Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Author: Professor Emma

  • “Stavin’ Change” – Original Indiana Five (1923)

    “Stavin’ Change” – Original Indiana Five (1923)

    An early session by the not-from-Indiana Original Indiana Five featuring trumpeter Johnny Sylvester.

    When I first read this title, I thought: “Oh, a clever play on words – they’re talking about musical staves and how jazz harmonies often change keys mid-stave!” You know, sorta like “Changes” by Walter Donaldson and Byron Gay: e.g. “Beautiful changes in different keys – Beautiful changes and harmonies”.

    The roots go deeper – as it is an Al Bernard-penned song about a street tough in New Orleans with the subtitle “The Meanest Man in New Orleans”. The lyrics referenced that Stavin’ was a rough “bad man” from New Orleans who “He had a knife long enough to row a boat [and] a big forty-four, underneath his coat”

    While I first passed this off as some Yt mythologizing, interestingly, the name “Stavin’ Chain” also appears in a couple of songs in 30s blues records by Lil Johnson and Big Joe Williams.

    Jelly Roll Morton, when asked about Stavin’ Chain by Alan Lomax said “Stavin’ Chain, well he was a pimp. Supposed to have more women in this district than any other pimp.”

    Seems to me that Al, Jelly Roll, and these later blues artists were all referencing some older NOLA folklore. Al perhaps misheard or got the name wrong, as “Stavin’ Chain” makes sense as a nickname for a street tough, but “Stavin’ Change” is more of an apt metaphor for a traditionalist who resists change.

    Lots of New Orleans-style ensemble playing with Nick Vitalo adding an extended alto solo at 1:15. Sylvester and Panelli get a few hot breaks in and Tony Colucci keeps things moving with a solid foundation of 4/4 banjo rhythm.

    Recorded in New York City on September 7, 1923.
    Released as Perfect 14173 and Pathé Actuelle 021070.

    Credits:
    Johnny Sylvester – trumpet, director
    Charlie Panelli – trombone
    Nick Vitalo – clarinet, alto sax
    Harry Ford – piano
    Tony Colucci (?) – banjo
    Tom Morton – drums

    Sources:
    https://pages.stolaf.edu/americanmusic/2017/10/03/whats-a-stavin-chain/

  • “పట్టివిడువరాదు / అబిమానమెన్నడు” – Mr. Palladam Sanjeeva Rao (1932)

    “పట్టివిడువరాదు / అబిమానమెన్నడు” – Mr. Palladam Sanjeeva Rao (1932)

    These devotional Carnatic ragas are the perfect start to a Sunday morning

    A – Pattividuvarathu (Manjiri)
    B – Abhimana Menadu (Byagada)

    Recorded in India circa 1932.
    Released as Columbia LBE 61.
    Matrices WEI 2378 / WEI 2380

    Credits:
    Mr. Palladam Sanjeeva Rao – flute
    Unknown Artists – Harmonium, Mirdhangam

  • “Slippery Fingers” – Roy Smeck (1936)

    “Slippery Fingers” – Roy Smeck (1936)

    As a guitarist myself, I love hearing guitar records from the 20s and 30s of almost any genre.

    Roy Smeck, credited as “The Wizard of the Strings” on this Decca label, played guitar, banjo, ukulele, and octochord (lap steel guitar with 8 strings) on many 78 rpm discs starting in the mid 20s. His playing style ranged from Hawaiian guitar records with Frank Ferera to early country records by artists such as Carson Robison and Frank Luther.

    He also played banjo on records for early jazz bands such as The Georgians and The Cotton Pickers. In the mid 30s, he played guitar on several sides with Clarence Williams.

    “Slippery Fingers” demonstrates Smeck’s showy playing style which in its own way foreshadows later players such as Chet Atkins. Smeck playing here was no doubt inspired by early guitarists like Nick Lucas and Eddie Lang, among others.

    Which reminds me – a long time ago on my instagram channel I played my three recordings of Nick Lucas’ guitar classics “Picking the Guitar” and “Teasing the Frets”. Need to get good transfers of those three up here!

    Recorded on April 9, 1936.
    Released as Decca 1089.

    Credits:
    Roy Smeck – guitar
    Unknown artist – guitar accompaniment

  • “Ain’t Cha Got Music” – Henry Allen and Coleman Hawkins and their Orchestra (1933)

    “Ain’t Cha Got Music” – Henry Allen and Coleman Hawkins and their Orchestra (1933)

    Ain’t cha got music?
    Ain’t cha got laughter?
    Ain’t cha got dancing?
    Ain’t cha got song?

    In spite of your troubles
    In spite of your worries
    In spite of your burdens
    you’ll get along

    A tune composed by pianist James P. Johnson for the musical Harlem Hotcha.

    Recorded in New York City on July 21, 1933.
    Released in the UK as Brunswick 01776.
    Originally released in the U.S. on Banner 32840, Melotone M-12769, Oriole 2746, Perfect 15808, and Romeo 2119.

    Credits:
    Henry Allen – trumpet, vocals
    Dicky Wells – trombone
    Hilton Jefferson – alto sax
    Coleman Hawkins – tenor sax
    Horace Henderson – piano
    Bernard Addison – guitar
    John Kirby – string bass
    Walter Johnson – drums

  • “Meya Kaneshie” – The Star Rockets (mid-to-late 1950s) Highlife from Ghana 🇬🇭

    “Meya Kaneshie” – The Star Rockets (mid-to-late 1950s) Highlife from Ghana 🇬🇭

    A recording made for the Union Trade Company (UTC), a Swiss trading company, in the Gold Coast of Africa. The PLJ series comprises recordings made for this company by EMI and released on the Odeon label. Recordings were made in the mid 1930s and mid 1950s. I believe this disc was from the mid to late 1950s. UTC was a well-known brand in Ghana and continued to operate there until its closure in 1999.

    This group, The Star Rockets, appears to be from Ghana based upon the language recorded in (Twi and Ga). Gentle rhythms – sounding a bit melancholy on this side – are punctuated by melodic horn riffs and a male vocalist. A plaintive guitar at 0:24 issues a clarion call that merits response from the rest of the band. A muted wah trumpet at 1:43 provides a moment of Latin-fused melody full of unhurried vitality.

    The title, “Meya Kaneshie” seems to reference a visit to the Kaneshie neighborhood in Accra, known for its market.

    Believed to have been recorded in Ghana in the mid-to-late 1950s.
    Released as Odeon PLJ 75.

  • “Otanfo Abonsam” – The Star Rockets (mid-to-late 1950s) Highlife from Ghana 🇬🇭

    “Otanfo Abonsam” – The Star Rockets (mid-to-late 1950s) Highlife from Ghana 🇬🇭

    A recording made for the Union Trade Company (UTC), a Swiss trading company, in the Gold Coast of Africa. The PLJ series comprises recordings made for this company by EMI and released on the Odeon label. Recordings were made in the mid 1930s and mid 1950s. I believe this disc was from the mid to late 1950s. UTC was a well-known brand in Ghana and continued to operate there until its closure in 1999.

    This group, The Star Rockets, appears to be from Ghana based upon the language recorded in (Twi and Ga). Gentle upbeat rhythms are punctuated by melodic horn riffs and a female vocalist.

    The calm atmosphere created by this music stands in contrast to the title, “Otanfo Abonsam” seems to translate roughly as “My enemy is a demon”. Not a literal demon, but simply someone possessed by malevolence: a malicious rival or a former friend who has done you harm.

    Believed to have been recorded in Ghana in the mid-to-late 1950s.
    Released as Odeon PLJ 75.

  • “Steamboat Days” – Clarence Williams’ Washboard Band (1929)

    “Steamboat Days” – Clarence Williams’ Washboard Band (1929)

    Two days after recording a solo piano version of “A Pane in the Glass”
    ( https://youtu.be/_m1A9J8Rbhg ), Clarence Williams brought his washboard quartet together in the studio to record two tracks for Okeh label.

    This original Williams tune showcases Arville Harris and Ed Allen as they effortlessly dance around one another. Williams and Casey keep the rhythm going with bouncy chords and washboard skritches respectively.

    This one was on my want list for a long while – and I nearly passed on this beat copy when it finally appeared due to the scratched surface. But those Okeh A stampers seem to be pretty resilient, and I got a decent transfer despite the condition. Unfortunately the other side has a stressed groove that causes a skip.

    Nearly saved this a half step flat, as at 78 rpm the tune was in the key of D and ran to 3:15. In Tom Lord’s Clarence Williams book, it is listed as E flat coming in at 3:08. So this is spinning near 82 rpm for those playing along at home.

    Recorded in New York City on February 14, 1929.
    Released as Okeh 8672

    Credits:
    Ed Allen – cornet
    Arville Harris – clarinet, alto sax
    Clarence Williams – piano
    Floyd Casey – washboard

  • “Dinah” – Fess Williams and his Royal Flush Orchestra (1930)

    “Dinah” – Fess Williams and his Royal Flush Orchestra (1930)

    From the very last Fess Williams session for Victor during the summer of 1930.

    Recorded in Camden, New Jersey on July 31, 1930.
    Released as Victor 23005.
    8,926 copies sold.

    Credits:
    Fess Williams – clarinet, alto sax, vocals, director
    Emanuel Clark, John Brown – trumpet
    David “Jelly” James – trombone
    Bobby Holmes – clarinet, alto sax
    Ralph Brown or Felix Gregory – alto sax
    Perry Smith – clarinet, tenor sax
    Walter “Fats” Pichon – piano
    Andy Pendleton or Ollie Blackwell – banjo
    Emanuel Casamore – tuba
    Ralph Bedell – drums

    Sources:
    Jazz and Ragtime Records (1897-1942), 6th Ed. Brian Rust
    DAHR: https://adp.library.ucsb.edu/index.php/objects/detail/21142/Victor_23005

  • “Jersey Lightning” – Luis Russell and his Orchestra (1929) 🎺⚡

    “Jersey Lightning” – Luis Russell and his Orchestra (1929) 🎺⚡

    Here’s a toe tapper to get you through the week – a Luis Russell scorcher featuring an interesting carefully timed arrangement driven by the non-stop string bass of Pops Foster. We hear Russell himself soloing on piano at 0:26. Henry “Red” Allen adds an uplifting trumpet solo at 1:21 and the reeds come together for an ensemble moment before J. C. Higginbotham slides in at 2:13 with an extended trombone solo.

    Recorded in New York City on September 6, 1929.
    Originally released as Okeh 8734.
    Released in the U.K. as Parophone R 740.

    Credits:
    Luis Russell – piano, director
    Henry Allen, Bill Coleman – trumpet
    J. C. Higginbotham – trombone
    Albert Nicholas – clarinet, alto sax
    Charlie Holmes – soprano sax, alto sax
    Teddy Hill – tenor sax
    Will Johnson – banjo, guitar
    Pops Foster – string bass
    Paul Barbarin – drums, vibes

    Sources:
    Jazz and Ragtime Records (1897-1942), 6th Ed., Brian Rust

  • “Thinking of You” – Stillman’s Orioles (1926)

    “Thinking of You” – Stillman’s Orioles (1926)

    In the British jazz magazine “Storyville”, published from 1965 – 1995, there was a column called “Arthur Gainsbury’s Guide to Junkshoppers” that listed desirable dance band 78s with hot jazzy solos on various labels. This record first came onto my radar when I was reading old issues (I recently acquired a complete set – but the entire run is also available online for your reading pleasure – see link below) and read through the Pathé – Perfect columns.

    For fun, I created a Discogs list of records from this column in case this drives you to seek out your own trove of such gems: https://www.discogs.com/lists/Junkshoppers-Actuelle-List/1547751

    This tune starts as a peppy dance number, with the uptempo banjo of Harry Reser keeping things moving. Everything changes when Ken “Goof” Moyer enters the ring at 0:33 with a baritone sax. An alto sax (Glantz) gives a response and then enjoys a further elucidation by the baritone.

    I happily found a copy of this one in the wild last year and present it to you, dear listener, for your enjoyment.

    Recorded in New York City on June 25, 1926.
    Released as Perfect 14660

    Credits:
    Jack Stillman – trumpet, director
    Ephriam Hannaford – trombone
    Nathan Glantz – alto sax, soprano sax, clarinet
    Ken “Goof” Moyer – clarinet, alto sax, baritone sax, soprano sax
    Harry Reser – banjo

    Source:
    Storyville Magazine archive
    https://nationaljazzarchive.org.uk/explore/journals/storyville
    Jack Stillman: An Annotated Discography, Javier Soria Laso and Andrew Jon Sammut
    https://archive.org/details/jack-stillman-an-annotated-discography