, but is lifted by an interesting celeste solo on the verse. A celeste that belies the music that follows, introduces the next track, a great rarity recorded in London in April 1931, Harry Roy’s first recording under his own name: I’ve Got “It” (But It Don’t Do Me No Good). This is an excellent hot side, with really good piano by Ivor Moreton and fine clarinet work from the leader. This CD is worth it just for this splendid and rare record!

Most British collectors will have seen the name Arthur Tracy (“The Street Singer”) on his Decca Records recorded in London in the 1930s, but may not realise (as I did not) that he was a Philadelphian by birth. He made his first records, in New York, as the vocalist with Manolo Castro and his Havana Yacht Club Band in July, 1931. There’s No Other Girl is the first of these; the band, whose members apart from Tracy are all Latin-American, nonetheless turn in a warmish and certainly in no way Cuban performance. Tracy was apparently more popular in the UK than in the US and has the distinction, in the context of this CD, of having actually appeared in the Big Broadcast in 1932. I’d never heard the Blue Jays’ recording of Poor Kid, on Edison Bell Radio. The cream of London’s dance band instrumentalists – Max Goldberg, Ted Heath, Sid Phillips, Al Bowlly – are on this disc, but Bowlly’s vocal is the best of it. Tango Americano by Paul Whiteman’s Orchestra is equally star-studded but the music is as advertised in the title…and even though it breaks out into foxtrot rhythm briefly for a solo by Harry Goldfield, it’s not a patch on a genuine tango argentino!

Duke Yellman doesn’t get a mention in Jazz Records, but his version of Spencer Williams’ Fireworks should have put him there. It’s one of only five recordings of this hot number, and apart from Louis Armstrong’s well-known side with his later Hot 5, the others (by Bob Fuller, Carl Fenton and the Original Memphis 5) are all as rare as this Yellman side, which ranks as the one of the hotter and more desirable late Edisons (it’s also an electric recording). It romps along at a fair old pace and features some excellent trumpet work. By the time Jimmy Joy recorded I Got Worry for Brunswick in May 1928 (another rarely recorded number), his glory days as a red hot band (on OKeh) were long past, and he had adopted a much more orthodox dance band style. I Got Worry is the hottest of his later output, with a short but fiery trombone solo and a punchy arrangement. The next track is a complete contrast (except in its rarity) – a vocal version of Jelly-Roll Morton’s Sweetheart O’Mine, by Frank Sylvano. Sylvano’s voice doesn’t really match that on the version by Johnny The Casa Loma’s Rhythm Man is very different affair: one of Marvin, but the accompanying group includes a fine their best from the early Brunswick period, with terrific clarinetist who sounds remarkably like Jimmy Noone and clarinet from Clarence Hutchinrider and trademark trombone plays a beautiful legato low-register solo. and vocalising by Pee Wee Hunt. This is followed by one of the many fine sides recorded by Claude Hopkins for Willard Robison returns with a rather better known side, a Columbia Look Who’s Here. Hopkins takes a wonderful pair vocal recorded in February, 1929, which was also issued in stomping solos, with excellent call-and-response section the UK: We’ll Have A New Home In The Morning. His work by the band. Orlando Roberson’s counter-tenor vocal is, backing group consists mainly of members of Paul by contrast, entirely forgettable. A pair of pianists feature on Whiteman’s band of the period and the excellent muted the next track: Ramona and Roy Bargy, with Hi-Ho, Lackaday, trumpet solo here is probably by Harry Goldfield. My What Have We Got To Lose? Ramona is a much under-rated Sweeter Than Sweet is one of the hotter performances by the pianist and improvises impressively across Bargy’s rhythmic Ipana Troubadours, featuring some nice muted trumpet from backing. Her vocal is also rhythmically very good, and the Leo McConville (?), low-register clarinet by Pete Pumiglio, backing group includes - probably - Bunny Berigan and Fud and a typically rumbustious Tommy Dorsey solo followed by Livingston. Something else I didn’t know: according to the a very Bixian toned trumpet, almost certainly by McConville. liner note, ‘Bargy’ is pronounced with a hard ‘g’.

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.

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I’ve remarked before that some of the best covers of Ellington tunes were recorded by British groups, and Billy Cotton was at the forefront: Best Wishes is not listed in Jazz Records, even though it backs the better known Mood Indigo.

Unlike Cotton’s other Ellingtonia, this doesn’t feature any solo work, but the brass section is in fine form throughout. Perry Bechtel is another name that doesn’t show up in Jazz Records, though on the strength of his recording of My Gal Sal, it certainly should. It was made for Bluebird and features some excellent sax work in a spirited and well executed swing arrangement. Interestingly, Bechtel’s guitar – and those of two others listed in the personnel – are inaudible! Frances Maddux was popular enough by 1934 to have her own picture label on Liberty Music Shop. It’s All Forgotten Now is a ballad written by Ray Noble: Maddux was a favourite at de luxe garden parties in New York and the style of this record – apart from a short, rather good piano interlude – reflects that fact.

rhythm section doesn’t really hack it. Gene Austin recorded I Cried For You in Los Angeles in July 1936 with a small group, but it was rejected by Decca. Jazz records notes that it was remade a month later, backed by Victor Young’s Orchestra and is “of no jazz interest”…which is not quite true, as it includes a hot muted trumpet solo with good guitar rhythm. The final track is part of a Lucky Strike Hour broadcast, by George Olsen and his Music: You’re Telling Me. It’s mainly a showcase for Fran Frey’s vocal, though the band acquits itself well enough. Unfortunately, the recording quality is pretty dire towards the end.

I was never privileged to hear any of Rich Conaty’s radio programmes, but they must have been compulsive listening.

As you will see from this review, not all the music was jazz or hot dance, but all of it was worthwhile, not least because the rarity of many of the discs he played would mean it might be the only time you’d hear them! And as Rich would sign off each week: “don’t forget, rhythm saved the world.” Precisely Carleton Coon left a huge hole in American dance music so. This CD is a fitting tribute to the man. when he died, not least for his long-time partner Joe Sanders.

MAX EASTERMAN Sanders soldiered on solo during the early and mid-1930s and made a clutch of records for Decca in 1935. Most were of tunes of the period, but Here Comes My Ball And Chain harks back to the heyday of the Coon-Sanders Nighthawks in 1928. Perhaps that’s one reason it’s a rarity: although the arrangement tries hard to be swing, Sanders’ vocal is pretty much what it was seven years earlier: none the worse for that in hindsight, but a curious anachronism even so. Another slightly old-fashioned item, for its time, comes next: Roy Fox’s 1936 recording of You. The arrangement is good but the

!27

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Tel: (+44) 1773 550275 Email: mark@jazzhound.net Postage and packing in purpose-built new boxes extra. Winners only notified.

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Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic.

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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.

We’re pleased to offer some fantastic items from the collection of the well known connoisseur and record shop owner Morris Hunting. Over 70-plus years Morris amassed a great collection, notable not only for the quality of the records, but for the superb condition of most of the items. There’s lots more to follow!

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

001 SCRAPPER BLACKWELL & DOT RICE. Texas Stomp. 1/s Shellac Decca Master Test Pressing of mx C90090-A E+ 002 BIG BILL BROONZY. The Moppin’ Blues/ House Rent Stomp. Vogue V2076 E+ Paris 1951 sides 003 WALTER DAVIS. Road-Man Blues. 1/sided vinyl Victor Master Test Pressing of mx 67580-1 E+ Great side in fabulous sound!

004 Early This Morning/Your Time Is Comin’. (Staff) BB B8002 VV+ plays better. Fine sides!

005 (TEXAS) WILL DAY. Sunrise Blues/ Central Avenue Blues. Col 14318-D E++ Super fine copy (A1 stampers) of this New Orleans 1928 Blues rarity - you won’t find a better copy - guaranteed!

006 MERCY DEE. Dark Muddy Bottom/ Get To Gettin’ Specialty 481 E+ 007 BLIND BOY FULLER. Baby Quit Your Low Down Ways/ U’ve Got Something There. Col 37684 E+ 008 Little Woman U’re So Sweet/ Step It Up and Go. Col 37280 E+ 009 BOB GADDY. Operator/ I Love My Baby. Old Town 1031 EE- plays EE+, shallow nrs both sides nap 010 GRANT & WILSON. Keep Your Hands Off My Mojo/ Do Your Duty. Vox 03121 E/E+ Great Risqué sides!

011 WYNONIE HARRIS. Drinkin’ Wine Spo-Dee-O-Dee/ She Just Won’t Sell No More. King 4292 E 012 ROSA HENDERSON + F. HENDERSON’S JAZZ FIVE. Papa Will Be Gone/ I’m A Good Gal. Br 2589 E- Great sides with red hot backing!

013 EDNA HICKS & HENDERSON’S HOT 4. Just Thinkin’/ (w/ Porter Grainger organ). Tain’t A Doggone Thing But Blues. Ajax 17006 V+ good player 014 JOHN LEE HOOKER. Taxi Driver/ You Receive NMe. Modern 958 E+ Orig Sleeve. Great!!

015 LYNN HOPE QUINTET. Tenderly/ Song of the Wanderer. Chess 851 E 016 LIGHTNING HOPKINS. Mercy/ What Can It Be. Gold Star 616 E+ Great Texas Blues guitar sides!

017 ROSETTA HOWARD & HARLEM HAMFATS. You’ve Got To Go When Wagon Comes/ Harlem Jambouree. Dec 7447 E 018 ALBERTA HUNTER (Acc. poss. by Eubie Blake’s Orch). Downhearted Blues/ Gonna Have U - Ain’t Gonna Leave U. Pm 12005 V++ 019 FRANKIE HALF PINT JAXON. Turn Over/ You Can’t Tell. Dec 7806 E020 JAZZ GILLUM. Whiskey Head Buddies/ You Can’t Trust Them. BB 34-0741 E- plays better 021 Hand Reader Blues/ You Should Give Some Away. Vic 20-2964 E+ 022 The Devil Blues/ What A Gal. Vic 20-3118 E 023 JOSHUA JOHNSON (Fine K.C. pianist). Pile Driver Boogie/ Battin’ The Boogie. Cap 1180 E couple of nrs nap 024 LONNIE JOHNSON. (Guitar solo). 6/88 Glide. 1/s styrene Master Test Pressing of OK mx 81587-B N- Unissued on 78!

025 MARGARET JOHNSON & CLARENCE WILLIAMS BLUE 5 (Bechet!). E Flat Blues/ If I Let You Get Away With It. OK 8107 E- Fine playing copy of this 1923 Bechet classic! !28

026 MARGARET JOHNSON & BLACK & BLUE TRIO. My Man’s Done Me Dirty/ Folks in New York City… Vic 20178 E+ Great 1926 sides!

027 MAGGIE JONES & HENDERSON’S HOT 6. Cheatin’ On Me/ Mamma Won’t U Come & Mamma Me. Col 14074-D E few lt scrs nap Fine Acc! 028 MARIE KNIGHT & ERIE GLADNEY. I’ll Fly Away/ On The Battlefield. Dec 48253 E+ 029 LITTLE WILLIE LITTLEFIELD. Little Willie’s Boogie/ My Best Wishes. Eddie’s 102 E+ Uncommon Texas Blues!

030 ALEX MOORE. Blue Bloomer Blues/ Come Back Baby. (SB) Dec 7288 V++ Fine sides!

031 OSCAR’S CHICAGO SWINGERS. Try Some of That/ My Gal’s Been Foolin’ Me. (SB) Dec 7201 E032 PEETIE’S BOY (Robert Lee McCoy). Friar’s Point Blues/ Never Leave Me. Dec 7819 EE+ Fine copy of great Guitar Blues!

033 PILGRIM TRAVELERS. Angels Tell Mother/ I’ll Trust His Hand. Spec 812 E+ 034 Long Ago/ Please Watch Over Me. Spec 818 E+ 035 PROGRESSIVE FOUR. I Ain’t Ready to Die/ Old Time Religion. Savoy 4006E+ Orig Sleeve 036 MA RAINEY & HER GEORGIA BAND. Seeking Blues/ w. JIMME BLYTHE pno. Mountain Jack Blues. Pm 12352 E, slightly pimply surface typical of this period of Paramount but plays fine. Great sides and rare!

037 IKE ROGERS & HIS BIDDLE STREET BOYS. Malt Can Blues/ HENRY BROWN. Stomp ‘Em Down to The Bricks. (Lightning) Br 7086 V+ ef s1 to grooves but misses start of music. Marvellous music!

038 ROOSEVELT SCOTT (Jesse Colman pno). Dark Road Bl/ Down In The Gutter. Voc 05550 EE+ 039 BESSIE SMITH (Acc. LOUIS ARMSTRONG!). Reckless Bl/ Sobbin Hearted Bl. Col 14056-D E+ Classic sides in superb condition!

040 & HER BAND. Muddy Water (Rare take 2)/ After You’ve Gone. Col 14197-D EE+ Fine sides!

041 Nobody Knows You When You’re Down & Out/ Take It Right Back. Col 14451-D E Fine copy of essential Bessie item!

042 (Eddie Lang & Clarence Williams acc). I’m Wild About That Thing/ You’ve Got To Give Me Some. Col 14427-D E+ Lovely copy!

043 (James P. Johnson pno). You Don’t Understand/ Don’t Cry Baby. Col 14487-D E 044 CLARA SMITH. I’m Gonna Tear Your Playhouse Down/ You Don’t Know My Mind. Col 14013-D E+ Gorgeous!

045 ELIZABETH SMITH. Gwine To Have Bad Luck For 7 Years/ No Sooner. Vic 20297 E Great Thomas Morris group acc. s1!

046 VICTORIA SPIVEY & CLARENCE WILLIAMS BLUE 5. My Handy Man. 1/s styrene Master Test Pressing of OK mx 40114-B N- King Oliver tpt!

047 (Acc. Lonnie Johnson gtr). Idle Hour Blues/ Steady Grind. (Big Red) OK 8464 E- plays E 048 (w/ Lonnie Johnson acc.). Dope Head Blues/ Blood Thirsty Blues. (Big Red) OK 8531 E+ superb copy!

049 ROOSEVELT SYKES (The Honey Dripper). Love Lease Bl/ Let Me Hang Your Stocking in My Xmas Tree. Dec 7381 E 050 Night Time Is Right Time No. 2/ Mistake In Life. Dec 7438 E/E051 TAMPA RED. She Loves Just Right/ I Want To Swing. BB B8715 E+ 052 Anna Lou Blues/ Don’t You Lie To Me. BBB8654 E 053 EVA TAYLOR. You Don’t Understand/ What Makes Me Love You So. Vic V38575 E Rare and very fine sides!

054 JOHNNIE TEMPLE. The Sun Goes Down in Blood/ Up Today and Down Tomorrow. Dec 7632 E 055 OZIE WARE & HOT FIVE. Santa Claus Bring My Man Back To Me/ I Done Caught You Blues. Vic 21777 E Memorable 1928 sides with a Duke Ellington small group backing - uncommon too!

056 WASHBOARD SAM. I’m a Prowling Groundhog/ Don’t Tear My Clothes. Mel 6-10-55 E- needs a very large (0.004”) stylus to get best results 057 Soap and Water Bl/ You Can’t Make The Grade. Vic 20-2440 E+ 058 ETHEL WATERS & JOE SMITH’S JAZZ MASTERS. Jazzin Babies Blues/Kind Lovin Bl. BS 14117 V+ Great sides!

059 BUKKA WHITE. Aberdeen Mississippi Blues/ Sleepy Man Blues. OK 05743 E Delta Guitar blues!

060 Pinebluff Arkansas/ Shake Em Down. Col 30139 E+ Great Guitar blues!

061 JOSHUA WHITE. Little Brother Blues/ Black and Evil Blues. Per 0219 V+ Great 1932 sides!

062 JOE WILLIAMS. Vitamin A/ Somebody’s Been Worrying. BB 34-0739 E063 RALPH WILLIS. Salty Dog/ Old Home Blues. Prestige 919 E+ 064 OSCAR WOODS. Southern Girl Blues/ Evil Hearted Woman Bl. Dec 7904 E- Fine sides by Shreveport slide guitarist!

SECTION TWO: BRITISH & EUROPEAN JAZZ AND HOT DANCE - SOME RARE & UNUSUAL DISCS!

065 AMBROSE & HIS ORCHESTRA. Me and The Man In The Moon/ If I Had You. HMV B5605 E+ Fine hot s1!

066 I’ll Be Getting Along/ If I Had Talking Picture of U. White label Review Copy of Dec M109 E- Hot solos s1, Ahola, Polo!

067 Painting The Clouds with Sunshine/Tip Toe Thru Tulips. (Magenta) Dec M110 V+ hot s1!

068 LOUIS BACON & HIS ORCH. Panama/ Shine. Swing SW185 E+ Uncommon Paris 1939 sides!

069 CLAUDE BAMPTON & HIS BANDITS. Ring Dem Bells/ April Morning. (SB) Dec 1016 Rare issue of London 1935 sides - British band plays Ellington on US issue!

070 BROCKSI’S QUINTET (Freddy Brocksieper). Take The A Train/ Cynthia’s In Love. (Ger) Br 82337 E lt rubs nap.

071 PHILIP BUCHEL W/ SPIKE HUGHES 3 BLIND MICE. Happy Feet/ You Know What I’ll Do. Dec F1856 V+ Fine 1930 sides w/ Norman Payne!

072 UNA MAE CARLISLE & HER JAM BAND. I’m Crazy ‘Bout My Baby/ I Would Do Anything 4 U. (Swing) VoE S199 E+ 1st session, London 1938, Rare and Unissued in USA! 073 BENNY CARTER & HIS ORCH. My Buddy/ Lazy Afternoon. (Swing) VoE S118 E+ The Hague, 1937, uncommon!

074 BILL COLEMAN & HIS ORCH. (Django, Big Boy Goudie). I Ain’t Got Nobody/ Baby WYPCH. Swing SW14 EE+ 075 ALIX COMBELLE & HIS SWING BAND (Django, Philippe Brun etc). Nerves & Fever. 1/s vinyl Master Test Pressing of Swing mx OSW101-1 E+ Unissued on 78!

076 BILLY COTTON’S LONDON SAVANNAH BAND. Ida Sweet as Apple Cider / n.i. Picc 214 EE- few v. lt scrs nap. Orig Sleeve. Hot 1928 side!

077 BILLY COTTON & HIS BAND. Puttin’ On The Ritz/Crying For The Carolines. ReE MR51 E/EE- hot and rare!

078 Egyptian Ella/ I Lost My Gal From Memphis. CoE CB258 E Rare, Gonella tpt!

079 JIMMY DORSEY w/ SPIKE HUGHES 3 BLIND MICE. Tiger Rag/ St. Louis Bl. DE F1878 E-/E London 1930!

080 I’m Just Wild About Harry/ After U’ve Gone. DeE F1876 E+ Fine copy of London 1930 classics!

081 ANDRE EKYAN (SAX) & DJANGO REINHARDT. Tiger Rag/ Pennies From Heaven. Swing SW4 E+ Superb copy on rare ‘Outlined’ Swing label - only used on 1st pressings of the earliest sides!

082 FRED ELIZALDE & HIS MUSIC. You Can’t Have My Sugar For Tea/ Calling Me Home. BrE 157 E Fabulous Chelsea Quealey tpt + Davis, Rollini etc! S1 later became ‘Dancing The Devil Away’.

083 How Long Has This Been Going On/ Tea Time. BrE 169 E+ More great Quealey/Davis - fine copy!

084 Nobody’s Sweetheart/ Singapore Sorrows. PaE R1201 E+ Fabulous laminated pressing copy of one of the hottest British records of the 1920s - Rollini, Davis, Quealey, Davis and more! !29

085 ROY FOX & HIS BAND. Kicking The Gong Around/ Minnie the Moocher. DeE F2834 E+ Al Bowlly-Nat Gonella vcls!

086 Corrine Corrina/ Concentratin’. DeE F2839 EE+ Gonella-Bowlly vcls!

087 I Got Rhythm/ You’ve Got What Gets Me. DeE F3015 E+ More Bowlly-Gonella vcls!

088 Jungle Drums/ Drowsy Blues. DE F5124 E+ Two fine 1934 sides!

089 THE GILT-EDGED FOUR. The Piccadilly Strut/ Wondering. CoE 3840 V++ Rare!

090 Cornfed/ Gonna Get A Girl. CoE 4611 E- nr s2 lt tx 091 STEPHANE GRAPPELLY & HIS HOT FOUR (Django). It Don’t Mean A Thing/ Moon Glow. (Ger) Br A9909 E 092 Some Of These Days/ Chasing Shadows. DeE F6002 E+ 093 I Got Rhythm/ Limehouse Blues. DeE F5780 E+ 094 Withdrawn 095 It Was So Beautiful/ I’ve Found A New Baby. DeE F5943 E+ 096 EDDIE GROSS-BART. My Blackbirds Are Bluebirds Now/ Glad Rag Doll. PaE R320 E- Excellent acc. s1 - Ronnie Munro musicians.

097 HENRY HALL & HIS GLENEAGLES HOTEL BAND. I Lost My Gal From Memphis/ Goodnight Sweetheart. DeE F2330 E+ Surprisingly hot s1, recorded in Manchester, 1931!

098 IKE ‘YOW SUH’ HATCH & HIS HARLEM STOMPERS. Tormented/ Massa-Choo-Setts. ReZ MR2126 V++ lt nr s1 nap 099 STANLEY C. HOLT (Piano solos). Piano Puzzle / Loose Fingers. Hom H425 Fine 1923 piano solos!

100 SPIKE HUGHES & HIS D.O. Is There A Place Up For Me?/ Witness. DeE F2649 E 101 HARRY HUDSON MELODY MEN (as Radio Melody Boys). Shout For Happiness/ Bathing in Sunshine. EBW 5263 E Rare and hot!

102 LESLIE HUTCHINSON. High Hat/ He Loves and She Loves. PaE R261 EE- Terrific stomping Harlem piano s1, not to mention great drums - if only his records were all like this!

103 JACK HYLTON’S JAZZ BAND. Tsing/ So Now You Know. Zon 2223 E- rare 1921 sides featuring black American clarinettist Edmund Thornton Jenkins!

104 ORCH. Alabama Stomp/ Mamma’s Gone young, Papa’s Gone Old. HMV B5170 V++ 105 Here Comes Emily Brown/Cheer Up and Smile. HMV B5850 E+ 2 hot sides 106 w/ COLEMAN HAWKINS. My Melancholy Baby/ Darktown Strutters Ball. HMV BD5550 E+ 107 HYLTONIANS. Brown Sugar/ It Doesn’t Matter Who She Is. HMV B5208 E- Uncommon!

108 KIT-CAT BAND. Piccadilly Strut/ Dan’t Wake Me Up. HMV B5020 E- Rare and fine!

109 ARTHUR LALLY & MILLION-AIRS. Just A Crazy Song/ Queen Ws in Parlour. DeE F2504 V+ Hot s1 - Jack Jackson tpt!

110 LILY LAPIDUS. Big City Blues/ RITA BERNARD. That’s What I Call Sweet Music. Ariel 4420 EE+ Excellent tpt side 1, rare issue!

111 WILLIE LEWIS NEGRO BAND. Ol Man River/ Christopher Columbus. (Swiss) Elite special 4079 V+ edge crumple bump, tight and inaudible.

Zurich, 1941!

112 WILLIE LEWIS & HIS ORCHESTRA. Swing Time/ Ol Man River. CoE FB1980 E+ Paris 1937 - Arthur Briggs, Big Boy Goudie etc!

113 NINA MAE McKINNEY (Acc. GARLAND WILSON). Minnie The Moocher’s Wedding Day/ Rhapsody In Love. BrE 1468 E- Rare Paris 1932 sides by renowned black film star!

114 GEORGE MONKHOUSE & HIS QUINQUAGINTA RAMBLERS. Stamp Your Feet/ Birmingham Bertha. PaE R560 E- scfs and lt scrs. Super rare 1929 Cambridge University college Band sides!

115 RONNIE MUNRO & HIS DANCE ORCH. Sweet Child/ Honeybunch. PaE R5632 EE- solos both sides!

116 as ROOF GARDEN O. It Don’t Do Nothing But Rain/ Don’t Do That to Poor Puss Cat. PaE R160 EE- Hot s1 - Frank Wilson tpt, Lally bar sax, vn solos!

117 THE NEW LYRES. Bull It in C/ Doctor Rhythm. PaE F1219 E+ Rare 1938 sides!

118 NEW MAYFAIR DANCE ORCH. What A Wonderful Wedding That Will Be/ Casabianca. HMV B5601 E Fine s1, Goldberg etc!

119 THE NICHOLAS BROTHERS. Your Heart and Mine/ Keep A Twinkle In Your Eye. HMV BD373 E few lt scfs nap. London 1936, fine acc!

120 WALKER O’NEILL. Scale It Down/ Dustin’ The Keys. HMV B1806 E- American pianist in London, 1924!

121 ORIGINAL CAPITOL ORCH. Chicago/ Russian Rose. Zon 2342 E- Mississippi riverboat band in London, 1923!

122 JACK PAYNE BBC DANCE ORCH. A Dicky Bird Told Me So/ I Faw Down and Go Boom. CoE 5360 E Fine hot arrangement s1 123 Choo Choo/ On Balcony In Spain. CoE CB228 E+ This is the superior ‘Blumlein Cutter’ version - terrific performance and sound!

124 ORCH. Hot Coffee/ Back Again. Imp 2677 E 125 PICCADILLY PLAYERS. Amoniated Tincture of Quinine/ The Pink Plant Pot. CoE 4961 E+ Fine and uncommon sides - despite the titles! Ahola etc!

126 Rhythm King/ Oh! What A Night To Love. CoE 5266 E+ Excellent solos - Ahola, Al Starita, Perley Breed etc!

127 PICCADILLY REVELS BAND. Buffalo Rhythm/ Go Joe Go. CoE 4610 E+ Knock-out 1927 sides - and rare!

128 QUINTETTE OF HOT CLUB OF FRANCE (Django). Black and White/ Sweet Georgia Brown. DeE F6675 EE+ London 1938 129 Flat Foot Floogie/ Lambeth Walk. DeE F6776 E+ London 1939 130 Time On My Hands/ I Wonder Where My Baby Is Tonight. DeE F7100 E+ 131 Paramount Stomp/ Swinging With Django. (Can) Vic 27272 E 132 w/ ALIX COMBELLE (Sax). Nuages/ Les Yeux Noirs. Swing SW88 E 133 DJANGO REINHARDT & QHCF. Clouds/ Believe It Beloved. (Ger) Telefunken A1960EE- few fine lt scfs and scrs 134 (Guitar solos). Sweet Georgia Brown/ You Rascal You. Swing SW35 E+ Uncommon!

135 THE RHYTHMIC EIGHT. Come On Baby/ I’m Just In The Mood Tonight. Zon 5436 EE+ 2 fine hot sides - Ahola, Lally etc.

136 Kansas City Kitty/ Louise. Zon 5437 E- Great side!

137 SYD ROY’S LYRICALS. My Pet/ Love Lies. Imp 1921 E Excellent solos s1!

138 INGELISE RUNE’S SWINGKVINTET. I Wish I Were Twins/ Jersey Bounce. (Swed) Tono SP4238 E large autograph of Ingelise Rune pasted onto s1! Fine swinging Stockholm 1943 sides by female pianist/singer.

139 JEAN SABLON (Acc. Django Reinhardt & Stephane Grappelly). Cette Chanson Est Pour Vous/ Rendez-vouz Sur La Pluie. (Fr) Col DF1847 E- few scfs. Rare Paris 1935 sides!

140 (Acc. Garland Wilson pno). Si Tu M’Aimes/ Un Seul Couvert Please James. (Fr) Col DF1903 E+ Fine 1936 sides 141 NOBLE SISSLE & HIS SIZZLING SYNCOPATORS. Love Lies/ Again. PaE R126 E- 1” scr s1, lt tix. Good acc.; s1 - Arthur Lally baritone sax!

142 EDDIE SOUTH & STEPHANE GRAPPELLY (Django). Daphne/ Dinah. Swing SW12 E- wide but shallow scr s1 lt ix intermittently in 1st 1/3.

143 REX STEWART & FOOTWARMERS (Django). Finesse/ I Know That You Know. (Fr) Pathe PG538 E+ Great Paris 1939 sides by visiting Ellingtonians!

144 Low Cotton/ LEO CHAULIAC ORCH. Hot Club Parade. Swing SW 203 E+ Paris 1939 with Django Reinhardt !30

145 LEW STONE MONSEIGNEUR BAND. Blue Prelude/ Snowball. Dec 3675 E+ Gonella etc!

146 THE SYLVIANS. Mississippi Mud/ I’m Wondering Who. HMV B5408 E Fine and surprisingly uncommon 1928 sides by Savoy musicians.

147 VALAIDA. Whisper Sweet/ Singin’ In the Rain. PaE F164 E148 WASHBOARD SERENADERS. Nagasaki/ Black Eyes. PaE F358 E- Great London 1935 sides with terrific Derek Neville baritone sax!

149 TEDDY WEATHERFORD (Piano solos). My Blue Heaven/ Ain’t Misbehavin’. Swing SW39 E+ Great Paris 1937 sides by legendary pianist.

150 ELIZABETH WELCH (Acc. Benny Carter, Gene Rogers etc). The Man I Love. 1-sided Decca Master Test Pressing of mx S126-2 E+ Fine and rare London 1936 sides by celebrated black Diva!

151 JAY WHIDDDEN & HIS BAND. Louisiana/ Happy Days and Lonely Nights. Imp 2024 E- Fine Norman Payne tpt solo s1!

152 GARLAND WILSON (Piano solos). Just A Mood/Just One of Those Things. BrE 03115 EE+ London 1936 153 Your Heart and Mine/Shim Sham Drag. BrE 02283 E+ London 1936 154 MARIUS B. WINTER D.O. My Future Just Passed/ King’s Horses. Bdcst 12 2594 E+ Excellent solos s1!

SECTION THREE - IT’S A BEAR! BRITISH, EUROPEAN AND AMERICAN RAGTIME - ANOTHER TIPTOP SELECTION.

155 AMERICAN RAGTIME OCTETTE. Million Dollar Doll/ You Made Me Love You. EBW 2470 EE+ 156 JOE BATTEN (as Joe Bolton). Piano Man Rag/ GEORGE FISHBERG. Kitten on the Keys. EBW 3771 EE+ sm scr s1 lt tix Fine Ragtime piano solo played by composer!

157 CASINO ORCHESTRA. Grizzly Bear Rag/ Bogey Walk. CoE 1885 E 158 COLUMBIA ORCHESTRA. Darkey Tickle (-6)/ Invincible Eagle March. Col A160 E Great Cakewalk with ‘interjections’! c. 1902-03.

159 Lassus Trombone/ Miss Trombone. Col A2825 E Guess what’s featured??

160 COMER & BLANCHE (Pno/Bjo w. orch acc). Hors D’Oeuvres/ Beets and Turnips. ReE G6936 E London 1915, composer’s version of s1!

161 ISIDORE MAURICE (“of Ciro’s Club”) (Piano solos). Silence and Fun/ Coaxing The Piano. Aco G15171 EE- extra spindle hole. London 1923 162 SAM MOORE & HORACE DAVIS (Octachorda & Harp Guitar duet). Laughing Rag/ n.i. HMV B1406 E great 1921 folk rag sides!

163 NEW YORK MILITARY BAND. Sliding Sid/ Boy and Birds. Ed 50547 E164 VESS L. OSSMAN (Banjo solo). Buffalo Rag. 1/s GP Vic 4628 V+ NYC, Jan 1906 165 MURRAY PILCER & HIS JAZZ BAND. The Wild Wild Women/ K-K-K-Katy. EBW 3288 E Nice clean copy of first British ‘Jazz’ record!

166 PRINCE’S BAND. High Society. Standard A1038 E- usual oversize spindle. First version of New Orleans classic, 1911 - complete with piccolo obbligato!

167 I’m Alabama Bound/ Porcupine Rag. Col A901 E- 2 great 1909 sides - yes, the same I’m Alabama Bound that Jelly recorded!

168 ARTHUR PRYOR’S BAND. A Southern Belle. 1-sided GP Vic 2825 V+ 169 Sweetmeats Two-Step (Ragtime March). Vic 5733 1-sided Vic 5733 E170 ST. HILDA COLLIERY BAND. The Slippery Slide/ Coster’s Courtship. Zon 2212 E Ragtime was played everywhere!

171 SAVOY QUARTET. The Jazz Band/ Everything Is Peaches Down in Georgia. HMV B1088 E172 Oh! Helen/ When You See Another Sweetie Hanging Around. HMV B1069 EE173 THE THREE RASCALS. When The Midnight Choo Choo Leaves For Alabam/ On The Mississippi. Jumbo 1078 E- Great piano!

174 Get Out and Get Under/ You Didn’t Want To Do It But U Did. Colis F570 V+ 175 THE TWO RASCALS. My Mammy/ If You Show A Little Love. Zon 2211 E- Despite the title Chas O’Donnell lets rip at the piano s1!

176 THE VERSATILE THREE. Whispering/ The Love Nest. EBW 3504 E

SECTION FOUR: AMERICAN JAZZ AND HOT DANCE BANDS - SOME VERY FINE AND RARE ITEMS HERE! 177 OSCAR ALEMAN & QUINTETO DE SWING. I’m Beginning to See The Light/O Vestido de Bolero. (Arg) Od 22312 E178 HENRY ALLEN & HIS ORCH. Every Minute of the Hour/The Touch of Your Lips. Voc 3215 E 179 Meet Me In the Moonlight/ Don’t U Care What Anyone Says. Voc 3574 E 180 THE ALL STAR ORCH. My Melancholy Baby/ I Just Roll Along. Vic 21212 E+ 2 fine sides, Mole etc.

181 THE AMBASSADORS. Oh Baby/ Mandalay. Voc 14808 E excellent s1!

182 ALBERT AMMONS RHYTHM KINGS. Boogie Woogie Stomp/ CLEO BROWN. Pinetop’s Boogie Woogie. Dec 3386 E sm scr s1 nap 183 ARCADIAN SERENADERS. San Sue Strut/ Bobbed Hair Bobbie. OK 40378 E- Fabulous St. Louis 1924 sides!

184 Angry/ You Gotta Know How. OK 40517 EA few of George Avakian’s Columbia Master Test Pressings, used to audition for possible reissue - superb, unbeatable sound!

185 LOUIS ARMSTRONG & HIS HOT SEVEN. Gully Low Blues. George Avakian 1-sided Oversize Shellac Columbia Master Pressing of OK mx 80877-D E+ 186 HOT FIVE. Don’t Jive Me. 1-sided Oversize Avakian Vinyl Columbia Master Pressing of OK mx 400966-C E+ No OKeh issue!

187 SAVOY BALLROOM 5. Save It Pretty Mama. 1-sided Avakian Shellac Columbia Master Pressing of OK mx 402170-C E+ 188 BILLY BANKS & HIS ORCH. Mighty Sweet. 1-sided vinyl Victor Master Test Pressing of mx 72561-2 E+ Fine side, excellent unidentified band acc!

189 BEALE STREET WASHBOARD BAND (Johnny Dodds etc). Piggly Wiggly (-B)/ Forty & Tight. (Can) Br 80076 1st issue of take b of Piggly Wiggly, master pressing!

190 BIX BEIDERBECKE & HIS GANG. At The Jazz Band Ball/ Jazz Me Blues. (Large Black) OK 40923 E+ 191 Louisiana/ Rhythm King. OK 41173 E+ 192 BEN BERNIE ORCH. Doodle Doo Doo/ June Night. Voc 14878 E- Fine side 1, Pettis etc.

193 Up and At ‘Em/ Somebody’s Lonely. Cliftophone BrE 3145 E Great side!

194 PAUL BIESE & HIS ORCH. Never Again/ JEAN GOLDKETTE O. My Sweetheart. Vic 19313 E Hot s1, one of his best 195 THE BIG ACES. Cherry (-C)/ LITTLE CHOCOLATE DANDIES. Four or Five Times. PaE R385 EE+ Very rare take A of Cherry - only issue!

196 THE BLUE KITTENS (Reser). In Your Green Hat/ I Never Knew. Pur 11433 E- Astonishingly hot!

197 BLYTHE’S BLUE BOYS (State Street /Ramblers). My Baby/ Oriental Man. Ch 40023 E- Masters 198 BROADWAY BELLHOPS. There Ain’t No Land Like Dixieland/ There’s A Cradle in Caroline. Har 504-H EE- 1” scr s1, tix. Bix, Tram etc!

199 JOE BUSHKIN’S BLUE BOYS (Hot Lips Page tpt/voc). Caldonia’s Gone. 1-sided vinyl Master Test Pressing of Commodore mx 4653-2 E+ Unissued! !31

200 CALIFORNIA RAMBLERS. The Pay-Off/ JAN GARBER & HIS ORCH. Tin Ear. Col 1642-D E- Two excellent sides!

201 How Do I Rate With U/U Took My Breath Away. (Buff) BB B6173 E- Dolly Dawn vocal s2 202 BLANCHE CALLOWAY & HER JOY BOYS. It Looks Like Susie/ Without That Gal! Vic 22733 E+ Great sides!

203 JOE CANDULLO EVERGLADES ORCH. Nervous Charlie Stomp/ Black Bottom. Re 8109 E- 2 sm digs s1, tix 204 I Wonder What’s Become of Joe/ Black Bottom. Imp 1685 E205 HOAGY CARMICHAEL & HIS ORCH. Mighty River. 1-sided vinyl Victor Master Test Pressing of mx 73351-1 E+ 206 One Morning In May/ DON BESTOR & HIS ORCH. Armful of Trouble. Vic 24505 E 207 WINGY CARPENTER & HIS WINGIES. Preachin’ Trumpet Blues/ BOB POPE & HIS BAND. That’s All I Ask of You. Dec 8519 E Interesting to see Bob Pope’s Band in Decca’s ‘Sepia Series’!

208 CASA LOMA ORCH. Happy Days Are Here Again/ JACK ALBIN O. A Bench in the Park. PaE E4605 E+ Uncommon issue!

209 CELESTIN’S TUXEDO JAZZ ORCH. Station Calls/ My Josephine. Col 636-D E/E+ N.O. Jazz Classics!

210 Papa’s Got The Jim Jams/ Dear Almanzoer. Col 14220-D V+ plays much better. Edmond ‘Doc’ Souchon’s own copy of this N.O. rarity personal stickers on labels!

211 CHICAGO HOTTENTOTS (R.M. Jones, Bigard etc) All Night Shags/ Put Me In The Alley Blues. Voc 1008 E sol s2. Rare!

212 CHOCOLATE DANDIES. Six or Seven Times/ That’s How I Feel Today. OK 8728E+ Stunning copy!

213 Dee Blues/Bugle Call /Rag. (Ger) Od O-28344 E+ Original Sleeve, Beautiful pressing!

214 LILLIE DELK CHRISTIAN & LOUIS ARMSTRONG’S HOT 4. Too Busy!/ Was It A Dream? (Big Red) OK 8596 E+ Fab sides, superb copy!

215 SUNNY CLAPP & HIS BAND O’ SUNSHINE. A Bundle of Southern Sunshine/ I Found Girl of My Dreams. OK 41283 E Rare Territory sides 216 DOC COOK & HIS DREAMLAND ORCH. Here Comes The Hot Tamale Man/ Spanish Mama. Col 727 E+ A stampers of this iconic record!

217 COON-SANDERS ORIG NIGHTHAWK ORCH. Some Of These Days/ JEAN GOLDKETTE ORCH. It’s The Blues. Vic 19600 E/EE- few scrs s2, lt tix 218 Blazin’/ THE VIRGINIANS. Low Down. Vic 21680 E+ Two fine sides 219 BOB CROSBY & HIS ORCH. I’m Prayin’ Humble. 1-sided vinyl Master Test Pressing of Decca mx 91534-A E+ Fine side, great sound 220 JOHNNY DE DROIT & HIS N.O. JAZZ ORCH. Number Two Blues/ Nobody Knows Blues. OK 40150 E- N.O., 1924!

221 CARROLL DICKERSON & HIS ORCH. Black Maria/ Missouri Squabble. BrE 3853 E Fine Chicago 1928 sides - Willie Hightower tpt!

222 JOHNNY DODDS. Clarinet Wobble/ San. Br 3574 E+ Gorgeous copy!

223 JOHNNY DODDS BLACK BOTTOM STOMPERS. After You’ve Gone (-41)/ Come On and Stomp Stomp Stomp. Br 3568 E+ Gorgeous copy and Rare non-vocal take of side 1!

224 CHICAGO BOYS. Stack O’ Lee Blues. 1-sided vinyl Master Test Pressing of Decca mx 63193-A E+ 225 HOT SIX. Too Tight (-4)/ Goober Dance. HMV B10419 E+ This take of S1 Unissued in USA! Now, a selection of beautifully-pressed, shellac-rich Swiss HMVs of Johnny Dodds - all have the engineer’s handwritten information under the label.

226 JOHNNY DODDS HOT SIX. Heah Me Talkin’/ My Little Isabel. (Sw) HMV JK2137 E+ 227 Too Tight/ Goober Dance. (Sw) HMV JK 2138 E+ 228 TRIO. Indigo Stomp/ Blue Piano Stomp. (Sw) HMV JK2179 E+ 229 WASHBOARD BAND. Bull Fiddle Blues/ Weary City. (Sw) HMV JK2154 EE+ 230 ELGAR’S CREOLE ORCHESTRA. Brotherly Love/ The Nightmare. Br 3404 E+ 1926 Chicago Big Band classics!

Next a fine selection of Duke Ellingtons, starting with a major rarity…

231 DUKE ELLINGTON & HIS ORCH. Black Beauty (mx 27093)/ Jubilee Stomp. Br 4044 E+ This issue is mislabelled as ‘The Hotsy Totsy Gang’ playing Don’t Mess With Me, but actually plays the only issued version of mx 27093 of Black Beauty.

232 I’m So In Love With You/ NOBLE SISSLE & HIS ORCH (Bechet, Ladnier etc). Loveless Love. Per 15649 E+ Rare issue!

233 (as JUNGLE BAND). Paducah/ Harlem Flat Blues. Br 4309 E+ lbl trs s2. Stanley Dance’s own copy, sticker s1.

234 Tishomingo Blues/ Yellow Dog Blues. (Fr) Br 500245 E+ Lovely pressing 235 Cotton Club Stomp/ Arabian Lover. Vic V38079 E+ 236 Ring Dem Bells/ Three Little Words. Vic 22528 E+ 237 Bugle Call Rag. 1-sided vinyl Victor Master Test Pressing of mx 71839-1 E+ 238 Rockin’ In Rhythm. 1-sided vinyl Victor Master Test Pressing of mx 67401-1 E+ 239 Rude Interlude. 1-sided vinyl Victor Master Test Pressing of mx 77025-1 E+ 240 Cocktails For Two. 1-sided vinyl Victor Master Test Pressing of mx 79156-1 E+ Unissued on 78!

241 BOB FINLEY & HIS ORCH. Doin’ The Campus Crawl/ SAM LANIN O. You Were Meant 4 Me. Cam 9101 E- Fine side 1!

242 FIVE SPIRITS OF RHYTHM. Rhythm/ I Got Rhythm. PaE R2662 E+ Great sides, Unissued in USA! 243 TROY FLOYD & HIS SHADOWLAND ORCH. Dreamland Blues Pts 1 & 2. OK 8719 E+ Superb copy of 1928 Territory Band classic - Herschel Evans, Don Albert etc!

244 FOUR INSTRUMENTAL STARS (Annette Hanshaw + Rollini, Venuti, Lang…). I Like What You Like/ I’m Somebody’s Somebody Now. PActE 11485 Rare and mega-hot 1927 sides!

245 BUD FREEMAN & HIS GANG. What’s The Use?/ ‘Life’ Spears A Jitterbug. Com 507 E+ 246 Tappin’ The Commodore Till/ Memories of You. Com 508 E+ 247 CHARLES FULCHER & HIS ORCH. Atlanta Gal/ I Faw Down & Go Boom. Col 1734-D E+ Great Atlanta Jazz sides!

248 JAN GARBER & HIS ORCH. Fascinatin’ Vamp/ HARRY RESER O. Humoreskimo. (Aus) Re G20243 E- Fine side1, only issue!!

249 Outside/ Love Tale of Alsace Lorraine. CoE 5454 E+ hot s1 250 Way Down Yonder in New Orleans/ That’s Why I’m Happy. Col 1823-D E+ hot!

251 GEORGIA STRUTTERS. Ev’rybody Mess Aroun’/ Georgia Grind. Har 231-H EE- Jimmy Wade’s Band!

252 ROSS GORMAN & HIS VIRGINIANS. It Looks Like Helen Brown/ Oh Baby Don’t We Get Along. Har 372-H E+2 fine sides 253 ADELAIDE HALL & LEW LESLIE’S BLACKBIRDS ORCH. Bay/ I Must Have That Man. Br 4031 EE- sm rc s1 0gvs 254 HARLEM HAMFATS. I’m Cuttin’ Out/ Down in Shady Lane. (SB) Dec 7351 E+ 255 Mellow Little Devil/ The Barefoot Boy. Dec 7484 E v tight 1/2 hc s1 nap Now a fine selection of Fletcher Hendersons…

256 HENDERSON’S HOT SIX. Gulf Coast Blues/ Midnight Blues. Col A3951 E+ 257 FLETCHER HENDERSON & HIS ORCH. Sud Bustin’ Blues/ War Horse Mamma. Br 2592 E+ 258 Naughty Man/ The Meanest Kind of Blues. Col 249-D E+ Louis solos both sides on this beautiful copy!

259 (Southern Serenaders) I Miss My Swiss / JOE FRIEDMAN O. Collegiate. ReE G8471 EE+ Great Louis solo s1! !32

260 Money Blues (-1) / I’llTake Her Back. Col 383-D E+/E Great Louis solo s1, A2 stamper!

261 Then I’ll Be Happy (-1)/ EDDIE PEABODY ORCH. Along Came Luv. Ban 1654 EE- Great Joe Smith/Hawk 262 When Spring Comes Peeping Through/ TENNESSEE TEN. What Happened To Rosie. (Red) Gnt 3285 E tiny rc, nap Rare!

263 The Henderson Stomp/ The Chant. Col 817-D E West Coast Pressing of 2 classic 1926 sides!

264 Hop Off/ BDWAY BROADCASTERS (Lanin). I Must /Have That Man. Br 4119 E+ Superb copy!

265 THE JAZZ PILOTS (Reser). Oh You Have No Idea/ SAM LANIN O. Too Busy! PaE R217 EE+ 2 fine hot sides!

266 JOHNNIE’S JAZZ BOYS (Clarence Williams 1st session, 1921!) Roumania/ BROWN & TERRY’S JAZZOLA BOYS. Jump Steady Bl. OK 8021 E-/V+ 267 PETE JOHNSON (Piano solos). Kaycee On My Mind/ Blues on the Down Beat. Dec 3384 E268 JIMMY JOHNSTON’S REBELS (Reser group). Poor Papa/ Horses. EBW 4449 E v. tight hc s2 nap. 2 hot 1926 sides!

269 ISHAM JONES’ ORCH. Wop Blues/ The One I Love.. Br 2555 E 270 JONES & COLLINS ASTORIA HOT 8. Astoria Strut/ Duet Stomp. (Staff) BB B8168 E+ Master of Important N.O. 1929 sides!

271 KEYSTONE SERENADERS. Where Can I Find You/ Everything Is Hotsy Totsy Now. Voc 15122 V++ 2 fine sides by Detroit Band.

272 BENNIE KRUEGER’S ORCH. Pleasure Mad/ Charley My Boy. Br 2667 E++ Fine hot s1 273 LADD’S BLACK ACES. Lot’s O’ Mamma/ Nine O’ Clock Sal. Gnt 5366 EE+ 274 HAROLD LAMBERT (Excellent Jazz Band Acc!) My Kinda Love/ St. Louis Blues. Voc 15804 sol should soak off. Rare!

275 LEW LESLIE’S BLACKBIRDS ORCH. Bandanna Babies/ Magnolia’s Wedding Day. Br 4030 E+ Great 1928 sides!

276 MEADE LUX LEWIS (Piano solo). Yancey Special. 1-sided vinyl Decca Master Test Pressing of mx 90561-A E+ 277 Celeste Blues/ Yancey Special. Dec 819 E+ 278 TED LEWIS’ JAZZ BAND. Where Is My Daddy Now Bl/ Queen of Sheba. Col A3421 E- San Francisco 1921.

279 & HIS BAND. Frankie & Johnny/ Wah! Wah! Col 1017-D E+ 280 A Good Man Is Hard To Find/ I Ain’t Got Nobody. Col 1428-D E- 2 fine Don Murray features.

281 Egyptian Ella/ I’m Crazy ‘Bout My Baby. Col 2428-D E Magical and uncommon 1931 sides - Fats, Muggsy, Goodman etc!

282 An Ev’ning in Caroline/ Old Playmate. Col 2560-D E+/E Goodman!

283 DONALD LINDLEY & HIS BOYS. Slidin’ Around/ Nothin’ Doin’. Col 1443-D E+ Chicago 1928, uncommon!

284 THE LITTLE RAMBLERS. Life Begins at Sweet 16/ I’m the Fellow Who Luvs You. (Buff) BB B6192 E 285 BERT LOWN & HIS ORCH. When I Take My Sugar To Tea/ Running Between Raindrops. Vic 22654 E- LMS shop stickers 286 JIMMIE LUNCEFORD & HIS CHICKASAW SYNCOPATORS. In Dat Mornin’/ Sweet Rhythm. BB B5330 E+ Memorable preachin’!

287 WINGY MANNONE & HIS ORCH (Jelly Roll Morton piano). Never Had No Lovin’/ I’m Alone Without You. Sp Ed 5011-S E+ 1st issue, 1934 288 FRANK MARVIN (as George White). Dust Pan Blues/ CAPT. APPLEBLOSSOM. The Book of Etiquette. PaE R1081 E+ Rare 1929 s1 featuring fine (and attypical) Earl Oliver trumpet + guitar!

289 MEMPHIS STOMPERS. Hold It Still/ Kansas City Blues. Vic 21270 E+ Great 1928 Memphis sides!

290 MENDELLO’S FIVE GEE GEES. High Hattin’ Hattie/ YANKEE TEN D.O. It Goes Like This. Or 1363 EE- lt scrs s2. Fine hot s1!

291 MILLS BLUE RHYTHM BAND. Weary Traveller/ Brown Sugar Mine. PaE R2366 E+ Rare - only issue of s1!

292 MIFF MOLE & HIS LITTLE MOLERS. Orig Dixieland One Step/ My Gal Sal. (Lge Black) OK 40932 E+ gorgeous copy!

293 Birmingham Bertha/ Moanin’ Low. (US) Od ONY41273 E+ Superb copy of rare West Coast issue!

294 Shim-Me-Sha-Wabble/ FRANKIE TRUMBAUER & HIS ORCH. Cryin’ All Day. (Fr) Od 279713 E+ Tesch s1!

295 Windy City Stomp/ LOUISIANA RHYTHM KINGS. Ballin’ The Jack. HRS 15 E. 1st issue s1 - Tesch!

296 MORELLI’S BOHEMIANS. Joe College/ U Laughed When I Told You PaE E6279 E/E- bad ngouge s2 plays through. Fine hot s1 - only record!

297 THOMAS MORRIS & 7 HOT BABIES. The Mess. 1-sided vinyl Victor Master Test Pressing of mx 36962-2 E+ This take Unissued on 78!

298 ORCH. Who’s Dis Heah Stranger/ NEW ORLEANS BLUE FIVE. King of the Zulus - Chitlin Rag. Vic 20316 E+ Fine copy of classics!

299 BENNY MORTON & HIS ORCHESTRA. Tailor Made/ Gold Diggers Song. (Blue wax) Col 2924-D E+ Fabulous sides - only issue s1!

300 CURTIS MOSBY & HIS DIXIELAND BLUE BLOWERS. Weary Stomp/ In My Dreams. (West Coast) Col 1191-D E+ Great 1927 sides!

301 GOOF MOYER. Idol Of My Eyes/ BOYD SENTER. Beef Stew. Per 14709 E- Fine 1926 side by Mutli-instrumentalist 302 THE MUSICAL MANIACS. Am I Blue/ Down By The Old Mill Stream. Voc 3691 E Fine 1937 Irving Fazola sides.

303 OZZIE NELSON & HIS ORCH. Swamp Fire/ Rigmarole. Mel 7-07-08 E good arrangements 304 NEW ORLEANS BOOTBLACKS. Mixed Salad/ I Can’t Say. Col 14465-D E+ Classic Dodds!

305 NEW ORLEANS OWLS. That’s A Plenty/ The New Twister. Col 1547-D EE- sm ef and tight 1” lam, nap 306 RED NICHOLS WORLD FAMOUS PENNIES. Jungle Fever/ Rockin’ In Rhythm. (Buff) BB B5547EE+ 307 KING OLIVER’S CREOLE JAZZ BAND. Alligator Hop/ Krooked Blues. Gnt 5275 V+, rough start particularly on side 1 not too obtrusive, soon settles down to V+ , other side very slight rough start. Rarest of the Gennetts and I’ve had much worse copies!!

308 & HIS ORCH. Stealing Love/ DIXIELAND JUG BLOWERS. Memphis Shake. (Ger) Electrola &853 E+ Only 78 issue of s1!

309 LOUIS PRIMA & HIS N.O. GANG. Swing Me With Rhythm/ Sugar Is Sweet. Br 7431 E 310 LEO REISMAN & HIS ORCH. Puttin’ On The Ritz/ SHILKRET O. Singing Vagabond Song. (Can) Vic 22306 EE+ Miley!

311 Time On My Hands/ U Didn’t Know The Music. Vic 22839 E+ Lee Wiley vcl s1 312 Happy As The Day Is Long/ ARDEN-OHMAN O. Let’s Call It A Day. HMV B6378 E+ Harold Arlen vcl, Rollini showcase s1!

313 ADRIAN (ROLLINI) & HIS ORCHESTRA. Happy As The Day Is Long/ Blue Prelude. (Blue wax) Col 2785-D E+ Uncommon sides - Goodman, Dorseys etc!

314 & HIS TRIO. Honky Tonk Train/ Martha, Ah So Pure. Voc 5582 E 315 ROMANCE OF HARMONY ORCH. Blue Evening Blues/ Doodle Doo Doo. (Personal) Gnt 20068 E+ Rare and fine!

316 SAVOY BEARCATS. Bearcat Stomp/ How Could I Be Blue. Vic 20307 E/EE- scrs s2 lt tix in places. 1926 Harlem Jazz!

317 CECIL SCOTT & HIS BRIGHT BOYS. Lawd Lawd/ In A Corner. Vic V-38098 E lbl trs both sides. What a stomper! In the words of Russ Shor “The first Rock n’ Roll Record!

318 LLOYD SCOTT’S ORCHESTRA. Symphonic Scronch/ Happy Hour. Vic 20495 E+ Two memorable 1927 sides in great shape!

319 CHARLIE SEGAR (Piano solos). Southern Hospitality/ Cuban Villa Blues. (SB) Dec 7027 E+ Great Blues Piano sides 320 BEN SELVIN & HIS ORCH. Me!/ Give Me Your Affection Honey. PaE R1047 E+ Rare 321 SEPIA SERENADERS. Breakin The Ice/ Bay Brown. (Buff) BB B5782 E- Great 1934 Cliff Jackson group sides 322 SHARKEY & HIS SHARKS OF RHYTHM. High Society/ I’m Satisfied With My Gal. Voc 3380 E 323 NOBLE SISSLE & EUBIE BLAKE. Boo Hoo Hoo/ N.I. Re 9180 EE324 NOBLE SISSLE & HIS ORCH. Bandanna Days/ TED LEWIS BAND. Dallas Blues. Shellac George Avakian Columbia Master Test Pressing of mxs M398-2/ 17065 E+ Bechet feature Side 1 - Unissued on 78! !33

325 HARL SMITH & HIS ORCH. Bring Back Those Rock-A-Bye Baby Days/ Rose Marie. Per 14339 E s1 a real sleeper, featuring Bix influencer Joe Rose in full chorus solo!

326 JABBO SMITH & HIS ORCH. Absolutely/ How Can Cupid Be So Stupid. Dec 1712 E 327 LEROY SMITH & HIS ORCH. In Harlem’s Araby/ CLOVER 3. Collegiate. Globe 1283 V+ Fine 1924 black band s1!

328 MIKE SPECIALE ORCH. Row Row Rosie/ Save Your Sorrow. Per 14456 E- solos both sides 329 SOUTH STREET TRIO. Need More Blues/ Whiskey & Hin Blues. Vic 20402 scuffy E- plays E. Great Bobbie Leecan sides 330 STATE STREET RAMBLERS. Tiger Moan/ Careless Love. Ch 40086 EE+ Masters 331 JOE SULLIVAN (Piano solos). Gin Mill Blues/ Honeysuckle Rose. (Blue Wax) Col 2876-D E+ Rare!

332 FRANK TANNER & HIS RHYTHM KINGS. You Don’t Love Me/ Magnolias In the Moonlight. (Buff) BB B6667 E 333 MONTANA TAYLOR (Piano solos). Indiana Avenue Stomp/ Detroit Rocks. (Can) Br 80019 E+ Despite what it says in Rust, this Canadian issue is not a dub - the run-ins have clearly been added to the Vocalion masters.

334 TENNESSEE TOOTERS. Prince of Wails/ I Ain’t Got Nobody To Luv. Voc 14952 E- scfs 335 THELMA TERRY & HER PLAYBOYS. Mama’s Gone Good Bye/ CHARLES FULCHER & HIS ORCH. Hey! Hey! Col 1706-D E+ 2 great sides!

336 FRANKIE TRUMBAUER & HIS ORCH. Sugar/ A Good Man Is Hard To Find. (Purple) PaE R3489 E+ Hard to find in any shape!

337 THE VAGABONDS. Cover Me Up With Sunshine of Virginia/ California Here I Come. Gnt 5362 E+ Fine sides, Rollini etc!

338 THE VARSITY 8. Those Panama Mamas/ How I Love That /Girl. Cam 635 E More Rollini and the gang!

339 JOE VENUTI’S BLUE 4. The Wild Dog/Dinah. OK 41025 E+ 340 FATS WALLER & HIS BUDDIES. Lookin’ For Another Sweetie/ When I’m Alone. Vic V38110 E+ Uncommon 1929 sides!

341 (Piano solos). Valentine Stomp/ Love Me Or Leave Me. BB B10263 E+ 342 (Organ solos). Sugar/ I Ain’t Got Nobody. (Buff) BB B5093 E+ 343 & HIS RHYTHM. A Good Man Is Hard To Find. 1-sided vinyl Master Test Pressing of Vic mx 031530 E+ This take Unissued on 78!

344 I Got Rhythm/ Functionizin’. (Swiss) HMV HE2902 E+ Only 78 Issue!

345 WASHBOARD RHYTHM KINGS. Blue Drag/ Gotta Be Gonna Be Mine. DeE F3781 EE- lt scfs nap 346 PAUL WHITEMAN & HIS ORCH. Mississippi Mud (-2)/ Mary (-4). (Aust) HMV EA2764 E+ Laminated pressing 347 Because My Baby Don’t Mean Baby Now/ Just Like A Melody. (Potato Head) Col 1441-D E+/E 348 I’ll Never Be The Same/ We Just Couldn’t Say Goodbye. Vic 24088 E- scfs Mildred Bailey vcls 349 Dodging A Divorcee. 1-sided vinyl Victor Master Test Pressing of mx 92576-1 E+ 350 The Duke Insists. 1-sided vinyl Victor Master Test Pressing of mx 92577 E+ 351 ZACH WHYTE’S CHOCOLATE BEAU BRUMMELS. West End Blues/ PAUL’S NOVELTY ORCH. I Got Rhythm. Ch 40016 EE+ 352 CLARENCE WILLIAMS (Piano solos). A Pane In the Glass/ Too Low. Vic V-38524 E+ Rare!!

353 WASHBOARD BAND. What Makes Me Love You So?/ I’ve Got What It Takes. (Race) PaE R2147 E+ 354 Kentucky. 1-sided vinyl Master Test Pressing of OK mx 404546-B E+ Unissued on 78!

355 ORCHESTRA. High Society/ I Like To Go Back In the Evening. (Gold) Voc 25010 E356 After Tonight/ The Old Street Sweeper. (Gold) Voc 2736 E+ 357 A Foolish Little Girl Like You. 1-sided vinyl Master Test Pressing of Voc mx 16987-1 E+ Unissued on 78!

358 This Is My Sunday Off/ Let Every Day Be Sweetheart’s Day. Voc 3195 E+ tiny ef s2 not to gvs 359 FESS WILLIAMS’ ROYAL FLUSH ORCH. Variety Stomp (-63)/ Phantom Blues (-66). Voc 15550 EE+ Rare take of s1 360 Dinah/ Ida Sweet As Apple Cider (-2). Vic 23005 E 361 WILLIAMSON BEALE STREET FROLIC ORCH. Scandinavian Stomp/ Midnight Frolic Drag. Vic 21410 E+ Memorable Memphis 1927 sides!

362 TEDDY WILSON & HIS ORCH. My Blue Heaven. 1-sided vinyl Master Test Pressing of Voc mx 22827-1 E+ Unissued on 78!

363 Cocoanut Groove. 1-sided oversize vinyl Master Test Pressing of Voc mx 26437-B Unissued on 78!

264 JIMMY YANCEY (Piano solos). Five O’Clock Blues/ Tell Em About Me. Vic 26590 E+ 265 MARGARET YOUNG. Red Hot Henry Brown/ Yes Sir That’s My Baby. Cliftophone BrE 2939 E+ Excellent Miff Mole s1!

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 !34

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 Mildred Bailey Georgia On My Mind (unissued) 02 Smith Ballew and His Orchestra Charming (unissued) 03 Billy Banks and His Orchestra Oh Peter (unissued) 04 Blanche Calloway and Her Joy Boys Sugar Blues (unissued) 05 Ann Cook (with Louis Dumaine) Mama Cookie (unissued) 06 Bernie Cummins and His Orchestra Nobody's Fault But Your Own (unissued) 07 Perry Dixon Hauntville Blues (unissued) 08 Duke Ellington and His Orchestra What Good Am I Without You (unissued) 09 Benny Goodman (with Billie Holiday) Riffin' The Scotch (issued on Columbia 2867-D) 10 Billie Holiday and Her Orchestra I Wish I Had You (unissued) 11 Robert Johnson 32-20 Blues (issued on Vocalion 03445) 12 Gene Kardos and His Orchestra Forty-Second Street (issued on Panachord 25513) 13 McKenzie's Mound City Blue Blowers Girls Like You Are Meant For Boys Like Me (unissued) 14 McKinney's Cotton Pickers Put It There (unissued) 15 Memphis Jug Band Newport News (unissued) 16 Memphis Jug Band What's The Matter (issued on Victor 38551) 17 Monette Moore (with Fats Waller) A Shine On Your Shoes/Louisiana Hayride (unissued) 18 Jelly-Roll Morton's Jazz Band London Blues (issued on Okeh 8105) 19 Bennie Moten's Kansas City Orchestra The Only Girl I Ever Loved (issued on Victor 23378) 20 Dave Nelson and The King's Men When Day Is Done (unissued) 21 King Oliver and His Orchestra Nelson Stomp (unissued) 22 Don Redman and His Orchestra I Won't Tell (unissued) 23 Mamie Smith My Sportin' Man (unissued) 24 Snooks and His Memphis Ramblers Some Of These Days (unissued) 25 Fess Williams' Royal Flush Orchestra She's Still Dizzy (issued on Victor 23025) 26 Teddy Wilson (with Billie Holiday) If Dreams Come True (unissued)

Mx 70624-2 Mx 490018-A Mx 11717-2 Mx 68939-1 Mx 37981-2 Mx 51103-1 Mx FW TEST 6 Mx 64378-1 Mx 152650-2 Mx 23153-1 Mx SA-2616-2 Mx 12892-1 Mx 10194-3 Mx 46094-1 Mx 37944-1 Mx 55530-2 Mx TO-1210 Mx 8499-A Mx 74851-1 Mx 64850-1 Mx 64013-3 Mx B-13285-B Mx 401761-D Mx 69919-1 Mx 59757-1 Mx 22255-2

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

BLUES 27 Kokomo Arnold 28 Poor Boy Lofton 29 Carl Martin

Buddie Brown Blues/Rocky Road Blues Dirty Mistreater/Rainy Day Blues Joe Louis Blues/Let's Have A New Deal

Decca 7449 Decca 7049 Decca 7114

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

EURO JAZZ 30 Josephine Baker 31 James Boucher et Son Jazz 32 Charlie and His Orchestra 33 Gus Deloof and His Racketeers 34 Edgar Jackson's Gargoyle Five 35 Freddy Johnson (with Arthur Briggs) 36 Freddy Johnson (with Lex van Spall) 37 Tommy Kinsman and His Band 38 Quintette Du Hot Club De France 39 The Rhythm Eight (Bert Firman) 40 Marek Weber (with Arthur Briggs) 41 Sam Wooding and His Orchestra

Who?/Dinah Sweepin' The Clouds Away/Le Trouvere Whistle While You Work/You Could Say "Hello" Ev'ry Morn, Ev'ry Noon, Ev'ry Night/Oh Baby I've Got Five Dollars/By Special Permission Harlem Bound/Sweet Madness I Want To Dance/Haarlem Hot Club Stomp The Morning After/Thanks A Million (looks EE+) Georgia On My Mind/Shine Can't Help Lovin' That Man/Why Do I Love You Crazy Words, Crazy Tune/Wann Und Wo The Wedding Of The Painted Doll/C'est Tout Que J'ai

Odeon A-49170/49172 Pathe X-8789 Klarinette 0186/0187 Pathe X-53088 Oriole P-111 Brunswick A-500340 Decca F-42045 Octacros 1214 HMV K-7790 HMV EX-31 HMV EG-639 Pathe X-8698

E/E V+E-/V+ E-/V+EV+/VV+ E-/EEEE-/E EE+/EE+ E-/E EE+/E+ V+/V+ EE-/EEEE-/E

CLASSIC JAZZ 42 California Ramblers 43 Celestin's Original Tuxedo Orchestra 44 Cook's 14 Doctors Of Syncopation 45 Ruth Etting 46 Annette Hanshaw 47 Charlie Johnson's Paradise Orchestra 48 Jelly-Roll Morton's Red Hot Peppers 49 King Oliver and His Orchestra 50 The Red Heads 51 Russell's Hot Six 52 Le Roy Tibbs and His Orchestra 53 Frank Trumbauer and His Orchestra 54 Paul Whiteman/Frankie Masters

Song Of The Blues/Broken Idol I'm Satisfied You Love Me/Give Me Some More Alligator Crawl/Brainstorm (looks E+) Out Of Nowhere/Say A Little Prayer For Me My Future Just Passed/If I Had A Girl Like You Meddlin' With The Blues/Bar Harbor (no interest) Try Me Out/Down My Way Passing Time With Me (take 3)/What's The Use Black Bottom Stomp/Heebie Jeebies 29th and Dearborn/Sweet Mumtaz (looks E+) One O'clock Blues/Ipana Troubadours (no interest) Crazy Quilt/In The Merry Month (both alternate takes) Lovable/Our Bungalow Of Dreams (looks E)

Edison 14045 Columbia 14200-D Columbia 1298-D Columbia 2454-D Diva 3178-G Emerson 10854 Victor 38113 Victor 23011 Salabert 565 Brunswick A-81003 Regal RS-1112 Brunswick A-9110 HMV B-5509

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

35

Helge Thygesen

037 Melotone 12037 Teddy Edwards: Them Things/Family Troubles E+ SCARCE early Melotone!

038 Melotone 12918 Tallahassee Tight: Quincey Wimmens/Coast Line Blues E039 Melotone 13310 Walter Roland: Early In The Morning No. 2 ('Bout The Break Of Day)/Dices' Blues EE+ 040 Melotone 6-01-56 Blind Boy Fuller: Rag, Mama, Rag/I'm A Rattlesnakin' Daddy E- scratch side A. Laminated West Coast pressing w. lams on both sides 041 Melotone 6-08-61 Big Bill: I'm A Southern Man/W. P. A. Blues E+ 042 Melotone 6-11-57 Bill McKinley (Jazz Gillum): She Keeps On Rickin'/I Went To The Gypsy EE043 Melotone 7-07-58 Ravizee Singers: I Am Thinking Of A City (Lanka Lanka)/You'll Need My Saviour Too VV+ 044 Melotone 7-09-65 Peanut, The Kidnapper: Silver Spade Blues/Eighth Avenue Blues E 045 OKeh 8207 Sylvester Weaver: Weaver's Blues/Mixing Them Up In "C" V+ to E046 OKeh 8500 Sally Roberts (Sara Martin w. Sylvester Weaver): Useless Blues/Black Hearse Blues E 047 OKeh 8618 Lonnie Johnson: Stay Out Of Walnut Street Alley/Broken Levee Blues E-/EE048 OKeh 8661 Martin - Weaver - Withers: I'm Happy In Jesus/Where Shall I Be EE- (Sara Martin, Sylvester Weaver & Hayes Withers) 049 OKeh 8692 Mississippi John Hurt: Spike Driver Blues/Blue Harvest Blues A-side is E except for two badly distorted striped grooves. A-1 stamper! B-side is EE- A-2 stamper 050 OKeh 06473 Buddy Moss: Joy Rag/Unfinished Business EE+ 051 OKeh 06515 Buddy Moss: You Need A Woman/I'm Sittin' Here Tonight E/E+ 052 OKeh 45231 Nap Hayes And Matthew Prater: Somethin' Doin'/Nothin' Doin' V+ plays strong, labels worn and damaged. SCARCE! 053 Oriole 5-12-57 Bull City Red: Now I'm Talking About You/Richmond Blues V+ to E054 Paramount 12354 Blind Lemon Jefferson: Long Lonesome Blues/Got The Blues E- Early pressing on purple label. Plays strong!

055 Paramount 12387 Blind Blake: Early Morning Blues/West Coast Blues EE056 Paramount 12598 Lucius Hardy: Jelly Bean Man/Mr. Blues EE+ 057 Paramount 12778 Hokum Boys/(Al) Miller and Rodgers: Selling That Stuff/I would If I Could E A-side is the instrumental version! SCARCE! 058 Perfect 8-04-62 Blind Boy Fuller: Hungry Calf Blues/Mojo Hidin' Blues EEsmall label damage both sides. Scarce!

059 QRS 7078 Guy Lumpkin & Eddie Mapp/Eddie Mapp: Decatur Street Drag/Riding The Blinds V/V+ RARE! Maybe less than five existing copies.

A-side guitar & harmonica, B-side harmonica solo.

060 Romeo 5010 Famous Hokum Boys: Somebody's Been Using That Thing /Eagle Riding Papa EE- SCARCE! 061 Romeo 5026 Georgia Tom/Sammy Sampson (Big Bill Broonzy): My Texas Blues/Skoodle Do Do V+ 062 Silvertone 4042 Daddy Stove Pipe: Sundown Blues/Stove Pipe Blues E 063 Solo Art 12008 Jim Yancey: The Fives/Jimmy's Stuff E+ 064 Supertone 9510 Pork Chop Jackson (Lee Green): She Walks Like A Maltees Cat/Lonesome Man Blues E- RARE! Only two known copies!

065 Victor 21268 Jim Jackson: Policy Blues/Bootlegging Blues E 066 Victor 21538 Sugar Underwood: Davis Street Blues/Dew-Drop Alley Stomp E+ Choice copy of Piano Classic! Scarce!

067 Victor 38003 Jim Jackson: This Morning She Was Gone/This Is No Place For Me EE+ 068 Victor 38581 Noah Lewis: Chickasaw Special/Devil In The Wood Pile E tiny pressing pimple on B-side Ticks for a few grooves. RARE! Choice copy!

069 Victor 23327 James "Stump" Johnson: Barrel Of Whiskey Blues/Sail On Black Sue EE- Roosevelt Sykes at the piano. RARE! Victor sold only 285 copies!

070 Vocalion 1257 Frankie Half Pint Jaxon: How Can I Get It?/Fan It E- some gray pressing blemish on both sides.

071 Vocalion 1285 Frankie Half Pint Jaxon: Let's Knock A Jug/Can't You Wait? E+ 072 Vocalion 1539 Frankie Half Pint Jaxon: It's Heated/Jive Man Blues E+ Tampa Red guitar on both sides!

073 Vocalion 1687 Sweet Papa "Tadpole": Your Baby Can't Get Enough/Keep Your Yes Ma'am Clean E074 Vocalion 02751 Leroy Carr: Court Room Blues/Hold Them Puppies E-/V+ 075 Vocalion 03106 Minnie Wallace: The Cockeyed World/Field Mouse Stomp E- RARE! 78 Quarterly says less than 10!

076 Vocalion 03143 Harry Chatmon: Black Ants Bl./Quarrelin' Mama Blues E077 Vocalion 03145 Kid Stormy Weather: Short Hair Blues/Bread And Water Blues E- RARE PIANO BLUES! 78 Quarterly lists only two copies!

Egemosevej 26A 5882 Vejstrup Denmark

Patton@mail.dk

Auction of Classic Blues Payment can be made by bank transfer or Paypal Visual grading with additional comments If you need scans just ask!

Prewar BLUES 001 Bluebird 5791 Emerson Houston: Hard Luck Blues/Strange Man Blues E+ 002 Bluebird 5963 Leroy Carr: Six Cold Feet In The Ground/Going Back Home EE+/E+ 003 Bluebird 6893 Andy Boy: Lonesome With The Blues/Jive Blues EE004 Bluebird 6963 Robert Hill/Richard M. Jones You Gonna Look Like A Monkey When You Get Old/Trouble In Mind E+ 005 Bluebird 6795 Blue Bill/Robert Hill: More Blues/G Blues E Harmonica!

006 Bluebird 8408 Tommy McClennan: Baby, Don't You Want To Go?/Cotton Patch Blues E-/E 007 Bluebird 8709 Huddie Leadbelly Roberta/The Red Cross Store Blues E+/E 008 Bluebird 8797 Sonny Boy Williamson: Coal And Iceman Blues/Mattie Mae Blues EE+ label damage from removed sticker on A-side 009 Bluebird 9015 Tommy McClennan: Mozelle Blues/Mr. So And So E 010 Brunswick 7022 Wiley and Wiley: You'd Better Not Go To 35th And State No More!/The Dixie Drug Store Down On Missouri Street E 011 Brunswick 7126 Walter Vincent & Mississippi Hot Footers: Your Friends Gonna Use It Too - Part I/Part II E tiny pressing bump. SCARCE. 78 Quarterly says less than 10.

012 Brunswick 7130 Jake Jones & Gold Front Boys: Monkeyin' Around/ Southern Sea Blues E 013 Brunswick 7164 Speckled Red: Speckled Red's Bls/Lonesome Mind Bls E+ 014 Brunswick 7187 Phillips Louisville Jug Band: Smackin' The Sax/That's Your Last EE-/E- Scarce!

015 Brunswick 7203 John Oscar: Dyin' Mother Blues/Whoopee Mama Blues EE- GREAT PIANO CLASSICS! RARE! 016 Champion 50027 Turner Parrish: Ain't Gonna' Be Your Dog No More /Graveyard Blues EE- Scarce!

017 Champion 50038 Hokum Boys & Jane Lucas: That's The Way She Likes It/Ain't Goin' There No More No. 2 EE018 Champion 50042 Jane Lucas & Geo. Tom: What's That I Smell/Fix It EE019 Columbia 14405 Billiken Johnson & Neal Roberts: Wild Jack Blues/Frisco Blues E+ Choice copy!

020 Columbia 14482 Ellis Williams: Smokey Blues/Buttermilk Blues E RARE! 021 Columbia 14514 Texas Bill Day & Billiken Johnson: Elm Street Blues /Billiken's Weary Blues E+ Choice copy!

022 Columbia Vinyl Test SA 2587-1 (unissued): Robert Johnson: Phonograph Blues EE- dull surface Plays strong!

023 Conqueror 8641 Blind Boy Fuller: I'm A Rattlesnakin' Daddy/Somebody's Been Playing With That Thing E-/E 024 Conqueror 9934 Memphis Minnie: My Gage Is Going Up/Can't Afford To Lose My Man EE+ 025 Decca 7016 Lee Green: Memphis Fives/44 Blues E026 Decca 7028 Alice Moore: Black Evil Blues/Riverside Blues E+ 027 Decca 7056 Alice Moore: Lonesome Woman Blues/Trouble Blues E 028 Decca 7128 Prof. Hull's Anthems Of Joy: My Lord's Gonna Move This Wicked Race/I Was Lost 'Till Jesus Found Me E RARE! Less than five listed in 78 Quarterly. Super fine jazzy accompaniment.

029 Decca 7160 The Honey Dripper (Roosevelt Sykes): Dirty Mother For You /She Left Me Cold In Hand EE030 Decca 7212 Kokomo Arnold: Shake That Thing/Bull Headed Woman Blues E-/EE031 Decca 7365 Sleepy John Estes: Jack And Jill Blues/Need More Blues EE+ 032 Decca 7455 Uncle Skipper (Charlie Jordan): Twee Twee Twa/Look What A Shape I'm In E+ 033 Decca 7540 Kokomo Arnold: Bad Luck Blues/My Well Is Dry E034 Herwin 92016 Blanche Johnson: 216 Blues/Galveston Blues E- Only released on Herwin!

035 Homestead 16134 Primitive Baptist Choir Of North Carolina: I Love Thy Church, O Lord/Heaven Belongs To You V+/E- RARE! 036 HRS Dividend Bertha Hill/Maggie Jones: Pratt City Blues/Good Time Flat Blues E+ Special HRS issue only for faithful members of the club. Scarce!

Postage is $15 no matter how many records you win. No packing charge. Same price world wide!

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Offers Invited by William Lane, 30 Cayuga St. Homer, NY 13077, Phone 607-745-6596.

Email lanewc@verizon.net LP auction and a few discographies. All records graded aurally. LPs have been stored in plastic outer sleeves. Covers are in good shape unless otherwise noted (TP=tape on cover or WC = writing on cover). All bids in US dollars only. Postage and insurance (if requested) are extra. Packing is free. Use the correct bid numbers. Include your mailing address, phone and e-mail.

100 L. Armstrong & F. Keppard, Fountain FJ-107 N- 130 Louis Russell (1926-1930) VJM VIP 54 N- 101 Louis Armstrong, Young, Riverside 12-101 E 131 Jabbo Smith, V1, Melodeon MLP7326 N- 102 L. Armstrong, Hot 5 25/26, Swaggie S1230 N- 132 Jabbo Smith, V2, Melodeon MLP7327 N- 103 L. Armstrong, Young 1930-33, RCA French Black 133 Muggsy Spanier, Great 16, FR RCA V 33 N- &White double album, PM43269 N-/N- 104 L. Armstrong w/F. Henderson 24/25, VJM 60 N- 134 F. Trumbauer, V1 Grannyphone 03314 N- 105 Paul Ash, Deep Blue, Broadway, BR-119 N- 135 Madame Tussaud’s Dance Orch. (Stanley

Barnett, Retrieval, FG 408 N- 106 B. Beiderbecke, The Unheard, Broadway 102 N- 136 The University Six, The Old Masters TOM3 N- 107 A. Brunies & the Halfway House Orch., New 137 Don Voorhees, Nichols/Mole Broadway 121 N- New Orleans Shuffle, VJM VLP62, N-

138 Fats Waller, 192 &1929, Swaggie 850, N- 108 Merritt Brunies Friars Inn Orch, Retrieval FJ124 N- 139 Washboard Rhythm Kings, RCA PM42404 N- 109 California Ramblers, 1925-27, Biograph 12020 N- 140 Clarence Williams Blue 5, Rhapsody 6031 N- 110 The Charleston Chasers, 1929-30, TOM 6, N- 141 Lester Young, The Alternative, Tax 8000 N- 111 Johnny Dodds, Vol 1, Classic Jazz Masters 32, N- Swing, Be Bop and Beyond 112 Johnny Dodds, Paramount, V1, Herwin 115 142 Nick Brignola, Burn Brigade, Beehive 7010, N- 113 Johnny Dodds, 1926-28, Swaggie 807 N- 143 Count Basie, Dance Session, Columbia 10007 E 114 Johnny Dodds, 1927, Swaggie 808 N- 144 Count Basie, Dance Session V 2, Col. 10044 N- 115 The Hotsy Totsy Gang, TOM 12 N- 145 Duke Ellington, V1 1946, Hindsight HSR125 N- 116 Spike Hughes, Vol 1 1930, Retrieval FG-407 N- 146 Tal Farlow, Tal, Verve MGV-8021 E+ 117 Spike Hughes, Vol 2 1930, Retrieval FG-409 N- 147 Tal Farlow, Autumn in NY, Norgram 1097 E+ 118 Spike Hughes, Vol 3 1930, Retrieval FG-411 N- 148 Stan Getz, At the Shrine (V2), Col. 10001 N- 119 Spike Hughes, Vol 4, 1931 Retrieval FG-413 N- 149 Woody Herman, Fan It!, Swing House 19 N- 120 Freddie Keppard, 17 Rare, Herwin 101 N- 150 Clifford Jordon, Dr. Chicago, Beehive, 7018 N- 121 Freddie Keppard, Cook/Tate, Jazz Treasury 1002 N- 151 Don Joseph, One of a Kind, Uptown 27.23 N- 122 McKinney’s Cotton Pickers, Vol 1/2 RCA 42407 N- 152 Stan Kenton, 1941, Hindsight HSR-118 E+ 123 McKinney’s Cotton Pickers, Vol 3/4 RCA 43258 N- 153 Booker Little, w/ S. La Faro, Bainbridge 1041 E+ 124 McKinney’s Cotton Pickers, V5 RCA FXM1 7059 N- 154 Howard McGhee, Dial Masters, Spotlite 131 N- 125 Emmett Miller, Georgia Crackers, TOM 1 N- 155 Lucky Milliner, 1943-44, Kaydee 6 N- 126 “Kid Punch” Miller, Rarities, Herwin 108 N- 156 Hank Mobley, The Turnaround!, Blue Note

Stereo, slight damage front cover, 84186 E+ 127 Miff Mole Molers 1028/30, Swaggie S1297 N- 157 J.R. Montrose, Blue Note 180g vinyl, 1536 N- 128 Miff Mole Molers 1927, Swaggie S1295 N- 158 Brew Moore, Brew’s Stockholm Dew, Sonet

SNTF624 N- 129 A. J. Piorn, New Orleans Orch, Retrieval 128 N- 159 C. Parker, Bird on Tenor 1943, Stash 260 N-

Discographies (All in good condition unless otherwise noted. All in English.):

B1 Astrup, A. (1992). A Discography of Brew Moore, Bidstrup Pub. Denmark.

B2-7, Bruyninckx, W. Modern Jazz Discography, Be-Bop, Hard Bop, West Coast 1942-1965, Vol.’s 1-6, Bid on all six volumes as a set, not sold separately.

B8 Carey, D. & McCarthy (1950), Jazz Directory, Vol. 2 (paint (?) spill on part of front cover, otherwise good condition, Delphic Press.

B9 Carey, D. & McCarthy (1951), Jazz Directory, Vol. 3, Delphic Press.

B10 Carey, D. & McCarthy (1952), Jazz Directory, Vol 4, Delphic Press.

B11 Van Engelen, P. (1985). Where’s the Music, The Discography of Kai Winding, Vol 1 & 2. Amsterdam, Micrography. Bid on both volumes as a set, not sold separately.

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82 Br race series 7071 JABBO SMITH Ace of Rhythms-Take me to the River ltl dam lbl tiny ec os Visually E sounds E+ 83 Br 4701 RED NICHOLS Sometimes I’m Happy- Hallelujah wol E84 Br 6824 RED NICHOLS Roses of Picardy-Allah’s Holiday os N85 Vi 21056 RED NICHOLS Make my Cot Where the Cot-Cot-Cotton Grows-Sugar E 86 Vi 21560 RED NICHOLS Five Pennies-Harlem Twist scarce E-/V+ 87 Br 7543 TEDDY WILSON Every Now and Then- It Never Dawned on... p.solo N-/E+ 88 Br 7563 TEDDY WILSON Rosetta-Liza p. solo ltl dam lbl scarce V+ 89 Br 7572 TEDDY WILSON On Treasure Island-I Found a Dream p.solo wol N90 Br 7577 TEDDY WILSON w/BILLIE These ’n’ That ‘n’ Those-Sugar Plum E-/V

91 Br 7702 TEDDY WILSON w/BILLIE Guess Who/I’ts Like Reaching for the moon.. eb 1 Hg 879 GOLDEN GATE I’ve Got a Cross Eyed Papa-You can´t make... very rare V+ s1 3 sources ap E2 Per 14309 GOLDEN GATE Ramblin’ Blues/P.LODGE-Follow the Swall.. sol bw E to E- 92 Br 7640 TEDDY WILSON w/ELLA All my Life-Christopher Columbus V+ 3 Pa 36001 GOLDEN GATE You Darling You-Mama Loves Papa.. ef s1 2 grooves ap E 93 Br 7699 TEDDY WILSON w/BILLIE These Foolish Things-Why do I Lie To... V+ to V 4 Radiex 1197 GOLDEN GATE ORCH California, Here I Come-Steppin’ out very rare E- 94 Br 7768 TEDDY WILSON w/BILLIE Who Loves You?-With Thee I Swing V 95 Br 7867 TEDDY WILSON w/BILLIE How Could You?-Carelessly E/V 5 Ca 287 LUCILLE HEGAMIN Papa, Papa-He May Be Your Man ltl dam lbl E6 Muse 270 LUCILLE HEGAMIN Beale St. Mama-Aggrava.. ltl dam lbl side1 very rare E 96 Br 7964 TEDDY WILSON Honeysuckle Rose-Ain’t Misbehavin’ N7 Har 5H “SOUTHERN SERENADERS” F.H w/Louis Alone at Last/M.D.O. Are… rare E 97 Br 8319 TEDDY WILSON w/BILLIE Sugar-More than you Know sol E 8 Har 206H BLUE GRASS FOOT WARMERS (C.W.) Señorita Mine tk4-How Coul..tk3 E- 98 Br 8336 TEDDY WILSON w/BILLIE What a Little Moonlight..-I Wished on the m.. N9 Har 176H BROADWAY B.HOPS To-Night´s my Night With Baby-Hi Ho the Merrio...E-- 99 Paramount 12080 MA RAINEY w/L.AUSTIN Bo Weavil Blues-Last Minute Blues E+ 10 Har 253 BROADWAY B.HOPS Don´t be Angry with me-Who Could Be More.. N-/E 100 Paramount 12251 IDA COX Mississippi River Blues-Graveyard Bound Blues V 11 V.T 1245 UNIVERSITY SIX (C.R.) St.Louis Hop/ORIG. I.5 I’d Leave Ten Men V to V+ 101 Per 14276 ORIGINAL MEMPHIS 5 Oh Baby-I Never Care ’bout To-Morrow… bw E102 Per 15126 WHOOPEE MAKERS St Louis Blues-Bugle Call Rag N12 Har 92 DIXIE STOMPERS (F.H.) Panama-Chinese Blues E13 Har 121H DIXIE STOMPERS (F.H.) I Found a New Baby/B.B.HOPS Wimmin A.. lam 103 Ch 15505 D.BEESON That Certain party/SEVEN CHAMPIONS(BL7) Then I´ll be Happy ltl dam lbl s1 Es1 wol V+ 14 Har 209 DIXIE STOMPERS Dynamite/ UNIVERSITY SIX Ace in the Hole run on lbl V+ 104 Per 15873 CAB CALLOWAY Kickin’ the Gong Around-You Gotta Ho-De-Ho sol E-/E 105 Vi 24451 C.CALLOWAY Lady with the Fan-Father’s Got his Glasses on E15 Har 283 DIXIE STOMPERS Alabama Stomp/WMCA BROADCASTERS All Alone 106 Vi 20425 G.OLSEN Sam, the Old Accordion Man/BEN POLLACK He’s the Last Monday sol E+ World visually E sounds E++ 16 Har 353 DIXIE STOMPERS (F.H) Snag It-Ain’t She Sweet? V/V+ 107 Vi Ar 20252 J.R.MORTON Sidewalk Blues-Dead Man Blues tk1 rare os N17 Ct 121 CLEARTONE J.B. Weary Blues-Wang Wang Blues rare lbl E- to V+ 108 Vi 21064 J.R.MORTON Wolverine Blues-Mr Jelly Lord pw E-18 Co Flag 30 THE GEORGIANS Shake your Feet-Old Fashioned Love ef s2 pass V 109 Vi 38024 J.R.MORTON Georgia Swing-Mournful Serenade N19 Co Flag 49 CALIFORNIA RAMBLERS Linger Awhile-Rememb’ring os V 20 Co 638 CALIFORNIA RAMBLERS The Girl Friend-No Foolin’ run on lbl ef. s2 nap E- 110 Vi Ar 38055 J.R.MORTON Red Hot Pepper-Deep Creek sol E111 Vi Ar 20293 FIVE HARMANIACS Sadie Green Vamp...-Coney Island Washboard N21 Vo 14436 CALIFORNIA RAMBLERS I Wish I could Shimmie Like My Sister Kate..112 Vi Ar 22092 F.WALLER Love me or Leave me-I’ve Got a Feelin.. ltl dam lbl ec nap V Lonesome Mamma Blues..bw N-/E F.WALLER St. Louis Blues-After You’ve Gone N22 Co Flag 217 LITTLE RAMBLERS Deep Blue Sea Blues-I’m Satisfied.. wol sol os E-/E 113 Vi 22371 F.WALLER Sugar-I Ain’t Got Nobody N--/E++ 23 Co Flag 3888 BESSIE SMITH w/CW Baby Won’t You Please...-Oh Daddy Blues os E- 114 Vi 23331 115 Vi 25388 F.WALLER Numb Fumblin’-Smashing Thirds E 24 Co Flag 14020 BESSIE SMITH Sorrowful Blues-Rocking Chair Blues V 25 Co Flag 14041 CLARA SMITH Freight Train Blues-Done Sold My Soul t.. ltl dam lbl V+116 Vi 20751 PAUL WHITEMAN Just Once Again-I’m Coming Virginia N26 Vo 14952 TENNESSEE TOOTERS Prince of Wails-I ain’t Got Nobo.. ltl dam lbl bw E- 117 Vi 21346 LOUISIANA SUGAR BABES Persian Rug-Thou Swell sol os N27 Co Flag 126 F.HENDERSON Somebody Stole my Gal-My Papa Doesn’t tw... E-- to V+ 118 Vi 21348 LOUISIANA SUGAR BABES Willlow Tree-‘Sippi ltl dam lbl V+ 119 Vi 21730 MC K. C. PICKERS Cherry-Some Sweet Day ec nap pw E28 Co Flag 164 F.HENDERSON Muscle Shoals Blues-Houston Blues V+/E29 Silv. 1298 F.HENDERSON My Rose Marie/LANIN’S ARCADIANS Some ot... rare E- 120 Vi 22511 MC K.C.PICKERS Hullabaloo-Baby Won’t you Please Come Ho.. os E30 Imp. 1329 F.HENDERSON Hard Hearted Hannah/6 BLACK DIAMONDS Who is the 121 Vi Ar 23000 MC K.C.PICKERS Okay, Baby-I Want a little girl ltl dam lbl os V+ 122 Vi Ar 23024 MC K.C.PICKERS I Miss a Little Miss-After all you’re all I’m Af.. sol E/EMeanest Girl in all the Town. Josephine?.. sol ec nap V+ to V 31 Ba 1384 F.HENDERSON I Can’t Get the One I../MISSOURY J.B.-Doo.. dam lbl E-/V+ 123 Vi Ar 22298 KING OLIVER St.James Infirmary-When You’re Smiling os E++ 32 Co 2565 F.HENDERSON It´s the Darndest Thing-Singing the blues semi erased lbl E- 124 Vi Ar 22306 LEO REISMAN w/BUBBER Puttin on the Ritz/N.SHILKRET Singi…ltl 33 Br 3026 F.HENDERSON Let me Introduce you to my rosie-I Wan’t to See… E to E- dam lbl side2 looks like E sounds like N34 Re 9684 F.HENDERSON Where the Dreamy Wabash.../LANIN Maytime ltl ec nap E 125 Vi Ar 22398 LEO REISMAN w/BUBBER I Like to do Things for you-Happy Feet E35 Per 14264 F.HENDERSON After the Storm/CASINO D.O.Turkestana ltl ec nap bw E- 126 Vi Ar 23005 F.WILLIAMS Ida Sweet as Apple Cider-Dinah sol os E 127 Vi Ar 24059 WASHBOARD R. B. Tiger Rag/A.BARTHA Hot Biscuits sol V/E36 Co 14392 F.HENDERSON Come on Baby!-Easy Money dam lbl ef nap V+ 37 Vi 25334 F.HENDERSON Where There’s You th...-Do You or Don’t You Love me N- 128 Vi Ar 24232 L.ARMSTRONG Mahogany Hall Stomp-High Society fade E129 Vi Ar 24233 L.ARMSTRONG I Gotta Right to Sing the Bl..-Hustlin’ and Bustlin’ f… E 38 Vi 25375 F.HENDERSON Sing, Sing, Sing-Shoe Shine Boy sol E 39 Vi 20960 JACKSONVILLE HARMONY TRIO Jacksonville Blues-Them Piano Blues 130 Vi 24501 D.ELLINGTON Daybreak Express-Dear Old Southland N-/N-131 Vi 24521 D.ELLINGTON Stompy Jones-Blue Feeling E+ mid dam lbl rare V to V40 Ro 371 NEW ORLEANS FIVE (OI5) Some of These Days-The Memphis Blues fade V 132 Vi 38008 D.ELLINGTON Diga Diga Do-I Can’t Give You A.. sol ltl run on lbl s1 E-/V+ 41 Co 909 CHARLESTON CHASERS Davenport Blues-Wabash Blues ltl dam lbl E++ 133 Vi 38092 D.ELLINGTON Haunted Nights-The Duke Steps Out E/E42 Co 1925 CHARLESTON CHASERS Lovable and Sweet-Red Hair and Frechles.. V+ 134 Vi Ar 38053 D.ELLINGTON Stevedore Stomp-The Dicty Glide sol V/E43 Co 1123 DON VOORHEES w/R.N. Baby’s Blue/RADIOLITES The Calin.. ltl dam lbl E 135 Vi Ar 38096 EARL HINES Grand Piano Blues-Blue Nights os E+ 136 Vi Ar 24942 GEORGIA WASH. STOMPERS Sophisticated Lady-My Pretty Girl V+ 44 Co 1284 DON WOORHEES Ol’Man River-Can´t Help Lovin’That Man sol os E++ 137 Blue Star 50 DJANGO & QHCF Insensiblement-Brazil sol ltl dam lbl E 45 Co 3579 JOHNNY DUNN’S O. JAZZ HOUNDS Moanful Blues-Put and Take V+ 138 Blue Star 55 DJANGO QHCF Gipsy With a Song I & II sol E 46 Ca 1149 BROADWAY B. St.Louis Blues/AL FRIEDMAN Somebody Else V+/E139 Blue Star 58 H.C.FRANCE Old Time Blues-Good Time Blues E to E+ 47 Re 8230 CORONA D.O. It ain’t gonna rain no mo’- You Know Me Alabam N-48 Re 9753 MISSOURI J.B Where’s My Sweetie Hiding/F.HENDERSON w/L.A. One of 140 Blue Star 59 DJANGO REINHARDT Peche a la Mouche-Minor Blues E141 Vi Ar 68-0059 QHC FRANCE w/DJANGO Sweet Chorus-Runnin’ Wild E These Days E 49 Or 1544 TED WHITE (WOOPEE MAKERS) Tiger Rag-Shirt Tail Stomp V+ ARGENTINIAN JAZZ 50 Clover 1639 CALIFORNIA M. SYNCOP.Roll ‘Em ../COVER D.O.My S..very rare ec 142 Co Ar 20723 E. HALL w/Argentine Music. Sweet Georgia Brown-´s Wonderf.. sol Enap dig nap E 143 Co Ar 20726 E. HALL w/Argentine Music. You Made me Love You-Sting on.. wol E 51 Mad. 1649 SOUTHERN D.O. Louise /COTTON PICKERS Just Blues V+ 144 Od Ar 55298 OSCAR ALEMAN Vieni Sul Mar-Pe de Manacá (Baiao) wol E/V 52 Br 2766 COTTON PICKERS Prince of Wails-Jimtown Blues ltl fade V+ 53 Black Swan 2021 ETHEL WATERS There’ll be Some C..-One M.. ltl dam lbl v. rare V+145 Od Ar 55511 OSCAR ALEMAN Daphne-Hombre Mio wol E++ 54 Black Swan 2034 HENDERSON D.O. Aunt Hagar..-Shake it and... ec nap very rare V 146 Od Ar 55888 OSCAR ALEMAN You Belong to Me-Tonterias scarce wol E--/E 147 Od Ar 22302 OSCAR ALEMAN Tea for Two-Swingin’ on a Star (Quintet) wol sol E55 Black Swan 2039 TRIXIE SMITH Desperate Blues-Trixies Blues very rare V 56 Vo 2563 C. WILLIAMS The Right Key But The Wrong Keyhole-She’s just a little bit.. V 148 Od Ar 45959 OSCAR ALEMAN Limehouse Blues-I never Knew sol V+ 57 Vo 2616 C. WILLIAMS Swaller Tail Coat-Look There, Ain´t she...ltl dam lbl side A os E 149 Od Ar 45973 OSCAR ALEMAN Scartunas-Eu Vi Um Leao sol E 150 Od Ar 45984 OSCAR ALEMAN You Made me Love..-Cross R..(Quintet) wol sol V+/V 58 Vi Ar 38063 C. WILLIAMS Lazy Mama-In Our Cottage of Love os N-151 TK 5050 ALL STARS ARGENTINOS Night and Day-Continental wol V+ 59 BB 11368 C. WILLIAMS BLUE 5 Uncle Sammy…-Triller Blues ´´The Last´´ E++ 60 OK 4427 MAMIE SMITH Mamma Whip! Mamma Spank! -I’m Free, Single, Disen... N- 152 Nac 4033 FRANCISCO CANARO Say it Wilt a Ukulele-Asi m.. (Tango) sol ec nap V+ 153 Nac 4135 FRANCISCO CANARO Kentucky-Trago Amargo (Tango) sol E--/ V+ 61 OK Truetone 8349 R. M.JONES Kint to Kant Blues-Mushmouth Blues fade V 154 Nac 4177 FRANCISCO CANARO I’m Sitting on of the..-Que Tie..(tango) ef nap sol V 62 Br 2766 COTTON PICKERS Prince of Wails-Jimtown Blues ltl fade V+ 155 Nac 4271 FRANCISCO CANARO Bye Bye Blackbird-La Cieguita (Tango) sol V 63 Br 3332 THE WOLVERINES Crazy Quilt-You’re Burnin’ Me Up E+/E 64 Br 3373 SAVANNAH SYNCOP. (K.O.) Someday Sweetheart-Wa Wa Wa ec nap N-- 156 Co Ar 2991-X CARLOS COBIAN Caminado por Florida-Francesita sol V+ 65 Br 4014 HOTSY TOTSY GANG Doin’ Then New Low-Down-Digga Digga Doo sol V++ 157 Od Ar 52447 DIXIE HOT JAZZ Dulcemente-Eso Es Amor sol E158 Od Ar 42103 THE DIXIELANDERS After You’ve Gone-South Rampart Sweet.. sol E66 Br X15892 D.WILLIAMS(REDMAN) Sophisticated Lady-Smoke Rings wol E-/E+ 159 Vi Ar 1A-2037 GEORGIANS JAZZ BAND Georgia Swing-1919 March V+ 67 De 625 JOE VENUTI Mystery-Tap Room Blues os N160 Vi Ar 1A-1741 GEORGIANS JAZZ BAND Wolverine Blues-Limehouse Blues sol E 68 Mel 12839 JOE VENUTI No More Love-Build a Little Home E 161 TK 5234 GUARDIA VIEJA JAZZ BAND 12th Street Rag-That’s a Plenty E 69 Mel 12882 JOE VENUTI One Minute to One-You Have Taken my Heart E 162 Co Ar 20403 THE KRAZY KATS Lambeth Walk-Je Ne Suis Pas Milliona.. sol wol E-70 Mel 12886 JOE VENUTI Cinderella’s Fella-Alice in Wonderland ec nap sol E163 Nac 9360 ORQUESTA PLAZA HOTEL Chin Chin-American Club fade sol v. rare V+ 71 Vi 23021 JOE VENUTI Really Blue-The Wild Dog N164 Od Ar 45733 R.S.R. & Sta.P.SERENADERS Ten Pretty Girls-Lambeth Walk sol E72 Mel 12790 ADRIAN ROLLINI Beloved-I’ll be Faithful E73 Vi 19255 PIRON’S N.O. ORCH. Do Doodle Oom-West Indies... ec nap ltl dam lbl V+ 165 Od Ar 45656 R.S.R. & Sta.P.SERENADERS Quien le Tiene Miedo al Lobo Grande y 74 Vi 20955 BENNY MOTEN Moten Stomp/CLIFFORD HAYES Blue Guitar Sto.. sol N- Malo-Hacemos Parvas Mientras Brilla el Sol scarce V+ 166 Od Ar 22401 R.S.R. & Sta.P.SERENADERS Red Bank Boogie-Ho..ef s1 nap sol V+ 75 Vi Ar 38021 B.MOTEN South-She’s no Trouble E 167 Od Ar 45682 R.S.R. & Sta.P.SERENADERS About a Quarte..-Go Int.. sol ec nap V+ 76 Br 4013 B.GOODMAN’S BOYS Room 1411-Jungle Blues pw V 77 Pe 16002 THE MODERNISTS-(B.GOODMAN) Solitude-I’m Getting Sentimental... V 168 Od Ar 45659 R.S.R. & Sta.P.SERENADERS Heat Wave-Inka Dinka Doo sol wol V++ 169 Vi Ar 38182 OSVALDO FRESEDO Sweet Sue-No quiero verte llorar (tango) sol V 78 De 18122 MARY LOU WILLAMS K.C.7 Baby Dear-Harmony Blues E+ 170 Nac 8103 JAZZ BAND YRIBARREN Cecilia-Don´t Wake me Up ec nap sol V+ 79 Vi 21184 BEN POLLAK Waitin’ for Katie-Memphis Blues ec nap sol E171 Nac 8192 JAZZ BAND YRIBARREN Sweet Marie-Nay Nay Neighbor ec nap sol V 80 Vi 21944 BEN POLLAK My Kinda Love-On With the Dance! E 81 Vi Ar 38523 CANNON’S JUG STOMPERS Viola Lee Blues-Heart Breakin’ Blues E

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$. Shipping worldwide costs $50 for up to 6 records. Ask cost for shipping more records. No packing cost!! Payment via bank transfer or Paypal. We don’t grade sleeves but if the record comes with the original one we use “os”. For brown wax we use “bw”.

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117 118

Hugo van der Laan

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Van Beuningenstraat 53 D 2582 KK Den Haag the Netherlands

120 ) 121

hugovdla@wxs.nl

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123 This is an auction of 78's which are not in E or not in E at all. Some needed restaurations. They play as graded with a '0028 conical stylus and 2,5 grams stylus pressure. Their issues are described for explanation. 3' means 3 revolutions.

Postage is strictly at cost. Payment can be made with Paypal or Eurotransfer.

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124

Alabama Rascals, Jockey Stomp/ Stomp That Thing, Pe 0240 V-/V (crack, restored, sounds moderately sA, softly sB) Rampart Street Washboard Band, Piggly Wiggly/ Forty and Tight Pe 196 V/V- (restored pdig 4'; small label tears sA) Lovie Austin and her Blues Serenaders, Charleston South Carolina/ Charleston Mad, Pm 12278 VHattie Burleson Jim Nappy/ Bye Bye Baby, Br 7054 V(clear, crack restored, sounds moderately, small edge flake 2' restored, on sA, light label damage sA) Benny Carter & His Harlemites, Tell All Your Day Dreams to Me/ Billy James, The Song Doctor, Crown 3321 basically E but a moon crack, newly restored, sounds moderately 60'.

(Benny Carter's first) The Chicago Footwarmers, Oriental Man/ My Baby, OK 8548 V+ (looks V, plays better, labels E-) Clifford's Louisville Jug Band, Dancing Blues/ I Don't Want You Blues OK 8221 G/V- (rumble and noise from scuffs and scratches sA, noise from scratches on sB labels V, printing a bit rubbed, a long needle run on sB) Ida Cox with Lovie Austin's Serenaders, One Time Woman Blues/How Long Daddy (with Charlie Jackson) Paramount 12325 E(restored edge bite 5' sA and 4 'sB) Wilton Crawley, Geechie River Blues/ She's Forty With Me OK 8492 looks V+ plays better (pdig 9' sA, restored) Charles 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) Market Street Stomp/ Won't Don't Blues OK 8280 V- to V/V- (scratches on labels) Jasper Davis It Feels so Good/ Georgia Gigolo, Ha 944 V( scratched with moderate effect on the noise; moonlam audible 15' at start of 'Gigolo'; strong A1 both, labels ok) Julia Davis with Lovie Austin and her Blues Serenaders, Black Hand Blues/ Ske Da De, Pm 12248 V- (labels V+E-) (restored cracks sound moderately to softly, mostly rumble). After restauration a crack has become sort of a scratch. A crack is frequently caused by tensions in the material. What remains produces <120 Hz rumble.

Therefore, the audible effect of a restored crack - and of lamination cracks too - can often be diminished with the rumble filter.

125 126 127 128

129 130 131 132 133 134

135 136 137

138

139

Dixieland Jug Blowers, National Blues/ Southern Shout Vi 20954 E-/ V+ to E- (restored edge bite, does not sound sA, sounds moderately first 22' on sB) Johnny Dunn Sergeant Dunn's Bugle Call Blues/ Buffalo Blues Columbia 14306 V Troy Floyd and his Shadowland Orchestra, Dreamland Blues I and II OK 8719 G+ (many lams and scratches cause crackling and rumble; needle run on label sB) Fletcher Henderson, Beale Street Mama/ Don't Think You'll be Missed Paramount 20226 V/V- (sA is ok, but sB starts 60' G- to V-, very noisy and swishy, from grooves visibly damaged. label sB rubbed around the spindle hole and small lbl tears)

140

141 142 143 144

39

Rosa Henderson with Fletcher Henderson's, I'm a Good Gal/ Papa Will be Gone, Br 2589 E-/V+ (restored ef sB, 4', not in music) Bertha 'Chippie' Hill with Louis A etc, Pratt's City Blues/ Pleadin' for the Blues, OK 8420 V- (low rumble and a lam on sB which sounds softly and incidentally) Do Dirty Blues/ Sport Model Mama, OK 8473 V+/E(better on sA, but a long moonlam sounds 120' ) Bertha Hill Kid Man Blues/ Low Land Blues, OK 8273 V/V(small 2' edge flake sA restored; pass quietly, labels V+/EJames P. Johnson's Harmony Eight, Dear Old Southland/ Bandana Days OK 4504 V+/E- (long scratch sA almost inaudible) Jones' Paramount Charleston Four, Homeward Bound Blues/ Old Steady Roll, Paramount 12279 looks V+, plays E(edge bite, restored, sounds moderately 9'sA, 6'sB) Sara Martin with Sara Martin's Jug Band, Don't You Quit Me Daddy/ Jug Band Blues, OK 8166 V- (internal crack sounds very moderately 45' near the end) Sara Martin's Jug Band, Blue Devil Blues/ Jug Band Blues OK 8188 V+E- (better and looks E-, but a small needle drop sA with a connected fine scratch sounds 42' of which 37' very soft and 5' somewhat louder) - sA is the first recording of a Louisville Jug Band Memphis Jug Band, Sometimes I Think I Love You/ Memphis Boy Vi 20809 V Jelly-Roll Morton, Seattle Hunch/ Freakish, Vi 38527 V to V+ Thomas Morris, Beaucoupe de Jazz/ Those Blues, OK 4940 V(some label tear around the spindle holes) Original Charleston Strut/ E Flat Blues No. 2 OK 8055 V+E- (light to moderate swish last 30' sA; labels scuffed at the rim) Mary H. Bradford (with Benny Moten's Kansas City Orchestra) Chattanooga Blues/ Selma Bama Blues, OK 8102 EBennie Moten's Kansas City Orchestra, Tulsa Blues/ Goofy Dust Okeh 8181 V+ 18th Street Strut/ Things Seem so Blue to Me OK 8242 V+ (label printing rubbed around spindle sB) South Street Blues/ She's Sweeter than Sugar Okeh 8255 V+/V+EKater Street Rag/ Sister Honky Tonk, OK 8277 V+ (2 cm crack, restored, not audible) O'Bryant's Washboard Band, Skoodlum Blues/ Midnight Strutters Paramount 12260 V+ (plays better; 3 cm fine crack, restored, not audible, 2 pdigs, restored, sound softly 4' and 5' on sB) Washboard/ Brand New Charleston, Pm 12265 V-/G+ (2 cm crack sB, restored, not audible) King Oliver's Jazz Band, Sobbin'Blues/ Sweet Lovin'Man, OK 4906 V+ (sA starts 20' V; sB starts a bit swishy first 15') High Society Rag/Snake Rag, OK 4933 V- to V on sA/ the first 30' of sB are visibly damaged and pass with very much noise, then V, to end V- in the final 45'.

A small fine crack is restored and not audible.

Labels V+E- with an initial scratched in the label on sA. Room Rent Blues/ I Ain't Gonna Tell Nobody OKeh 8148 edge bite 14' sA/ 8' sB restored, passes quite loud. Then V. Scratches sound moderately 10', 12' and 45' on sA, 30' 19' and 20' on sB. Labels E-/V+ with a scuff on sB) Benny Washington's Six Aces, Compton Ave. Blues/ Clifford's Louisville Jug Band, Get it Fixed Blues, OK 8269 G+V(scratches and scuffs cause irregular noise and < 120 Hz rumble; 4 cm fine crack, restored, not audible) Label printing very faded, legible but with difficulty) Original New Orleans Rhytm Kings, She's Crying for Me/ Golden Leaf Strut, OK 40327 V+ (looks V but plays surprisingly much better, label printing rubbed around spindle hole sA, more extensive rubs on sB) Ma Rainey These Dogs of Mine/ Lady Rock Blues, Pm 12215 V+ (labels E-) Army Camp Harmony Blues/ Explaining the Blues Paramount 12284 V+ (labels E-) Louisiana Hoo Doo Blues/ Goodbye Daddy Blues Paramount 12290 V+ Clarence Williams Blue 5, Mean Blues/ Shreveport, OK 40006 V (label printing rubbed around the spindle hole)

Jim Prohaska, 1479 Rockway Avenue, Lakewood, Ohio 44107 USA -- Phone: (216)521-7966

e-mail: jamespjazz@aol.com (PLEASE include postal address!)

Offers invited. Standard grading and abbreviations. Satisfaction guaranteed. Packing, handling, and shipping are extra. Insurance is additional -- please indicate if desired. Please DOUBLE CHECK your bid numbers. Thanks!!

AUCTION CLOSES: July 21 2019 Minimum bid on 78's is $ 3.00, LP’s is $6.00 1. Cole’s Hot Blast Heater Record, Parts 1 and 2 (acoustic recording, almost looks 72. Happy Lawson – Buddy 8029; Anytime/Two Pretty Eyes Of Blue V lite lbl wear like a Gennett product) Black and dark red label. E+ 73. Sammie Lewis – Ge 5147; Crazy Over Daddy/Cootie Crawl V+ to E5. Paul Ash O. – Col 751; It’s A Happy Old World After All/Kiss Your Little Baby Good Night 74. Little Richard & His Band – Specialty 572; Long Tall Sally/Slippin’ & Slidin’ V+/V E75. Vincent Lopez O. – Ok 40542; A Cup Of Coffee A Sandwich And You/Who V++ 6. Bailey’s Lucky 7 – Ge 3125; On A Night Like This/Travis Carlton O.; Kinky Kids Parade 77. Jimmy Lytell – Per 14846; Zulu Wail/Fakir’s Rhythm V+ lite lbl wear E+ 78. Jimmy Lytell – Per 14922; Stockholm Stomp/Why Be Blue E-/V++ 8. Bar Harbor O. – VD 7804; Thinking Of U Always/White Way Players; Miss U E+ 79. Jimmy Lytell – Pathe 36824; Yellow Dog Bls/Sweet Emmalina E- lite lbl fades, sol 9. Bar Harbor Soc. O. – Ok 40743; My Little Bunch Of Happiness/I Never See 81. Sara Martin – Ok 8041; Sugar Bls/Achin’ Hearted Bls V+ Maggie Alone (vcls – Vaughn De Leath) E 83. James Moody w/Strings – BN 1585; Shade Of Blond/Autumn Leaves V+ 10. Les Baker w/Walt Anderson O. – Ge 6281; My Blue Heaven/Yesterday V++ 84. Joe Morris O. (Sam Lanin) – Ch 15777; I’m In Seventh Heaven/Used To You E 11. Bix Beiderbecke O. – Vi 23018; Deep Down South/Joe Venuti O.; Wasting 85. Naylor’s 7 Aces – Ge 5392; High Society (-_)/31st Street Bls (-A) V++ My Love On U V+ to E86. Red & Miff’s Stompers – Vi 20778; Davenport Bls/Delirium V+ to E- lite lbl wear 12. Baby Benbow – Ok 8098; Down Home Gal/Don’t Blame Me V lite lbl scrs 87. Original Gospel Harmonizers – Specialty 816; Get Away Jordan/These Are They E13. Benny Benson O. (Bert Stock) – Ch 15932; Honeysuckle Rose/ 88. Original Gospel Harmonizers – Specialty 828; Going To Die/When I Reach E+ Champion Dance Kings; Blue Is The Night V- start then VV+, lbl wear 89. Original Gospel Harmonizers – Specialty 833; Every Day Will Be Sunday/1 Morning 14. Calvin Boze All Stars – Aladdin 3055; Angle City Bls/Safronia B V+ Soon E 15. Broadway Bell Hops – Diva 2644; I’d Rather Cry Over You/Get Out Get Under The Moon 90. OI5 – Ge 3187; No Man’s Mama/Jack Stillman O.; Cooler Hot EV++ 91. OM5 – Ban 1193; Memphis Glide (-1)/Shufflin’ Mose (-3) V+ 16. Broadway Music Masters – Radiex 1240; Opera Marmalade/Olympic D.O.; Nighingale 92. Vess Ossman – Monarch 623; Oriental Intermezzo: “Salome” VV+ rough start (w) V++ 93. Vess Ossman – Sun 44826; Creole Bells V+ slight rough star 17. Broadway Players – Sil 2390; Maybe She’ll Write Me/Worried V+ lbl scrs 94. Pacific Coast Players – Globe 1338; Floating Down The Nile/no int. E18. Herschel Brown – Ok 45247; Talking Nigger Blues/New Talking Blues V++ 95. Sid Peltyn O. – Electradisk 1909; It’s Gonna Be You/We’re alone (w) V+ sol 19. James Brown Famous Flames – Federal 12258; Why Do U Do Me/Please, 96. Princeton Triangle Club Jazz Band – Col Personal 30-P; Ships That Pass In Please, Please V++ post hole flk/V+ The Night/Join The Navy V+ sol 21. Rev. J.C. Burnett – Col 14166; I’ve Even Heard Of Thee/Downfall Of 97. Fred Rich O. – Har 38; Feelin’ Kind O’ Blue/Miami V++ Nebuchadnezzar E- sm rim bite nap 100. Dan Russo O. – Br 4490; Medicine Man For Bls/Wouldn’t It Be Wonderful EE22. Butterbeans & Susie – Ok 8192; Adam & Eve/Consolation Bls V101. Andy Sanella All Star O. – Vi 22675; I’m Mad About You/Let’s Get Friendly E+ 23. C&MA Gospel Quintet – Col Personal 46-P; A Witness For My Lord/Don’t Turn Him Away 102. Gertrude Saunders – Vi 19159; Love Me/Potomac River Bls EE+ 103. Savoy Havana Band – Col(E) 3349; Last Night On Back Porch/Oom-Pah Trot E 24. Blanche Calloway Joy Boys – Vi 22661; Sugar Bls/ 104. Ingram Shavers – VD 81856; Party Girl/The Moon Is Low EJust A Crazy Song E- hr crk under lbl nap, sol/E105. Frank Signorelli O. – Pathe(MARBLED) 36518; She’s Still My Baby/ 26. Carolina Sacred Singers (Biddleville Quintet) – Herwin 93007; I Heard The McLaughlin’s Melodians; Someone Is Losin’ Susan V+ to E- lite lbl wear Voice Of Jesus Say/Fight On VV+lbl scrs V 107. Clara Smith – Col 14160; Ain’t Nothin’; Cookin’…/Separation Bls V++ 29. Tom Carter – Har 5144; Georgia Railroad/Carter & Wilson; John Henry V+ 108. Mamie Smith – Ok 4113; That Thing Called Love/U Can’t Keep Good Man Down E+ 30. Don Clark O. – Col 824; I’ve Got The Girl/Idolizing V sm rim flk nap 109. Mamie Smith – Ok 4169; Crazy Bls/It’s Right Here For You V+ 33. Coon-Sanders O. – Vi 20390; Brainstorm/My Baby Knows How V+ lbl wear 110. Trixie Smith Down Home Syncopators – Para 12232; Ada Jane’s Bls (-1)/ 34. Jack Crawford Boys (Seidel) – Ch 15400; Together We 2/Song Is Ended EEPraying Bls (-2) V++ 35. Katie Crippen & Her Jazz Artists – Para 20054; Blind Man Bls (-2)/ 111. Trixie’s Down Home Syncopators – Para 12249; How Come You Do Me Sing “Em For Mammy (-2) V+ lite lbl wear Like You Do (-7)/Everybody Loves My Baby (-6) V 36. Bing Crosby – Br 6140; I Found A Million Dollar Baby/I’m Through With Love V+ sol 112. Charlie Spand – Para 12790; Soon This Morning/Fetch UR Water G lbl wear 37. Bing Crosby – Br 6285; Paradise/You’re Still In My Heart EE+ 113. Philip Spitalny O. – Vi 20115; Hello Baby/Only You And Lonely Me E+ 38. Bing Crosby – Br 6394; Please/Waltzing In A Dream V+ 116. Mike Speciale O. – Per 14569; Dinah/Just A Cottage Small V+ 40. Dixie Washboard Band – Col 14128; Livin’ High/Wait Till U See V+ sm rim bite nap 118. Wilber Sweatman Jazz Band – Empire (VERTICAL CUT) 6219; Boogie Rag/ 41. Jimmy Dorsey – Par R511; Prayin’ The Bls/Frankie Trumbauer O.; Shivery Stomp E+ Van Eps-Banta Trio; Hawaiian Bls V++ lite lbl scrs 42. Clement Doucet (piano solo) – Col(E) 4636; Chopinata/Wagneria E122. Tuxedo O. – Voc 15106; Angry/Footloose V+ 43. Arizona Dranes – Ok 8419; Lamb’s Blood Has Washed Me Clean/ 123. Esther Walker – Br 3666; Left Sugar Standing In Rain/Good News V+ to EI’m Going Home On the Morning Train V+ lbl fades 124. Ted Wallace O. – Col 2254; Little White Lies/Hittin’ The Bottle V+ 44. Duke Ellington (as Ten Black Berries) – Or 1849; Rent Party Bls (-1)/ 125. Thomas Waller w/Morris’ Hot Babies – Vi 21202; He’s Gone Away/ St. James Infirmary (-2) EE-/E wol Please Take Me Out Of Jail V+ 48. Jack Gardner O. – Ok 40245; Ponjola/I Know She Does V++ 129. Duke Yellman O. – Ge 5482; Step Henrietta/Mandalay E51. Goofus 5 – Ok 40464; Loud Speakin’ Papa/Are You Sorry V+ to E130. Bubbles Reeber – Bwy 1153; Strolling In The Moonlight/Donald Stanley; 52. Johnny Hamp O. – Vi 22124; If I Had A Talking Picture Of You/Sunny Side Up V+ After I See The Sandman V++ 53. Handy’s Memphis Blues Band – Clax 40098; St. Louis Bls/Yellow Dog Bls V++ 131. The Black Hawks – Bwy 12121212; When Darkness Turns The World/ 56. Roy Harper & Earl Shirkey – Col 15406; The Railroad Bls/Yodeling Mule V++ Until Yesterday V+ to E58. Billy Hays O. – Vi 40056; My Sugar And Me/Sweet Virginia Rose E132. Bill Carlson O. – Bwy 1478; Sweet And Lovely (L-1113)/ 59. Henderson’s Novelty O. – Black Swan 2025; Gypsy Bls/Sweet Lady V+ to EWhen Yuba Plays The Rumba…(L-1115) E+ 61. Helen Humes – Ok 8467; A Worried Woman’s Bls/Black Cat Bls V+ 133. Abe McDow & His Band Southern – Bwy 1483; I Apologize (L-1134)/I 62. Alberta Hunter – Para 12017; Chirpin’ The Bls (-1)/ Can’t Write The Words (L-1132) E+ Someone Else Will Take Your Place (-1) V heavy lbl wear 134. Al Manthe O. – Bwy 1522; By A Rippling Stream (L-1631)/My Mom 63. Cliff Jackson O. (as Newport Syncopators) – VD 81879; The Terror (-A)/ (L-1626) E+ (from July, 1932 – one of the last recordings by Paramount) Frank Novak Music; I’m IN The Market For You V+ to E135. Ambrose O. – HMV B5909; My Baby Just Cares For Me/A Girl Friend E64. Jazz Pilots – Ok 40569; You Ought To See What’s Waiting For Me/ 136. Louis Armstrong Hot 5 – Par R2242; Squeeze Me/Once In A While E+ Thanks For The Buggy Ride V+ sm lbl scrs 137. Louis Armstrong O. – Odeon(Fr) 238.404; UR Driving Me Crazy/Peanut Vendor E+ 65. Lonnie Johnson – Ok 8505; Lonesome Ghost Bls/Fickle Mama Bls VV+ sm rim flks nap 138. Buster Bailey O. – Voc 5510; Chained To A Dream/San Juan Hill E/E68. Kentucky Cardinals – Chg 147; That’s Why/Twin City D.O.; Gimme A Little Kiss E 139. Mildred Bailey O. – Voc 3626; The Moon Got In my Eyes/It’s The Natural Thing To Do 69. Ladd’s Black Aces – Ge 5035; Runnin’ Wild (-B)/You’ve Got To See Your Mamma (-A) E V+ 140. Bal Taberin Jazz O. – Lyric 4211; Blues My Naughty Sweetie Gave To Me/Dardanella 70. Lakeshore D.O. – Ch 15184; My Baby Knows How/Dancing Champions; Still Believe In E UE 141. Bunny Berigan O. – HMV B8873; Jelly Roll Bls/Rockin’ Rollers’ Jubilee E+

!40

142. Bunny Berigan O. – HMV B8907; Black Bottom/Trees E+ 221. Hudson-DeLange O. – Br 7785; I’ll Never Tell U I Love U/Remember When E+ 143. Birmingham Jubilee Singers – Col 14345; Where Are U Running Sinner/ 222. Hudson-DeLange O. – Br 8090; I Know that You Know/I Never Knew E+ I’ve Heard The Preachin’… E+ 223. Hudson-DeLange O. – Br 8081; At UR Beck & Call/Mr. Sweeny’s Learned To Swing 144. Rube Bloom – Ok 41073; That Futuristic Rag/Serenata V++ V+ to E145. Tiny Bradshaw O. – De(sb) 194; The Sheik/Darktown Strutter’s Ball EE+ 224. Spike Hughes Negro O. – De(E) F3836; Music At Sunrise/Music At Midnight E+ 146. Tiny Bradshaw O. – De 236; I’m A Ding Dong Daddy/Ol’ Man River E+ 225. Spike Hughes Negro O. – De(E) F5101; Sweet Sorrow Bls/Air In D Flat E+ 147. Milton Brown’s Brownies – Bb(buff) 5444; Oh You Pretty Woman/ 226. Jack Hylton O. – HMV B5704; Lovable And Sweet/.My Dream Memory E Swinging On The Garden Gate E sol 227. Harry James O. – Br 8395; I Can’t Afford To Dream/Comes Love E+ 148. Walter Brown w/Tiny Grimes’ 6 – Sig 1008; I’m Living For U/Get Some Understandin’ 228. Harry James Boogie Woogie Trio – Par R2911; Home James/Jesse E+ E229. Johnny Johnson (piano solos) – Vi(Arg) 24774; Bubbles/Punch-Drunk E+ 149. George Brunis Jazz Band – Com 556; Royal Garden Bls/Tin Roof Bls E 230. Isham Jones O. – De(sb) 300; Jimtown Bls/Four Or Five Times E+ 151. California Ramblers – Bb(buff) 6190; I’ll Never Forget I Love You/A Beautiful Lady…(w) 231. Jimmy Jones Big 8 – HRS 1015; Departure From Dixie/A Woman’s Got A Right E+ wol E+/E 232. Helen Kane – Vi 21684; I Wanna Be Loved By You/Is There Anything Wrong In That 152. Eddie Cantor w/Phil Spitalny O., - Durium DeLuxe (blue & yellow lbl) EE+ un-numbered; Ballyhoo E+ 233. Helen Kane – Vi 21917; Do Something/That’s Why I’m Happy V+ to E- sol 153. King Carter O. – Col 2504; Moanin’/Blue Rhythm E234. Helen Kane – Vi 22080; He’s So Unusual/I’d Do Anything For U E- sm lbl scrs 157. Celestin’s Tuxedo Jazz Band – NO Bandwagon 5; High Society/Saints E+ 235. Helen Kane – Vi 22192; I Have To Have You/Aint-cha E+ 158. Champion Dance Kings – Ch 15572; You’re Gone/Manhattan Night Caps; 237. Herbie Kay O. – Col 3125; Swing Mr. Charlie/Chop Sticks E Roses Of Yesterday E+ 238. Gene Krupa O. – Col 35262; Hodge Podge/On The Beam E+ 159. Nat Cole Trio – Par R3056; I’m Lost/Let’s Spring One E+ 239. Bob Laine (piano)(Trio) – Cupol 4019; Bob’s Boogie/Sunrise Serenade E+ 160. Martha Copeland – Ok 8112; The Down So Long Bls/Pawn Shop Bls V+ 240. George Lewis N.O. Music – GTJ 15; Mama Don’t Allow It/Willie The Weeper E+ 161. Bill Davison Band – Collector’s Item 102; I Surrender Dear/On Blues Kick EE+ 241. George Lewis N.O. Music – GTJ 16; Yaaka Hula Hickey Dula/Burgundy St. Bls E+ 162. Dean And His Kids- Voc 3342; Zoom Zoom Zoom/ 242. Ted Lewis Band – Col 439; Milneberg Joys/Tin Roof Bls ESpreadin’ Knowledge Around E+/E 243. Ted Lewis Band – Col 2527; Royal Garden Bls/Dallas Bls V+ 163. Dixie Jubilee Singers – Col 14376; Send One Angel Down/ 244. Little Ramblers – Col 403; Look Who’w Here/Got No Time V++ Sun Don’t Set In The Morning E+ 247. Ed Loyd O. – Ok 41435; I’ve Got My Eye On You/Just A Little Closer E+ 164. Tom Dorsey – Par R462; Tiger Rag/Louis; Ain’t Misbehavin’ E+ 248. Jimmie Lunceford O. – Bb 6133; Here Goes/Breakfast Ball E+ 165. Tommy Dorsey O. – HMV B8868; Davenport Bls/Weary Bls E+ 249. Majestic D.O. – Jewel 5846; Man From The South (-2)/Dubin’s Dandies; Lonely Lady 167. Eight Radio Stars – Br 4272; I Found Happiness/My Annapolis E+ V+ 168. Duke Ellington O. – Par R2202; Hop Head/East St. Louis Toodle-Oo E+ sol 250. Sam Manning Cole Jazz O. – Col 14110; Let Go My Hand/Bungo VV+/V 169. Duke Ellington O. – HMV B6166; Black Beauty/The River And Me E sol 251. Wingy Mannone O. – Voc(gl) 2913; I Believe In Miracles/Isle Of Capri E 170. Duke Ellington O. – HMV B6404; Doin’ Voom Voom/March Of Hoodlums E+ 252. Wingy Mannone O. – SE 5011; Never Had No Lovin’/I’m Alone Without U E+ 171. Duke Ellington O. – Par R1535; Syncopated Shuffle/Blues Of Vagabond E+ 253. Daisy Martin & Her Royal Tigers – Ban 1262; What You Was You Used To Be/ 173. Duke Ellington O. (as Jungle Band) – Br 4776; Maori/Admiration EE+ Feelin’ Bls V+ to E174. Duke Ellington O. (as Jungle Band) – Br(C) 4783; Double Check Stomp/Accordion Joe 254. Dick McDonough O. – Mel 61102; In A Sentimental Mood/It Ain’t Right E+ VV+ wol 255. Red McKenzie Rhythm Kings – De(sb) 667; I’m Building Up…/Sing An Old Fashioned 175. Duke Ellington O. – HMV(Fr) K8308 (laminated); Shout ‘Em Aunt Tillie/It’s Glory E- sol Song E 176. Duke Ellington O. – Par R2813; It Don’t Mean A Thing/Baby When You Ain’t There E+ 256. McKinney’s CP – Vi 22511; Hullabaloo/BWYPCH V++ 177. Duke Ellington O. – De(E) M438; Harlem Speaks/Chicago E+ sol 257. Glenn Miller O. – Ok 4449; Humoresque/Sold American E+ 178. Duke Ellington O. – Master 117; There’s Lull In my Life/It’s Swell Of U V++/E 258. Mills Blue Rhythm Band – Voc 4769; Spitfire/Back Beats E+ 179. Duke Ellington O. – Br 7734; In A Jam/Uptown Downbeat E+/E 259. Miff Mole O. – HRS 15; Windy City Stomp/LRK; Ballin’ The Jack EE+ 180. Duke Ellington O. – Br 8169; Dinah’s In A Jam/You Gave Me The Gate E+ 260. Monarch Jazz Qt. – Ok 8761; I Ain’t Got Nobody/Somebody’s Wrong V++ 181. Seger Ellis – Vi 19755; Prairie Bls/Sentimental Bls E+ 261. Jelly Roll Morton Trio – HMV B9220; Shreveport/Morton RHP; Deep Creek E+ 182. Doc Evans Dixieland Band – Soma 1024; ODJB One Step/Riverside Bls E+ 262. Jelly Roll Morton RHP – HMV B9221; Georgia Swing/Morton Qt.; Mournful Serenade 183. Roy Fox Band – De(E) F2763; Oh Monah!/If I Didn’t Have You E+ E+ 184. Bud Freeman Chicagoans – Par R2809; Prince Of Wails/Muskrat Ramble E+ 263. Jelly Roll Morton N.O. Jazzmen – HMV B9219; West End Bls/Climax Rag E+ 185. Jan Garber O. – Col 1724; Caressing You/Weary River EE264. Sam Morgan Jazz Band – JC 521; Steppin’ On The Gas/Mobile Stomp E+ 186. Georgians – Col 252; My Best Girl/Everybody Loves My Baby EE+ 266. Ozzie Nelson O. – Bb 7726; Yes Suh/Maple Leaf Rag E188. Gene Gifford O. – Vi(sc) 25065; Dizzy Glide/Squareface E+ sol 267. NORK (as Friar’s Soc.) – Starr(C) 9313; Panama/Husk O’Hare O.; U Gave Me UR 189. Gene Gifford O. – Bb 10704; New Orleans Twist/Nothin’ But The Bls E Heart VV+ 192. Ernie Golden O. – Ch 16107; My Baby Just Cares For Me/Sam Lanin O.; I’m Yours V+ 268. Frankie Newton O. – Vri 518; You Showed Me The Way/Please Don’t Talk About Me… 193. Nat Gonella – De(sb) 492; Sing/I Heard E E195. Benny Goodman O. – Par R2978; Darktown Strutter’s Ball/Solo Flight E+ 269. Red & Miff’s Stompers – SD 105; Hurricane/Black Bottom Stomp E+ 196. Benny Goodman Sextet – Par R2787; Royal Garden Bls/Wholly Cats E+ 270. Red Nichols O. – Vri 524; Wake Up and Live/Never In A Million Years V+ 198. Herbert Gordon O. – Br 4584; Hard To Get/I Could Do It For You E+ 271. Jimmy O’Bryant’s Wshbrd Band – Para 20400; Hot Hot Hottentot/ 199. Bob Green O. – Or 929; When Day Is Done/Moonlight And You E Alabamy Bound V+ 200. Bobby Hackett O. – Voc 5620; That Old Gang Of Mine/After I Say I’m Sorry E+ 272. OM5 – Nadsco 1200; Mindin’ My Business/Olympic D.O.; My Sweetie V+ wol 203. Coleman Hawkins – Par R1825; Sunny Side Of Street/I Ain’t Got Nobody E+ 273. Will Osborne O. – Mel 12099; Hello Beautiful/One Little Raindrop V+ 204. Herbie Haymer Quintet – Par R3089; Black Market Stuff/Laguna Leap E+ 274. Palmetto Jazz Qt. – Ok 8011; My Jazz Gal/Tim Brymm Black Devil 4; 205. Horace Heidt O. – Vi 21335; Cuddle Up A Little Closer/I Love You Truly V+ lite lbl Aunt Hagar’s Children Bls E wear 276. Sid Phillips O. – Voc 3934; Swing Patrol/Message From Mars E-/E 206. Fletcher Henderson O. – Voc 3627; If You Ever Should Leave/Posin’ V+ 277. Sid Phillips O. – Br 8113; Champagne Cocktail/Travelin’ Down The Trail E+ 207. Fletcher Henderson O. – Voc 3641; Chris And Gang/All God’s Chillun Got Rhythm E 278. Ben Pollack O. – HOW 1026; I’m Following You EE+ 208. Fletcher Henderson O. – Voc 3713; Worried Over You /Let ‘Er Go E+ sol 279. Ben Pollack O. – HOW 1027; Crying For The Carolines E 210. Hi-Flyers – Voc 05000; That’s Why I Sigh And Cry/Let’s Spend Night In Hawaii E+ sol 280. Danny Polo Swing Stars – Lon 380; More Than Somewhat/Montparnasse Jump E+ 211. Earl Hines O. – De(sb) 654; Julia/Japanese Sandman E sol, lbl scrs 281. Harry Raderman O. – Ed 51390; Mandalay/It Had To Be You E 212. Earl Hines O. – Voc 3467; ICBTYILWM/Rhythm Sundae E+ 282. Radiolites – Col 1375; That’s My Mammy/Gerald Marks O.; Little Log Cabin of Dreams 214. Art Hodes Columbia Quintet – Jazz Record 1001; Royal Garden Bls/103rd St. Boogie E E+ 283. Rhythm Wreckers – Voc 3390; Alice Blue Gown/Wabash Bls E+ sm lbl tear 215. Billie Holiday O. – Par R2747; The Man I Love/Night And Day E+ sol 284. Fred Rich O. – Col 1838; Nobody But You/Singin’ In The Rain V+ lbl scrs 216. Billie Holiday O. – Par R2771; Ghost of Yesterday/Slim Gaillard Boys; Chiltlin’ Switch 285. Fred Rich O. – HOW J4; Little Girl EE+ Bls E+ 286. Fred Rich O. – HOW K1; It’s The Girl E+ 217. Hollywood D.O. – EBW 4881; My Blackbirds Are Bluebirds Now/Old Man Sunshine 287. Fred Rich O. – HOW M3; Call Me Darling(w) + Comin’ Thru The Rye E+ EE-/E+ 288. Lanny Ross – Br 7496; I’m In The Mood For Love/I Wished On The Moon E+ 218. Hudson-DeLange O. – Master 103; Maid’s Night Off/Sophisticated Swing E+ 289. Gil Rodin O. – Mel 13376; Right About Face/Love’s Serenade E sol 219. Hudson-DeLange O. – Br 7700; Something Wrong Again/Moon Grinning At Me E+ 290. Seven Missing Links – Per 14480; Milneberg Joys/Angry E+ 220. Hudson-DeLange O. – Br 7708; Sleepy Time Down South/I Never Knew E+ 291. Artie Shaw O. – Br 7735; Thou Swell/Sugar Foot Stomp E

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292. Artie Shaw O. – Br 7976; Shoot The Likker To Me John Boy/Free Wheeling E 357. Gladys Bryant w/Henderson’s O. – Para 12031; Beale St. Mamma (-3)/ 293. Artie Shaw O. – Br 7986; A Strange Loneliness/Let “Er Go E/ETired O’Waitin’ Bls (-1) E+ 294. Artie Shaw O. – Br 8050; One Song/Whistle While You Work EE-/E358. Bumble Bee Slim – De 7440; Could Speak My Mind/Green Country Gal E+ 295. Bessie Smith – Col(Fr) DF3073; Cemetery Bls/Any Woman’s Bls E+ 359. Cab Calloway O. – Mel 12639; Some Of These Days/Is That Religion E+ 296. Hazel Smith (with King Oliver) – Okeh vinyl test (issued)(Ok 8620); 360. Leroy Carr – Voc 1191; How Long How Long Bls/My Own Lonesome Bls V++ Get Up Off Your Knees E 361. Herman Chittison – Bb 11333; The Man I Love/Flamingo E+ 297. Stuff Smith – Var 8251; Joshua/It’s Up To You E362. Herman Chittison 3 – Musicraft 314; Serenade/There’s Beauty Everywhere E+ 298. Albert Socarras Cubanacan O. – Br 7443; Masabi/Africa EE+ 363. Ruth Coleman – Pathe 021060; Original Charleston Strut/ 299. Lee Stafford (piano) – Castle 24; Gladiolus Rag/Teddy Bear Bls E+ sol Emma Gover; Oh Daddy Bls V++ sol 300. Ray Starita Band – Col(E) 4943; I Call You Sugar/Blue Eyes E-/lbl fade E364. Baby Dodds Trio – Cir 1001; Wolverine Bls/Baby Dodds; Drum Improvisation No. 1 E+ 301. Eddie Stone O. – Voc 3555; A Study In Brown/Satan Takes A Holiday E-/EE364. Tom Dorsey – Ok 41178; It’s Right Here For You/Tiger Rag V++/lbl scrs V++ 303. Joe Sullivan – Com(gl) 540; Andy’s Bls/Summertime E365. Duke Ellington O. – Vi 38035; Doin’ The Voom Voom/Flaming Youth E+ 304. Superior Jazz Band – Globe 7114; Virginia Bls/Georgia V+/rough start V 366. Seger Ellis – Ok 41417(pic lbl); Prairie Bls/ 305. Tampa Red’s Hokum Jug Band – BRS 994; My Daddy Rocks Me/Boot It Boy E+ Sentimental Bls E+ lite lam to lbl (both sides) nap 306. Thelma Terry Playboys – Col 1532; Starlight & Tulips/Lombardo O.; I Love Truly E 367. Seger Ellis – Ok 41447; St. Louis Bls/Shivery Stomp E307. Henry Thies O. – Vi 21462; That’s My Mammy/When You’re Smiling EE+ 368. Don Ewell – Cir 1002; Manhattan Stomp/Baby Dodds Trio; Albert’s Bls E+ 308. Dickie Thompson Blue 5 (feat. John Hardee) – Sig 1002; Tailor-Made Gal/ 369. Pat Flowers – De 8587; Beg Borrow And Steal/After The Sun Goes Down E+ Hand In Hand Bls E370. Pat Flowers – Hit 1010; Ain’t Misbehavin’/Original Bls E+ 309. Frankie Trumbauer O. – Odeon A2354; Way Down Yonder In New Orleans/ 371. Pat Flowers – Hit 1011; But Not For Me/Chopin E Minor Waltz E+ I’m Coming Virginia E sm lbl tear 372. Pat Flowers – Hit 1013; Eight Mile Boogie/Blue Danube-Variations E/E+ 310. Sophie Tucker w/Miff Mole’s Molers – Par R3353; I Ain’t Got Nobody/ 373. Bud Freeman O. – Ok 41168; Crazeology/Can’t Help Lovin’ Dat Man V++ After You’ve Gone V++ 374. Lucille Hegamin Blue Flame Sync. – Arto 9074; Getting Old Bls/ 311. Rudy Vallee – De(E) F7211; When Winter Comes/I Poured My Heart Into a Song E+ Lonesome Monday Morning Bls V+/V 312. Van & Schenck – Col 1162; A Lane In Spain/There Must Be Somebody Else E+ 375. Fletcher Henderson O. – Voc 14880; Meanest Kind O’Blues/ 313. Joe Venuti O. – Mel 12838; My Dancing Lady/Everything I Have Is Yours EA New Kind Of Man E+ 314. Victor Military Band – Vi 18163; Kansas City Bls/Hesitation Bls E376. Fletcher Henderson O. – Col 2559; Sugar/Blues In My Heart E315. Thomas Waller – Par R1197; Dragging My Heart Around/I’m Crazy Bout My Baby E+ 377. J.C. Higginbotham Quintet – BN(yellow lbl) 501; Weary Land Bls/ sol Frank Newton Quintet; Daybreak Bls E+ 316. Waring’s Pa. – HMV B6244; I Heard/Lew Conrad O.; All Of A Sudden E 378. Billie Holiday O. – Com 553; I’ll Get By/I’ll Be Seeing You E+ 317. Buck Washington – Par R1837; Old Fashioned Love/Coleman Hawkins; It Sends Me 379. Alberta Hunter w/Henderson’s O. – Black Swan 2008; Bring Back The E+ Joys/How Long Sweet Daddy.. E+ 318. Chick Webb O. – De(sb) 173; Rhythm Man/Lona E+ sol 380. Alberta Hunter – Vi 20651; I’m Down Right Now…/My Old Daddy’s Got New Way.. V+ 319. Frank Weir Sextet – Lon 185; Out Of Nowhere/Henderson Stomp E+ + 320. Paul Whiteman O. – Vi 24885; Itchola/Jan Garber O.; Love & Dime V+ to E381. Everett Johnson Trio – Original Music 642/643; Stompin’ At The Temple Inn/ 321. Clarence Williams Wshbrd 5 – Ok(sm red lbl) 8572; Sweet Emmaline (-B)/ Bring Back My Soldier Boy To Me E Log Cabin Bls (-B) E 382. Lonnie Johnson – Disc 5060; I’m In Love With Love/Tell Me Why E+ 322. Williams Jug Band – Col 2829; Chizzlin’; Sam/Dicky Wells’ Shim 383. Pete Johnson – De 8582; Pete’s Mixture/Just For You E+ Shammers; Baby Ain’t You Satisfied (this side has no label and 384. Hal Kemp O. – Br(C) 4078; Washington & Lee Swing/High Up On Hill Top V+ looks like it never had one) V+ 385. Lanin’s Red Heads – Col 327; King Porter Stomp/Jimtown Bls EE323. Cootie Williams Rug Cutters – Voc 3814; Downtown Uproar/Blue Reverie E+/E 386. Little Choc. Dandies – Ok 8728; That’s How I Feel Today/6 Or 7 Times E 324. Cootie Williams Rug Cutters – Voc 3818; Digga Digga Do/ICBTYILWM E 387. Cripple Clarence Lofton – Mel 61166; You Done Tore Your Playhouse Down/ 325. Cootie Williams Rug Cutters – Voc 3890; Watching/ICGYABL E-/E+ sol Brown Skin Girls E sm rim flk nap/lbl scrs VV326. Cootie Williams Rug Cutters – Voc 3960; Echoes Of Harlem/Have A Heart E+ sol 388. Abe Lyman O. – Br 6095; Oh How I Miss You/To Whisper Dear I Love You E 327. Cootie Williams Rug Cutters – Voc 4061; Swingtime Honolulu/Carnival In Caroline E+ 389. Sara Martin – Ok 8043; ‘Tain’t Nobody’s Bus’ness If I Do/You’ve sol Got Everything… rough start E/EE328. Cootie Williams Rug Cutters – Voc 4086; A Lesson In C/Ol’ Man River E+ sol 390. Sara Martin – Ok 8045; Last Go Round Bls/Mama’s Got The Bls V++ 329. Cootie Williams Rug Cutters – Voc 4324; Blue Is The Evening/Sharpie E+ sol 391. Sara Martin w/Clarence Williams Blue 5 – Ok 8203; Things Done Got Too 330. Cootie Williams Rug Cutters – Voc 4425; Chasin’ Chippies/Swing Pan Alley E+ sol Thick/Eagle Rock Me Papa VV+ lbl wear 331. Cootie Williams Rug Cutters – Voc 4574; Delta Mood/Boys From Harlem E+ sol 392. Lizzie Miles – Vi 19083; UR Always Messin’ ‘Round w/My Man/Edna Hicks; I’m Goin’ 332. Cootie Williams Rug Cutters – Voc 4636; Gal-Avantin’/Mobile Bls E+ sol Away E+ 333. Cootie Williams Rug Cutters – Voc 4726; Boudoir Benny/Ain’t Gravy Good E+ 393. Miff Mole’s Molers – Ok 40984; Honolulu Bls/The New Twister E 334. Cootie Williams Rug Cutters – Voc 4958; Night Song/Black Beauty E+ 394. Little Brother – Bb(buff) 6697; Louisiana Bls – Part 2/Vicksburg Bls – Part 3 V+/VV335. Cootie Williams Rug Cutters – Voc 5411; Beautiful Romance/She’s Gone E/EE395. Jelly Roll Morton – Jazz Man 12; Creepy Feeling/Finger Buster E+ 336. Cootie Williams O. – Ok 6224; Ain’t Misbehavin’/Blues In my Condition E+ 396. Jelly Roll Morton Sextet – Gen 1706; Get The Bucket/Why E+ 337. Cootie Williams O. – Ok 6336; Toasted Pickle/Top And Bottom E+/E 397. Jelly Roll Morton 7 – Gen 1710; Mama’s Got A Baby/Home Is Southern Town E+ 338. Edith Wilson w/Dunn’s Jazz Hounds – Col A3479; Nervous Bls/Vampin’ Liza Jane V++ 398. Jelly Roll Morton 7 – Gen 1711; Swinging The Elks/Dirty, Dirty, Dirty E+ 339. Teddy Wilson – Br 8025; Don’t Blame Me/BTDATDBS E-/V+ 399. Bennie Moten KC Orch. – Ok 8242; 18th Street Strut/Things Seem So Blue V+ 340. Arcadian Serenaders – Ok 40562; Original Dixieland/Yes Sir, Boss E400. Bennie Moten O. – Bb 7938; Hot Water Bls/Moten’s Bls E+ 341. Louis Armstrong O. – Ok41448; If I Could Be With You/Confessin’ E 401. (Napoleon’s) Emperors Of Jazz – Swan 7507; Clarinet Marmalade/Muskrat Ramble 342. Louis Armstrong O. – Polydor 580.010; Sunny Side Of Street/Pt. 2 E+ E+ 343. Kokomo Arnold – De(sb) 7172; Sundown Bls/I’ll Be Up Some Day EE402. (Napoleon’s) Emperors Of Jazz – Swan 7508; Jazz Band Ball/Fidgety Feet E+ 344. Kokomo Arnold – De(sb) 7267; Salty Dog/Cold Winter Bls E+ 403. NORK (as Friar’s Society) – Ge 4968; Panama/Tiger Rag V++ 345. Auld-Hawkins-Webster Saxtet – Apollo 754; Porgy/Pick Up Boys E+ 404. King Oliver’s Jazz Band – Voc 1007; Too Bad/Snag It V+/slight rought start VV+ 346. Bailey’s Lucky 7 – Ge 4857; Don’t Leave Me Mammy (-B)/Poor Little Me (-B) V+ 405. King Oliver’s Jazz Band – Voc 1014; Jackass Bls/Deep Henderson lite wax 347. Mildred Bailey O. – Voc 4036; Bewildered/At Your Beck And Call E+ blemish will lightly sound first 30 seconds E/wax blemish 348. Mildred Bailey O. – Voc 4083; I Let A Song Go Out Of Heart/Rock It For Me V+ that will lightly swish for about one minute EE- sm lbl tears both sides 349. Mildred Bailey O. – Voc 4109; If U Were In my Place/Moonshine Over Kentucky E+ 406. King Oliver O. – Br 3741; Farewell Bls/Sobbin’ Bls EE+ sm lbl tear/EE+ 350. Mildred Bailey O. – Voc 4282; Haven’t Changed Thing/Now Can Be Told E+/sm lam 407. King Oliver O. – Vi 38101; Sweet Like This/I Want You Just Myself V+ to Enap E 408. King Oliver O. – Vi 38137; Edna/Rhythm Club Stomp E/one stripped grv E 351. Mildred Bailey O. – Voc 4345; Love Is Where U Find It/Used To be Color Blind E+ 409. OI5 – Har 267; Florida Low Down/Hangin’ Around V+ 352. Mildred Bailey O. – Voc 4432; Old Folks/Have You Forgotten So Soon E+ 410. OI5 (as Dixie JB) – Jewel 5263; Moten Stomp/Jewel D.O.; Waitin’ For Katy V+ 353. Bix Beiderbecke O. – Vi 23008; I’ll Be A Friend With Pleasure (-3)/ 411. Jack Pettis Pets – Vi 38105; Bugle Call Blues/ I Don’t Mind Walkin’ In The Rain (-1) E+ Irving Mills’ Modernists; At The Prom V+ 354. Big Bill – Voc 05096; Preachin’ The Blues/Too Many Drivers E+ 412. Ben Pollack O. – Ban 32074; Sing Song Girl (-2)/Fall In Love With Me (-3) V+/V++ 355. Big Bill – Voc 05205; Fightin’ Little Rooster/Oh Yes EE+ 413. Frankie Quartell Melody Boys – Ok 40257; Heart Broken Strain/ 356. Gladys Bryant w/Henderson’s O. – Para 12031; Beale St. Mamma (-1)/ Lanin O.; Honest And Truly ETired O’Waitin’ Bls (-1) E 414. Frankie Quartell Melody Boys – Ok 40258; Prince Of Wails/

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Okeh Sync.; Doo Wacka Doo V++ 415. OHCF – Oriole(E) 101; Tiger Rag/I Saw Stars E416. Ma Rainey w/Lovie Austin Bls Sere. – Para 12200; Ma Rainey’s Mystery Record/Honey Where You Been So Long V+ 417. Ma Rainey Georgia Band – Para 12364; Broken Hearted Bls/Jealousy Bls V++ 418. Ruben Reeves River Boys – Voc(gl) 2638; Screws Nuts and Bolts/ Yellow Five EE-/E 419. Luis Russell O. – Ok 8766; Doctor Bls/Feeling The Spirit E420. Deryck Sampson – Beacon 7004; Homeless On The Range/ Canal Street Boogie Woogie E- wol/E 421. Ben Selvin O. – Br 3639; Shaking The Bls Away/Ohh Maybe It’s You E422. Bessie Smith (w/Louis) – Col 14056; Reckless Bls/Sobbin’ Hearted Bls V++ 423. Bessie Smith – Col 14079; Dixie Flyer Bls/You’ve Been Good Old Wagon V+ 424. Clara Smith Jazz Band – Col 14009; 31st St. Bls/Chicago Bls V+ lbl wear 425. Clara Smith Jazz Trio – Col 14045; Prescription For Bls/Death Letter Bls E-/V+ 426. Mamie Smith Jazz Hounds – Ok 4194; Fare Thee Honey Bls/Road Is Rocky E 427. Mamie Smith Jazz Hounds – Ok 4228; If U Don‘t Want Me Bls/Mem’ries Of U Mammy E 428. Mamie Smith Jazz Hounds – Ajax 17058; Good Time Ball/ Lost Opportunity Bls V+ lite lbl wear/V+ 429. Pine Top Smith – Voc 1245; Pine Top’s Boogie Woogie/Pine Top Bls V/VV+ 430. Trixie Smith – De 7528; Jack I’m Mellow/He May Be Your Man E+ 431. Victoria Spivey – Ok 8338; No More Jelly Bean Bls/Black Snake Bls V++ 432. Tampa Red & Georgia Tom – Voc 1216; Tight Like That/Georgia Tom; Grievin’ Me Bls V+ 433. Tennessee Tooters – Voc 15109; Deep Elm/Sweet Man E 434. Three Keys – Br(E) 01545; Rasputin/Oh By Jingo E+ sol 435. Frankie Trumbauer O. – Ok 40772; Singin’ The Blues/Clarinet Marmalade V++ 436. Frankie Trumbauer O. – Ok 40979; There’ll Come A Time/Mississippi Mud V+ 437. Frankie Trumbauer O. – Ok 41039; Borneo/My Pet E 438. Frankie Trumbauer O. – Ok 41100; Dusky Stevedore/Bless U Sister EE+/E 439. Frankie Trumbauer O. – Ok 41145; Take Your Tomorrow/Love Affairs V+/V++ 440. Frankie Trumbauer O. – Ok 41209; Futuristic Rhythm/Raisin’ The Roof E/EE441. Frankie Trumbauer O. – Ok 41231; Wait Till You See My Cherie/Louise E 442. Frankie Trumbauer O. – Ok 41431; Deep Harlem/Get Happy E443. Frankie Trumbauer O. – Col 18002; Medley of Isham Jones Dance Hits/ ”Sizzling” One Step Medley EE+ 444. Frankie Trumbauer O. – Br 6159; Honeysuckle Rose/Georgia On my Mind E445. Frankie Trumbauer O. – Br 6788; Emaline/Long About Midnight EE+ 446. Sophie Tucker – Ok 4565; High Brown Bls/She Knows It E 447. Lavinia Turner Band – Actuelle 020544; How Many Times/Can’t Get Lovin’ Bls V+ 448. Joe Venuti Blue Four – Vi 23021; The Wild Dog/Really Blue E 449. Ethel Waters – Para 12214; You’ll Need Me When I’m Long Gone/ Tell ‘Em Bout Me V+ 450. Ethel Waters – Col 14116; No Man’s Mamma/Shake That Thing EE- sm rim flk nap 451. Paul Whiteman O. – Col 1491; Oh You Have No Idea/Georgie Porgie E sm sol 453. Zach Whyte O. (as Chuck Nelson & His Boys) – Ch 40016; West End Bls/ Paul’s Novelty O.; I Got Rhythm E+ 454. Fess Williams O. – Vi 38064; Do Shuffle/A Few Riffs E 455. Red Allen O. – Bb(gl) 10235; It Should Be You/Pleasing Paul E+ 456. Red Allen O. – Or 2915; I Wish I Were Twins/I Never Slept A Wink V+ to E457. Red Allen O. – Mel 13016; Don’t Let Love Go Wrong/Why Don’t U Practice E/EE458. Allen-Hawkins O. – Per 15851; You’re Gonna Lose UR Gal/My Galveston Gal V+/E459. Red Allen O. – Voc 2956; I’ll Never Say Never Again/Get Rhythm In UR Feet V++ sol 460. Red Allen O. – Voc 2997; Roll Along Prairie Moon/I Wished On Moon E/EE461. Red Allen O. – Voc 3245; Tormented/Nothing Blue But The Sky E+/E462. Red Allen O. – Voc 3302; Algiers Stomp/When Did You Leave Heaven E+ sol 463. Red Allen O. – Voc 3305; Trouble Ends Out Where The Blue Begins/ Darling Not Without You EE+/E 464. Red Allen O. – Voc 3574; Meet Me In Moonlight/Don’t U Care What Anyone Says E 465. Red Allen O. – Ok 6281; Ol’ Man River/K.K. Boogie E+ 466. Bailey’s Lucky 7 – Ge 4909; Nobody Lied (-C)/Samuels O.; Sunshine Alley E468. Bunny Berigan Boys – Voc 3224; Little Bit Later On/Melody From The Sky E+/lbl scrs E469. Bunny Berigan O. – Br 7858; Let’s Do It/Dixieland Shuffle V++ 470. Russ Carlson O. – Crown 3345; Sleep Come On And Take Me/ High Steppers; Holding My Honey’s Hand V+ 472. Benny Carter O. – Ok 41567; Lonesome Nights/Blue Lou V++ 473. Benny Carter O. – Voc 4984; Melancholy Lullaby/Plymouth Rock E+ sol 474. Benny Carter O. – De 3294; Night Hop/OK For Baby E-/E+ 475. Benny Carter O. – Bb 11197; Diff’rence Day Made/Cuddle Up Huddle Up EE+ 476. Benny Carter O. – DeLuxe 1009; Looking For A Boy/Who’s Sorry Now E+ 477. Benny Carter O. – DeLuxe 1041; UR Conscience Tells U So/12:00 Jump E+ 478. Russ Case O. – Vi 20-3080; The Night Is Young And You’re So Beautiful/You Started Something (rare Jack Teagarden) E+ 479. Clicquot Club Eskimos – Voc(Aust) 595; Crying For The Carolines/ Dorsey Bros. O.; Have A Little Faith In Me E+

482. Dubin’s Dandies – Ban 0757; The Harvard Hop/Lou Gold O.; Bye Bye Bls E484. Benny Goodman O (as Broadway Bandits) – Regal Zono(Aust) C22040; Keep On Doin’ What You’re Doin’/Emaline EE485. Bob Haring O. – Cam 440; Old Fashioned Love/no int. V+ post hole flk 486. High Hatters – Vi 22322; Sing You Sinners/In My Little Hope Chest E+ 487. Isham Jones O. – Vi(sc) 24582; Over Somebody Else’s Shoulder/Neighbors E+ 488. Isham Jones O. – Vi(sc) 24643; With My Eyes Wide Open/Do I Love You V+ 489. Isham Jones O. – Bb(buff) 6449; The Blue Room/China Boy V+ 490. Isham Jones O. – De(sb) 170; Out Of Space/For All We Know E 491. Isham Jones O. – De(sb) 327; Believe It Beloved/Waltz Of Love V+/V++ 492. Lloyd Keating O. - Har 1052; Low Down Rhythm/Lou Gold O.; Piccolo Pete E+ 493. Jimmy Lane’s Jazz Kings – Ch 15108; Tonight’s My Night With baby/ Joe Morris O.; Her Beaus Are Only Rainbows V+ 494. Chester Leighton O. – VT 2220; Wasting My Love On You/ Hotel Pa. Music; My Baby Just Cares For Me V+ lbl scrs 496. Louisiana Rhythm Kings – Br(C) 4706; I Have To Have U/Lady Be Good EE497. Jimmie Lunceford O. – Vi (vinyl test – issued); Chillun’ Get Up E+ 499. Mills Merry Makers – Romeo 1008; The Junior Senior Prom/ Bwy Broadcasters; I Don’t Want Your Kisses E+ 500. Paul Mills O. – Romeo 804; Bad Girl/Bob Haring O.; Sweethearts On Parade V++ 501. Red Nichols 5 Pennies – Voc 4654; Feelin’ No Pain/Ida E+ 502. Red Nichols O. – Bb(buff) 5553; Shine/Runnin’ Wild EE+ 506. Fred Rich O. (as Rudy Marlow O.) – VT 2062; Dixie Jamboree/ Georgians; Can’t We Be Friends V++ lbl scrs 509. Eddie South O. – Vi 21151; By The Waters of The Minnetonka/La Rosita E 510. Eddie South O. – Vi 21155; Voice Of The Southland/My Ohio Home E511. Eddie South O. – Vi 22847; Marcheta/Hejre Kati V+/V++ 512. Eddie South O. – Vi 24343; My Oh My/Gotta Go E 513. Maxine Sullivan – Voc 3885; Darling Nellie Grey/Folks Who live On Hill E+ sol 514. Maxine Sullivan – Col 36233; Who Is Sylvia/If I Had a Ribbon Bow E sol 516. Frankie Trumbauer O. – UHCA 30; Riverboat Shuffle/Ostrich Walk E+ sm rim flk nap 517. Frankie Trumbauer O. – Ok 41252; Gotta Feelin’ For U/Nobody But You V++ 518. Frankie Trumbauer O. – Br(E) 01812; China Boy/Break It Down E+ 519. Frankie Trumbauer O. – Br 7663; Mayor of Alabam’/”S Wonderful E520. Frankie Trumbauer O. – Br 7703; Singin’ The Blues/I’m Coming Virginia E+ sm lbl tears 522. Joe Venuti O. – Vi 23015; My Man From Caroline/I Like A Little Girl Like That V+/sm rim flk nap V+ 523. Joe Venuti Rhythm Boys – Col 2488; Little Girl/Tempo de Modernage E+ sol/E+ 524. Joe Venuti Rhythm Boys – Col 2535; There’s No Other Girl/Now That I Need You You’re Gone E+/EE+ 525. Joe Venuti O. – Or 2791; Everything I have Is Yours/My Dancing Lady V++ lbl scrs 526. Joe Venuti O. – Mel 12839; Build A Little Home/No More Love E527. Joe Venuti O. – Mel 13081; Moon Glow/Gene Kardos O.; Zombie E 528. Joe Venuti Blue 4 – De(sb) 625; Mystery/Tap Room Bls EE529. Joe Venuti Rhythmists – Tempo 410; Alexander’s Ragtime Band/Zone 28 E+ 530. Ethel Waters – Col 487; Sweet Man/Dinah E531. Ethel Waters – Col 1837; Birmingham Bertha/Am I Blue V++ 532. Ethel Waters – Col 1905; Shoo Shoo Bogie Boo/Do I Know What I’m Doing V+ 533. Ethel Waters – De(sb) 140; Miss Otis Regrets/Moonglow E534. Ethel Waters – MHR 108; A Hundred Years From Today/Throw The Dirt E 535. White Way Players – VD 81819; Blue Ridge Bls/All Star Troubadours; Lucky Me Lovable You E536. Clarence Williams Blue 5 – Col 35957; Mandy Make Up Ur Mind/I’m Little Blackbird E+ 537. Clarence Williams Blue 5 – Bilt 1096; Kansas City Man Bls/Wild Cat Bls E+ 538. Clarence Williams Wshbrd 5 – HJCA 106; Sweet Emmaline/Log Cabin Bls E+ 539. Clarence Williams O. – MF105; Midnight Stomp/Wildflower Rag E+ 540. Clarence Williams Stompers – Ok 40598; Jackass Bls/What’s Matter Now V lite lbl scrs 541. Clarence Williams O. – Br 3580; Zulu Wail/Slow River E 542. Clarence Williams O. – Voc 03350; Mississippi Basin/Walk That Broad E+ LP’s (ss) = still sealed 543. Hal Smith’s Creole Sunshine O. – Do What Ory Say!; Stomp Off 1078 N544. Luckey Roberts + Willie The Lion Smith – Luckey & Lion: Harlem Piano; GTJ M12035 N545. Willie The Lion Smith w/Mike Lipskin – California Here I Come; Flying Dutchman FD-10140 N546. Willie The Lion Smith – Memoirs; RCA(Fr) PL43171 (2 LP’s) N- (lite cover wear) 547. Doc Souchon – And His Milneburg Boys; GHB 131 N548. Muggsy Spanier – 1942-54 (Decca titles); Ace Of Hearts 154 N549. Muggsy Spanier – V-Discs (1944-45); Connoisseur 522 N550. Muggsy Spanier – In Chicago, 1954 (w/Darnell Howard, Earl Hines, Jimmy Archey, Pops Foster); VJM LC2 N- lite cover wear 551. Jess Stacy - The Return of Jess Stacy; Hanover 8010 N552. State Street Aces – Stuff; Stomp Off 1011 N553. State Street Aces – Old Folks Shuffle; Stomp Off 1106 N554. Joe Sullivan – The Piano Man (1935-40); Blu-Disc 1005 N-

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555. Ralph Sutton – Changes; 77 Records S57 N556. Ralph Sutton & Eddie Miller Live at Hanratty’s – We’ve Got Rhythm; Chaz Jazz CJ110 N557. Ralph Sutton – The Other Side Of; Chaz Jazz CJ107 N558. Ralph Sutton – Live! (Fox & Hounds, 11/16/75); Flyright 204 N559. Swedish Jazz Kings – A Tribute To Clarence Williams; Stomp Off 1122 N560. Swedish Jazz Kings – After Tonight; Stomp Off 1188 N561. Art Tatum – Strange As It Seems (1932-51); Collectors Items 011 N562. Art Tatum – God Is In The House (live recordings, 1940-41); Onyx 205 (ss) 563. Art Tatum – The Art of Tatum (from Transcriptions); Caracol 428 N- lite taping on cover 564. Jack Teagarden – 1928-57; RCA LPV-528 N565. Jack Teagarden – The Three T’s (live recordings, 1936); Broadway 106 N566. Jack Teagarden – Birth of A Band (live recordings, 1939); Giants of Jazz 1038 N567. Jack Teagarden + Pee Wee Russell – The HRS titles; Riverside OJC-1708 N568. Jack Teagarden – Big “T”; Jazztone 1222 N569. Jack Teagarden O. – 1944 Transcriptions; Alamac 2406 N570. Jack Teagarden O. – 1944 Transcriptions, Vol. 2; Alamac 2429 N571. Jack Teagarden – Mood In Blue (feat. Willie The Lion Smith, Ernie Royal, Coleman Hawkins, Lucky Thompson; Urania UJ 1209 N572. Jack Teagarden (w/Ed Hall) + Jonah Jones – Dixieland; Bethlehem BCP 6042 E+ 573. Jack Teagarden – Sextet (1947) + feat. with Eddie Condon’s Chicagoans (1961); Pumpkin 115 N574. Jack Teagarden & Bobby Hackett – Jazz Ultimate; Capitol SM-933 N575. Jack Teagarden – Accent On Trombone; Urania US-41205 N576. Walter Foots Thomas All Stars – 1944-45)’ Prestige 7584 N577. Charles Thompson – The Neglected Professor; Euphonic ESR1221 N578. Joe Venuti – Venuti-Land, 1927-28; TOM 8 N579. Don Voorhees O. – feat. Red Nichols & Miff Mole (1926-28); Broadway 121 N580. Waldo’s Gutbucket Syncopators – Harlem Style Hot Jazz; Dirty Shame 2003 N581. Waldo’s Gutbucket Syncopators – Presents…; Stomp Off 1036 N582. Fats Waller – Complete, Vol. 1 (1934-35); Bluebird AXM2-5511 (2 LP’s) N583. Fats Waller – Complete, Vol. 2 (1935); Bluebird AXM2-5575 (2 LP’s) N584. Fats Waller – Complete, Vol. 3 (1935-36); Bluebird AXM2-5583 (2 LP’s) N- (cutout) 585. Fats Waller – Complete, Vol. 4 (1936); Bluebird 5905-1-RB (2 LP’s) N- (cutout) 586. Fats Waller – Here ‘Tis (live performances + unissued takes, 1929-43); Jazz Archive 7 N587. Fats Waller – In London (1938); Capitol T-10258 N- lite taping on cover 588. Fats Waller & His Big Band – 1938-42; RCA(G) LPM 10118 N- lite taping on cover 589. Fats Waller - The Amazing Mr. Waller (Fats Plays and Sings traditional songs and spirituals, 1938; Riverside RLP 12-109 N590. Fats Waller – V-Disc (1939-43); Swaggie 1227 N- lite taping on cover 591. Fats Waller – On The Air (1936-42); Collectors Classics 10 N592. Ethel Waters – Oh Daddy (1921-24; Biograph 12022 N594. Weatherbird Jazzband – Fireworks; Stomp Off 1034 N-0 Back to 78’s Two Gennett private pressings for the Ku Klux Klan on the 100% label 595. W. R. Rhinehart (of Muncie, IN) – 100% K-30; Long Klucker/Klucker & The Rain V++ 596. W. R. Rhinehart (of Muncie, IN) – 100% K-35; Klansmen Keep The Cross A Burning/There’ll Be A Hot Time-Klansman V++ A few Blues and Gospel and R&B 597. Angelic Gospel Singers – Gotham 613; This Same Jesus/Just Jesus E 598. Charles Brown & Band – Aladdin 3290; Fool’s Paradise/Hot Lips And Seven Kisses E 599. Heavenly Gospel Singers – Manor 1021; They Put John On Island/Motherless Children E600. Lightening Hopkins – Aladdin 3063; Shotgun Bls/Rollin’ Bls E601. Jackson Gospel Singers- Ok(dj) 6918; Lord Take Care Of Me/I know The Lord E 602. Sister Marie Knight – Haven 516; Land Beyond River/Just A Closer Walk w/Thee E603. Norfolk Jubilee Qt. – De 48004; Jonah In Belly of Whale/Standing By Beside E/E- sm sol 604. Original Kings of Harmony – King Solomon 1009; Lead Me On/You Better Mind E+ sol 605. Ruth of Angelus Qt. (Selah Jubilee Qt.) – Cont 6063; Get Right w/God/Just Closer Walk E 606. Selah Jubilee Singers – De 48007; I Want Jesus/Royal Telephone E 607. Staple Singers – Vee-Jay 856; I Had A Dream/Help Me Jesus E608. Swan’s Silvertone Singers – King 4228; Dig Little Deeper/What Could I Do E609. Swan’s Silvertone Singers – King 4308; I’m Gonna Wait/Got A Mother Done Gone On E+ 610. Tampa Red – Vi 20-3160; I’ll Dig You Sooner Or Later/Grieving Bls E+ 611. Trumpeteers – Ok 6871; Don’t Miss That Train/Home Don’t Seem Like Home E612. Ovie Alston O. – Col(E) DB5055; Spareribs & Spaghetti/Twinkle Dinkle E613. Cappy Barra Harmonica Swing Ensemble – Ok 3806; Stardust/Voodoo V+ 614. Broadway Bellhops – Har 288; Don’t Take Black Bottom Away/Sunday E- sol 615. Chick Bullock LL – Mel 12531; Brother Can U Spare A Dime/We Better Get Together Again V+ 617. Russ Carlson O. – Crown 3360; Just Couldn’t Say Goodbye/Can’t Believe It’s True V++ 620. Bing Crosby – typewritten white private label – (“Crosby Blowup”) Wrap Your Troubles In Dreams/Crosby & Jolson Blowup – Philco Broadcast E-

622. Marlene Dietrich – Vi 22593; Falling In Love Again/Naughty Lola E623. Dixie Daisies – Cam 348; Papa Bls/Cameo D.O.; That Red Head Gal EE+ 625. Duke Ellington O. – Br 7710; It Was A Sad Night In Harlem/Shoe Shine Boy E-/E 626. Duke Ellington O. – Mas 101; New East St. Louis Toodle-Oo/Got To Be Rug Cutter E+/ E 627. Seger Ellis O. – De 1322; Pretty Girl Is Like Melody/I Know That U Know EE+ 628. Willie Farmer O. – Bb 7171; Alligator Crawl/Tears In My Heart E629. Jack Fulton – Brunswick vinyl test (mx B-14522 (tk2?); Old Fashioned Sweetheart Of Mine E+ 633. Henri Gendron O. – Col 2396; You Gave Me Everything But Love/Little Joe E 634. Georgians – Col A3775; Sister Kate/Chicago E 635. Georgians – Col A3902; Barney Google/Old King Tut E639. Ernie Golden O. – Re 8680; Come On Baby/Doin’ The Raccoon E640. Golden Gate O. – Per 14771; Crazy Words-Crazy Tuen/Cock-A-Doodle E641. Golden Gate O. – Per 14895; Among My Souvenirs/ Willard Robison O.; Go Home And Tell Your Mother E+ 642. Jean Goldkette O. – Vi 20466; Four Leaf Clover/RW Kahn O.; Yankee Rose E+ 643. Jean Goldkette O. – Vi 20981; Blue River/J. Renard O.; When Morning Glories Wake E+ 644. Glen Gray O. – Vi(sc) 24330; Lazy Bones/Sophisticated Lady E sol 647. Ham Tree Harrington (Arthur Gibbs-p) – Br 2465; Voodoo/I’m Gone Dat’s All E+ 649. Lucille Hegamin – Cam 381; Wanna Go South Again Bls/Down Hearted Bls V+ lbl tears 650. Lucille Hegamin w/Dixie Daisies – Cam 415; Dina/Cold Cold Winter Bls E652. Johnny Hodges O. – Voc 4046; I Let A Song Go/If U Were In My Place E sol 653. Johnny Hodges O. – Voc 5330; My Heart Jumped Over Moon/Truly Wonderful E+ 654. Claude Hopkins O. – De 353; Mandy/Do You Ever Think Of Me E+ 655. Hudson-DeLange O. – Br 7700; Something Wrong…/Moon Grinning At Me E 656. Will Hudson O. – Br 8164; Something About An Old Love/Flat Foot Floogee E sol 657. Ice House Quartette of Toledo, OH – Odeon Special (US) Ice House No. 1; A Little Close Harmony/We’re Strong For Toledo E662. Harry James O. – Br 8337; ’Tain’t What You Do/2:00 Jump E+ sm lbl tears 663. Harry James O. – Br 8355; Got No Time/And The Angels Sing EE664. Harry James O. – Br 8366; Indiana/King Porter’s Stomp E 665. Jazz-Bo’s Carolina Sere. – Cam 232; Hopeless Bls/Lonesome Mamma Bls V+ sol 666. Jazz-Bo’s Carolina Sere. – Cam 258; Yankee Doodle Bls/Country Club O.; Tricks E 668. Arnold Johnson O. – Br 2355; China Boy/One Night In June E+ 669. Kentucky Colonels – Voc 14738; I’m Goin’ South/Wow V++ 671. Knickerbockers – Col 391; Steppin’ In Society/Collegiate E 672. Gene Krupa O. – Br 8139; Fare Thee Well Annie Laurie/Prelude To Stomp E sm sol 673. Lanin’s Arcadians – Pathe(MARBLED) 36580; He’s The Last Word/ Bill Wirges O.; Sam The Old Accordion Man V+ to E674. Brian Lawrence Qt. – Ch 40114; I’ll Take The South/China Boy V+ 675. Clyde Lucas O. – Vri 632; So Many Memories/Gardenias And Kisses E+ 677. Markel’s O. – Ok 4478; Right Or Wrong/Raderman’s Jazz O.; How Many Times E 678. Clyde McCoy O. – Col 2453; It Looks Like Love/A Lonely Gondolier E-/V++ 679. Dick McDonough O. – Mel 71102; That Old Feeling/The Big Apple E680. Johnny Mercer O. – Br 7988; Jamboree Jones/Bob White E 681. Vic Meyers Music – Col 2049; Beside An Open Fireplace/If Dreaming (w) E+_ 683. Mills Brothers – Brunswick vinyl test; Good Bye Bls (mx B-11491-A) E+ 684. Paul Mills O. – Cam 8336; Talking About Wonderful Girl/Caroliners; It Goes Like This E685. Mills Merry Makers – VT 2104; St. James Infirmary/J. Wintz O.; Harmonica Harry V+ to E686. Arthur Nealy (rec. in St. Louis) – Okeh Nealy Record 1; Spring Has Come/ Oh For A Pal Like You E+ 687. NORK (as Friar’s Society) – Ge 4966; Farewell Bls/Oriental V++ slt warp 688. NORK – Ge 5102; Weary Bls (-B)/Wolverine Bls (-A) V++ slight rough starts nap 689. New Yorkers – Per 14791; Lily/Geo. Hall O.; Nesting Time E 693. Ray Noble O. – Col 35708; Harlem Nocturne/From Oakland To Burbank EE694. Red Norvo O. – Br 7815; A Thousand Dreams Of You/Smoke Dreams E+ 695. Red Norvo O. – Br 8089; There’s A Boy In Harlem/How Can You Forget E 696. Red Norvo O. – Br 8135; Says My Heart/You Leave Me Breathless E+ 699. Oriole Terrace O. – Br 2324; Chicago/Carolina In The Morning E700. Oriole Terrace O. – Br 2337; Clover Blossom Bls/Toot Toot Tootsie E 701. Harold Oxley O. – Ok 40180; I Don’t Know Why/Ace Brigode O.; Follow Swallow E 703. Alton Reed Low Down Blues Band – B&W 103; You’re A No Good Woman/Jimmies Bls E+ 706. Gus Steck O. – Crown 3507; There’s A Cabin In The Pines/My Oh My V+ 708. Virginia Creepers – Pathe(MARBLED) 36470; Blue Without You/ Tuxedo D.O.; Tie Me To Your Apron Strings Again E 709. Thomas Waller – Vi 20357; St. Louis Bls/Lenox Ave. Bls V++/EE710. Scott Wood Six Swingers – Col 315-M; Satan Takes A Holiday/Whoa Babe E+ 711. Southern Jazz Group – Par(Aust) A7742; Clarinet Spice/Stomp Miss Hannah E 712. Southern Jazz Group – Par(Aust) A7749; Clever Feller/Emu Strut E+

!44

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 242 56e jaargang herfst 2018

Tijdschrift voor Classic Jazz & More nr 244

57e jaargang voorjaar 2019

Anita O'Day Jezebel of Jazz Bernard Berkhout Rags op de plaat Clarence Fountain 1929-2018

Tijdschrift voor Classic Jazz & More nr 243 56e jaargang winter 2018

Joep Peeters

Tijdschrift voor Classic Jazz & More nr 245

Optreden in New Orleans Fapy Lafertin Central Avenue, LA

Randy Weston

57e jaargang

Nick Fatool alle markten

zomer 2019

€ 7,00

Afrikaan uit Brooklyn

€ 8,95

€ 8,95

George H. Buck Ali Baba 3 Eureka Brass Band Roaring 20s Breda George Kaatee Thelonious Monk Jazztijdschriften 32 cd recensies

Aretha Franklin Joep Peeters Dave Bartholomew Harm Mobach Ellington cd Dr. Jazz 41 cd recensies

Coleman Hawkins

€ 8,95

Part 1 - De jaren twintig

Hans IJzerdraat Jabbo Smith Storyville Jassband Bill Finegan Wessel Ilcken Mo van der Does onbekende vocalisten computeren in New Orleans

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

NEW release

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

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

19.0127 - 1\1 pagina VJM Summer.indd 1

www.doctorjazz.nl

is our website with over 1.000 daily views. On this site you’ll find our shop for cds, a lot of interesting links as well as a very comprehensive index of artists, bands, orchestras, LPs, cds and so on and so on.

Absolutely worth a visit.

25-04-19 15:12

Flyer 2019 engl. Labelbuch_Layout 1 03.05.19 17:27 Seite 1

DAS BILDERLEXIKON DER DEUTSCHEN SCHELLACKPLATTEN T h e G e r m a n 78 r p m r e c o r d l a b e l b o o k

by Rainer E. Lotz with Michael Gunrem and Stephan Puille Germany was the cradle of the international record industry. It all started in the 1890s in Waltershausen, Thuringia, with the production of talking doll records and continued with Hannover, Berlin and Leipzig quickly becoming centres of the phonograph and record production. These companies also undertook recording expeditions all over the world. Germany’s world market leadership was eventually interrupted by the two World Wars and the inflation; however, Germany remained a major producer and exporting country until the end of the shellac era around 1959 – and, adding modern talking dolls, up until the 1980s.

Even more amazing is the fact that German record brands and their labels have not been completely represented so far. That gap will be closed now with this opulent edition in five volumes with more than 10,000 coloured illustrations and a total of approx. 2600 pages.

An introductory survey of the history of German record production is followed by methodical essays on the labels from A-Z. The illustrations are supplemented by reproductions of the respective paper covers, trademark registrations and other ephemera.

In addition to the regular commercial shellac 78 RPM records, all other sound carriers of the era – except for phonographic cylinders – are documented here: phono discs, picture discs, talking doll records, advertising discs, custom pressings, acetates, lacquers, movie synchronizing discs, anonymous records without company name, flexible discs not made of shellac (cellulose, vinyl, etc.) and even phantom labels which were presumably never produced. The appendix presents more labels with an actual or assumed reference to Germany.

● ● ● ● ●

Read more about this project and its progress in our blog:

5 volumes, each with ca. 500 pages in full color Solid bound hardcover books, size 210 x 260 mm Limited edition of 500 copies Subscribe early for a special price of ca. 250,00 € (vol. 1-5) Available in winter 2019

www.Labelbuch.wordpress.com

For more information and subscription details please contact rainer-lotz @ gmx.de

BEAR FAMILY RECORDS www.bear-family.de

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, Frisco J.B. Ed 50440, 50950, 51081, Sophie Tucker cylinders (a few), Aeolians (any in E- or better). Your price or really good trades offered for any of the above. Let me know what photographs (originals, not copies) of early black bands/performers you have! MARK BERRESFORD (See Inside Front Page for Contact Details).

WANTED: Hotchkiss School Jazz Band, Dance Band, Choir, or any musical group with "Hotchkiss" on 78rpm personal labels. Need for School project. Any information on them would also be appreciated, but would like to buy the records.

Also, would like to buy copy of Jimmy Dorsey's 7 minute "Bugle Call Rag" Reader's Digest CD 056C. FRED OLLISON, P.O. Box 36384, Grosse Pointe Farms, MI 46236, USA. Email: fothree@aol.com.

WILLIE LEWIS ‘Avalon’ Elite Special, Zurich 1941. Good price paid for E- or better copy, or a trade from my Jazz/ Swing/Dance 78 collection. Please state your wants. JOHN HALLBERG PRISING, Loftv. 17, 142 35 Skogas, SWEDEN.

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

GOOD PRICES paid or trades for U.S. Brunswick monthly supplement catalogs/leaflets for Sept. & Nov. 1931, and Jan., Feb., Mar., April, May, June & July 1932. Also want monthly large Wall Hangers listing current releases, advertising pamphlets, and dealer counter displays 1931 to 1934. JOHN NEWTON, P.O. Box 7191, Wilmington, DE 19803 U.S.A. JAZZ/BLUES MAGAZINES: Many thanks to those people who Email: NewtonJJ2@aol.com have already helped me out. I’m endeavouring to find the following:- Dobell’s News (any copies), Jefferson blues mag RAY NOBLE SONGS NOT PERFORMED BY NOBLE OR AL 1-5, 10 & 41 (Sweden), Little Sandy Review (any copies), BOWLLY wanted. Sam Browne and other British Dance Band Record Changer (1942, 5 issues). LES ONG, 13 Kent Drive, versions sought of Brighter Than The Sun, By The Fireside, T e d d i n g t o n , T W 1 1 0 P D , E N G L A N D . E m a i l : Goodnight Sweetheart, Happy & Contented, If You Say Yes lesong@blueyonder.co.uk Cherie, I’ll Do My Best, Love Is The Sweetest Thing, Love Locked Out, The Very Thought of You, What More Can I Ask, CDs WANTED: Collectors Classics CCCD6 (Jimmie Noone etc. MARK SPRY, 19 The Larches, Old Bedford Road, Luton, Collection, Vol. 1-1928); King Jazz KJ121/122 (Armstrong/ Beds, LU2 7PX, ENGLAND. Email: sprymw@btinternet.com Clarence Williams, Vols. 1/2). PAUL SHAPIRO, PO Box 22126, Juneau, AK 99802, USA. Email: pbshapiro71@gmail.com JAZZ PERIODICALS/JOURNALS/BOOKLETS, etc., published in Great Britain, Europe, USA and Canada. Must be in good TOP PRICES PAID for 1920s-1930s San Francisco dance band condition with no missing pages, cut-outs. Wants list & jazz 78s on Flexo, Titan, MacGregor & Ingram / MacGregor available. Surplus back issues kept for trade etc. RAY & Sollie, Phonograph Recording Company, etc. Also looking for WHITEHOUSE, 33 Harbour Lane, Milnrow, Rochdale, Lancs, 1930s British dance bands on Octacros, Hudson and Teledisk, OL16 4EL, ENGLAND Wisconsin territory bands on the US Broadway label (catalogue numbers 1300 and higher), and Columbia ‘Personal Record’ 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 78s by the Princeton Triangle Club Dance Band / Equinox 923/925/927/929/933. Your price paid - within reason! BILL O r c h e s t r a . H E N R Y PA R S O N S , ( 5 1 0 ) 3 8 8 - 1 2 8 2 , PEARSON, 15 Beech Avenue, Melksham, Wilts, SN12 6JP, ambassadonian@gmail.com ENGLAND. Email: bill.pearson3@gmail.com WANTS UPDATE: All ‘difficult’ but a good price would be forthcoming for clean copies - Charlie Johnson; Vic 20557, 20563, Tiny Parham; Vic 23410, 23426, V-38126 (or BB 5146/6570), Missourians; V-38120, Edna Winston; Vic 20654, King Oliver; VJR 27, Ma Rainey; Jazz Doc 015. RICHARD RAINS , 73 Teignmouth Road, Teignmouth, Devon, TQ14 8UN, ENGLAND. Tel. (01626) 776760 EMILIO CACERES: Tus Ojos Lindos / Adios, Mi Chaparrita on Victor 32245 or Bluebird B-2505; Amor y Misterio / The Last Round Up on Victor 32206 or Bluebird B-2230. These issues only. Decent condition. ANTHONY BARNETT, 14 Mount Street, Lewes, East Sussex BN7 1HL ENGLAND. email: ab@abar.net

BENNY GOODMAN: Unissued concerts, broadcasts and telecasts (jazz and classical performances)on LP or CD. BEN SELVIN: Columbias DC104, 2585-D, 4434-X, 4478-X, 4544X, Parlophone R1073. I will pay good prices for any of them!

ERWIN GUETTLER, Auf dem Ratskamp 22, D-31303 Burgdorf, GERMANY GERARD SEKOTO. Does anyone have copies of the recordings this South African painter made in Paris in the early 1950s? ROB ALLINGHAM 4 Gibbins Place, M o n t g o m e r y Pa r k , 2 1 9 5 , S o u t h A f r i c a . E m a i l : recordiana@gmail.com

ROOSEVELT ANTRIM Bluebird B 7475 No Use Of Worryin' / Station Boy Blues required. 78 not a dub. Your Price. BRUCE WANTED: Pricilla Stewart, Paramount 12224. E or better! BASTIN, ‘Roseacre’. 15 Gillham Wood Road, Cooden, Hank Williams, MGM 12077, E+. Cash or trade? PHIL Bexhill-On-Sea, East Sussex TN39 3BN, ENGLAND. HAWKINS, 55 Guadlajara Drive, Sonoma, Ca 95476-7341. Email: interstatemusic@btconnect.com Tel: 707 509 9621. Email: philhawkins@earthlink.net

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Last Text Page_Layout 1 29/05/2019 12:42 Page 1

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

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29/04/2019 15:58

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.

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

A superior selection of Rare & Hot unissued tests, ‘clean’ originals & field recordings of classic guitar Piedmont blues and seaboard stomps. Recorded between 1927 & 1988.

Featuring the talents of Buddy Moss, Curley Weaver, Ed Bush, Allison Mathis, Barbecue Bob, Blind Blake & many others. Plus, the COMPLETE Blind Willie McTell / Ed Rhodes 1958 final session with NEW songs and interview material with the King of the Atlanta 12 string guitar.

Coming Soon from Frog Records