Lena Wilson got her start at the Black Swan label in 1922 accompanied by Fletcher Henderson – and recorded with Johnny Dunn, Perry Bradford, and Porter Grainger over the next two years. She even recorded one session with Fletcher’s full band.
This is one of her later sessions and is notable for its use of Hawaiian style steel guitar accompanying a blues number. It’s also a great song – written by Porter Grainger and Bob Ricketts.
Recorded in New York City on February 14, 1924. Released as Brunswick 2590.
Credits: Lena Wilson – vocals Lincoln Conaway – steel guitar Clarence Conaway – ukulele Sterling Conaway – guitar
One of my all time favorite Washboard Rhythm Kings records contains two winning numbers that I will post today. This scarce deep depression cut is the Rhythm King’s version of “(I’ve Got the Words, I’ve Got the Tune) Hummin’ To Myself”.
This one was also recorded by Ben Selvin and his Orchestra in June of 1932 – as well as versions by Bennie Krueger, Johnny Hamp, Lou Gold, Connie Boswell, and Joe Haymes. Again – the Rhythm Kings give it their special treatment and take a big band pop tune and give it a more flavorful and intimate vibe.
Someone on TikTok recently pointed out to me that the French hip-hop collective known as Chinese Man sampled this record in a 2007 track “I’ve Got that Tune”. The song has been streamed over 38 Million times on Spotify and their music video on YouTube now has an eye-popping 43 Million views: https://www.youtube.com/watch?v=kqjeNSNuNPM @chinesemanrec
It was then used by Mercedes Benz in an advertising campaign for the Mercedes Classe A Coupé, which amplified its exposure even further. https://www.youtube.com/watch?v=PMWJ4YG6ggA
Pretty amazing that a record that only sold 2,167 copies when it was released in 1932 is now probably one of the most listened-to records of the jazz age by modern audiences – through its sampling – albeit in altered form.
Here, then, is the original tune – from a clean copy of the original 78 rpm Victor.
Recorded in Camden, New Jersey on July 6, 1932. Released as Victor 24065. Only 2,167 copies sold.
Credits Taft Jordan – trumpet Ben Smith – clarinet, alto sax Carl Wade – tenor sax Eddie Miles – piano Steve Washington – banjo, vocals Ghost Howell – string bass H. Smith – washboard
One of my all time favorite Washboard Rhythm Kings records contains two winning numbers that I will post today. This scarce deep depression cut is the Rhythm King’s version of “Holding My Honey’s Hand” – a tune composed by Ben Bernie and Al Goering with lyrics by Walter Hirsch.
The song had been extensively recorded in June by big dance bands such as Ben Bernie and his Orchestra, Ben Selvin and his Orchestra, Dick Robertson and his Orchestra, Russ Carlson and his Orchestra, and Waring’s Pennsylvanians.
While these sweeter versions offer lush orchestration and smoove crooner vocals – the Washboard Kings deliver a small combo performance that is at once familiar, authentic, affable, and a delight to listen to. If you’re used to the sweeter versions, this one might hit different – all I can say is, if you love the Kings, you’ll get hooked on this one right away.
Recorded in Camden, New Jersey on July 6, 1932. Released as Victor 24065. Only 2,167 copies sold.
Credits Taft Jordan – trumpet Ben Smith – clarinet, alto sax Carl Wade – tenor sax Eddie Miles – piano Steve Washington – banjo, vocals Ghost Howell – string bass H. Smith – washboard
Well, it was bound to happen that Vernon Dalhart would make an appearance on the channel. Luckily, he does so in the good company of the hot and jazzy dance band, Georgia Melodians.
It should be noted that unlike such acts as the deceptively named California Ramblers and Original Memphis Five, this group was actually from Savannah, Georgia. 1924 was a good year for the Melodians, who recorded many hot sides for the Edison label in that year.
Here we find the rousing number “Red Hot Mamma” – featuring the merry banjo of Elmer Merry, who, to my ears is one of the unsung heroes of this excellent performance. Fine sax and trumpet solos push this to the hotter side of things and we end on an upward trajectory.
Recorded in New York City on September 2, 1924. Released as Edison 51394 (This is take C)
Credits: Charles Boulanger – director, violin Ernie Intlehouse – trumpet Herb Winfield – trombone Merritt Kenworthy – clarinet Clarence Hutchins – tenor sax, baritone sax Oscar Young – piano Elmer Merry – banjo Al Singmore – tuba Carl Gerold – drums Vernon Dalhart – vocals
An early Red and Miff session from 1926 performing as the Red Heads. Lots of baroque syncopated ensemble playing with a sax solo and trumpet solo towards the end. ‘Tain’t Cold was composed by future Rhythm Boy Harry Barris.
Red and Miff had just recorded ‘Tain’t Cold for Brunswick with the Original Memphis Five not two weeks before this session.
Recorded in New York City on February 4, 1926. Released in the U.K. as Pathé Actuelle 11396.
Annette Hanshaw singing under the pseudonym Patsy Young, which had her doing her best Helen Kane impersonation backed by some fine jazz band players on leave from Selvin’s orchestra.
Recorded in New York City on March 14, 1929 Released as Velvet Tone 1878-V (mx 148077)
Credits: Annette Hanshaw (as Patsy Young) – vocals Tommy Dorsey, Tommy Gott (?) – trumpet Charlie Butterfield – trombone Jimmy Dorsey – clarinet, alto sax Hank Sternor or Joe Tarto (?) – tuba Unknown Artist – tenor sax, violin (x2), piano, guitar, drums
The first record to give label credit to Fletcher Henderson’s Club Alabam’ Orchestra, named after the basement club where the Henderson band took up residence in November of 1923. Located on W. 44th Street, it had been operated as a speakeasy known as the Little Club that was raided by the Feds in April 1923 and closed down as a result.
31st Street Blues was so named from a popular street in Chicago. Henderson later recorded it with Clara Smith and again with Josie Miles. I’m a big fan of the early Henderson band!
Isaya Mwinamo was a Kenyan guitarist and music producer born in Shinlayu township in Kakamega county in 1932. He moved to Nairobi in the 1950s and became a part of the music scene there. This is an early recording on the Capitol Music Store (CMS) label that prominently features his guitar sound
Isaya later joined the Polydor label to record and produce many of Kenya’s top bands. He retired from music in 1985 and lived in his hometown until he passed away in 2005.
Recording date is not known, however, on CMS 118, Isaya makes reference to a Kenyan political party started in 1960 and dissolving in 1964, so I’ve split the difference.
The title “ebu jameni” is an exclamation that loosely translates as “Oh, Man!” or “Oh, My Goodness!”.
Isaya Mwinamo was a Kenyan guitarist and music producer born in Shinlayu township in Kakamega county in 1932. He moved to Nairobi in the 1950s and became a part of the music scene there. This is an early recording on the Capitol Music Store (CMS) label that prominently features his guitar sound
Isaya later joined the Polydor label to record and produce many of Kenya’s top bands. He retired from music in 1985 and lived in his hometown until he passed away in 2005.
Recording date is not known, however, on CMS 118, Isaya makes reference to a Kenyan political party started in 1960 and dissolving in 1964, so I’ve split the difference.
The title loosely translates to: “Don’t believe it, friend”.
Eugene F. Rodemich was born in St. Louis in 1890 and studied violin and piano as a child. In 1904, he heard a group of ragtime pianists perform at the 1904 World’s Fair in St. Louis and was immediately hooked. He moved to NYC in 1913 and worked as an accompanist for vaudeville performer Elsie Janis – and later went on tour with her in France to entertain the troops during WWI. After returning to St. Louis in 1918, he started his own orchestra, which hired young saxophonist Frank Trumbauer in 1921.
The flip side of “Scissor Grinder Joe”, which I posted this morning, “Wond’ring Blues” is just as remarkable as an artfully arranged hot dance number exhibiting jazzy characteristics throughout.
In this one, we hear doo-wacka-doo trumpets, led by a lead trumpet that gives us a hot muted solo, followed by a trombone solo and numerous others – including a piano solo by bandleader Rodemich himself. Some of the some solos sound composed, though the arrangement is lively and fresh, providing many moments of excitement and jazzy vibes.
Rust and a few others have attempted to provide personnel for this session – and they are quite different from one another. I’ve listed those that all sources agree upon plus a few suggestions (marked with a ?) on who else is playing.
Recorded in New York City on June 11, 1924. Released as Brunswick 2663.
Credits: Gene Rodemich – piano, director Clarence Foster or Jess Walton (?), Charles Werner – cornet Jules Blattner (?) – trumpet Julius Robb (?), Bill Bailey (?) – clarinet, alto sax Allister Wylie (?) – alto sax, 2nd piano Jules Silberberg – sax, violin Otto Reinert (violin) Unknown performer – paper and comb Larry Conley – trombone Eddie Storman – banjo John Bambridge (?) – tuba Paul Spoerloder – drums
