Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Author: Professor M

  • “Arkansas Blues” – Tim Brymn and his Black Devil Orchestra (1921)

    “Arkansas Blues” – Tim Brymn and his Black Devil Orchestra (1921)

    Lieutenant Tim Brymn served as band leader in the U.S. Army’s 350th Field Artillery regiment in 1918-1919. By October 1918, his band was comprised of over 100 musicians – including sergeant Drum Major William H. Smith (aka “Willie the Lion”).

    The regiment served with distinction in several battles during World War I. After the war’s end, they toured the front by order of General Pershing – and also special engagements across France. Upon return to the U.S. they toured the country, appearing at events across New England, Pennsylvania, and Ohio. Over the next three years, the band shrank to fewer and fewer members – and they found work playing hotels and nightclubs.

    In the early part of 1921, the band did a number of sessions for OKeh records – including this delightful and well-recorded tune: “Arkansas Blues”, which features relatively straightforward but quite compelling ensemble playing. In particular, the many brief sliding interjections from the trombone serve as a kind of punctuation that keeps the listener on their toes.

    It was the second release in the outstanding 8000 “race” series for OKeh – a series that would run through 1927 and include many seminal jazz and blues records by luminaries such as Mamie Smith and her Jazz Hounds, Bennie Moten’s Kansas City Orchestra, Louis Armstrong and his Hot Five, Clarence Williams, and many others.

    Recorded in New York City in April-May, 1921.
    Released as OKeh 8002

    Credits:
    Tim Brymn – piano, director
    Unknown or Unconfirmed Artists – cornet (2), trombone, clarinet & alto sax (2), clarinet & tenor sax, banjo, tuba, drums

    Biographical information about Lt. Brymn from “Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography” by Peter M. Lefferts
    https://digitalcommons.unl.edu/musicfacpub/64/

  • “Flat Foot Floogie” – Slim Gaillard Orchestra featuring Charlie Parker (1945)

    “Flat Foot Floogie” – Slim Gaillard Orchestra featuring Charlie Parker (1945)

    December 1945: Charlie Parker had just recorded one of the most important sessions of his career the month before in New York City – where he recorded the seminal “Ko Ko”, “Now’s The Time”, and “Billie’s Bounce” for Savoy.

    He was in Los Angeles for an engagement at a club there and in December, he recorded this session with guitarist Slim Gaillard (of “Slim and Slam” fame).

    “Flat Foot Floogie” was a big hit for Gaillard in 1938 when it was originally released – it peaked at number two on the Billboard charts. Many jazz artists covered the tune that year, including Benny Goodman, Louis Armstrong, Count Basie, and even Django Reinhardt. So by the time of this recording, it was a bit of an oldie.

    An interesting session with bebop heavyweights Bird and Diz playing a comedic novelty tune from the 30s. The solos are down to earth, complementing the tune and giving the listener a slight sense of their bop sensibilities without imposing outright.

    While December 29 is sometimes given as the date for this session, Peter Losin places the date at December 17 due to some studio banter recorded at the session.

    Recorded at Electro-Vox Recording Studios in Hollywood, California on December 17, 1945.
    Released as Bel-tone BT 758

    Credits:
    Bulee “Slim” Gaillard – guitar, vocals, director
    Charlie Parker – alto sax
    John Birks “Dizzy” Gillespie – trumpet
    Jack McVea – tenor sax
    Michael “Dodo” Marmarosa – piano
    Tiny “Bam” Brown – bass
    Arthur “Zutty” Singleton – drums

  • “Dance of the Infidels” – Bud Powell’s Modernists (1949)

    “Dance of the Infidels” – Bud Powell’s Modernists (1949)

    An original tune from Bud Powell’s first session for Blue Note in 1949 with an eighteen-year-old Sonny Rollins and an exuberant Fats Navarro.

    During Powell’s piano solo, we can faintly hear someone (I am guessing Powell?) singing along as they play. His playing is confident, fluid, and elegant. Fats Navarro provides the high point of the track, raising the spirits with a fine trumpet solo. The young Rollins then gives us a very brief preview of things to come as he offers a few lines to ponder.

    0:00 Intro / Head
    0:49 Piano solo (Bud Powell)
    1:54 Trumpet solo (Fats Navarro)
    2:11 Sax solo (Sonny Rollins)
    2:28 Outro

    Recorded at WOR Studios in New York City on August 9, 1949.
    Released as Blue Note 1568 (Mx BN 362-1).

    Credits:
    Bud Powell – piano
    Fats Navarro – trumpet
    Sonny Rollins – tenor sax
    Tommy Potter – bass
    Roy Haynes – drums

  • “You Got To Reap” – Arthur “Big Boy” Crudup (1946)

    “You Got To Reap” – Arthur “Big Boy” Crudup (1946)

    It was my birthday yesterday and after some reflecting – I realized that it was about seven years ago that I started collecting 78 rpm records. I had just repaired an old Airline console for a friend and wanted to try the 78 rpm turntable. I went to an estate sale at a rural home about fifteen miles north and thumbed through a pile of 78s that sat unsold. In that stack I found this beat up Arthur Crudup record.

    Arthur “Big Boy” Crudup was an artist I had never heard of – and after listening to this track I immediately wanted to know all about him and hear more of his music.

    This one record led me down an endless rabbit hole of fascinating history and amazing music that continues to this day.

    Finding this record so close to home convinced me that maybe it was possible to find other good 78s in this area. It started the obsession.

    It’s in rough shape and the music is a bit distorted but it will always be a special record to me.

    What was your first record?

    Recorded in Chicago, Illinois on September 6, 1946.
    Released as RCA Victor 20-2105.

    Credits
    Arthur Crudup – vocals, guitar
    Ransom Knowling – bass
    Judge Riley – drums

  • “Aggravatin’ Papa” – Broadway Melody Makers (1923)

    “Aggravatin’ Papa” – Broadway Melody Makers (1923)

    Join me in an investigation to discover who this mystery band is!

    When I first saw the catalog number on this release, it looked like the numbering of a Puritan or Triangle release. My first suspicion was that it could be a Paramount master. While Puritan 11213 did not seem to be a match, Puritan 11222 (Mx 837) is a version of “Aunt Hagar’s Blues” by Lanin’s Southern Serenaders licensed from Paramount and issued as Paramount 20068 with “Shake It Break It”.

    However, upon listening to Puritan 11222, this is not the same recording at all. Hear for yourself:
    https://www.youtube.com/watch?v=hnSH7STLke0

    Triangle 11213 and Belvedere 11213 both feature the same coupling credited to the Broadway Melody Makers. So that got me looking in a different direction. The matrix (1421) led me to an entry in Rust’s American Dance Band Discography for the Olympic Dance Orchestra (Instrumentation and personnel unknown).

    The Olympic Discography by Allan Sutton lists Olympic 1421 with the same coupling, but credits it to the Mobile Syncopators, noting that this is likely a pseudonym. It further adds to the confusion by citing an issue of Talking Machine World that listed Olympic 1421 as credited to the Olympic Dance Orchestra in the Advance Bulletin section. It also notes that this coupling was released on the super scarce LaBelle, Majestic labels in addition to the labels already mentioned.

    So who were the Mobile Syncopators? I can find no record of that band outside of the reference in the Olympic Discography. Now you know everything I know. Anyone have any ideas, citations, educated guesses, or possibilities? Or is this one of those unsolvable mysteries of early jazz that will likely never be resolved?

    Recorded circa January 1923.
    Issued as Broadway 11213.
    Originally released as Olympic 1421.

    The CLUES:

    The other side of this record can be heard at:
    https://youtu.be/Jj9G_17OU8w

    Olympic Discography
    https://adp.library.ucsb.edu/pdfs/Olympic-Discography.pdf

    Popsike Listing for the Belvedere issue:
    https://www.popsike.com/78-RPM-Broadway-Melody-Makers-Belvedere-11213-V-Jazz-Rare-label/234935638779.html

    Gripsweat listing for the Triangle issue:
    https://gripsweat.com/item/394435660339/jazz-broadway-melody-makers-aunt-hagars-blues-rare-and-hot-1923-triangle-78

    78Discography listing for the Triangle label
    https://www.78discography.com/Tri11000.htm

    78 Discography listing for the Paramount 20000 series
    https://www.78discography.com/PMT20000.htm

  • “Aunt Hagar’s Blues” – Broadway Melody Makers (1923)

    “Aunt Hagar’s Blues” – Broadway Melody Makers (1923)

    Join me in an investigation to discover who this mystery band is!

    When I first saw the catalog number on this release, it looked like the numbering of a Puritan or Triangle release. My first suspicion was that it could be a Paramount master. While Puritan 11213 did not seem to be a match, Puritan 11222 (Mx 837) is a version of “Aunt Hagar’s Blues” by Lanin’s Southern Serenaders licensed from Paramount and issued as Paramount 20068 with “Shake It Break It”.

    However, upon listening to Puritan 11222, this is not the same recording at all. Hear for yourself:
    https://www.youtube.com/watch?v=hnSH7STLke0

    Triangle 11213 and Belvedere 11213 both feature the same coupling credited to the Broadway Melody Makers. So that got me looking in a different direction. The matrix (1421) led me to an entry in Rust’s American Dance Band Discography for the Olympic Dance Orchestra (Instrumentation and personnel unknown).

    The Olympic Discography by Allan Sutton lists Olympic 1421 with the same coupling, but credits it to the Mobile Syncopators, noting that this is likely a pseudonym. It further adds to the confusion by citing an issue of Talking Machine World that listed Olympic 1421 as credited to the Olympic Dance Orchestra in the Advance Bulletin section. It also notes that this coupling was released on the super scarce LaBelle, Majestic labels in addition to the labels already mentioned.

    So who were the Mobile Syncopators? I can find no record of that band outside of the reference in the Olympic Discography. Now you know everything I know. Anyone have any ideas, citations, educated guesses, or possibilities?

    Recorded circa January 1923.
    Issued as Broadway 11213.
    Originally released as Olympic 1421.

    The CLUES:

    The other side of this record can be heard at:
    https://youtu.be/J8MqWoZdYH4

    Olympic Discography
    https://adp.library.ucsb.edu/pdfs/Olympic-Discography.pdf

    Popsike Listing for the Belvedere issue:
    https://www.popsike.com/78-RPM-Broadway-Melody-Makers-Belvedere-11213-V-Jazz-Rare-label/234935638779.html

    Gripsweat listing for the Triangle issue:
    https://gripsweat.com/item/394435660339/jazz-broadway-melody-makers-aunt-hagars-blues-rare-and-hot-1923-triangle-78

    78Discography listing for the Triangle label
    https://www.78discography.com/Tri11000.htm

    78 Discography listing for the Paramount 20000 series
    https://www.78discography.com/PMT20000.htm

  • “Sunshine” – The Gotham Troubadours (1928)

    “Sunshine” – The Gotham Troubadours (1928)

    Found a very nice copy of this Sam Lanin recording of an Irving Berlin tune. If Brian Rust’s American Dance Band Discography is to be trusted, I believe Red Nichols and Jimmy Dorsey may be playing on it.

    In any case, the quality of the musicians is high and the tune “Sunshine” had just been published. Paul Whiteman’s orchestra has the honor of being the first to record the song (having knocked it out in the studio just four days earlier on February 13, 1928). But this Gotham Troubadours version has a fresh energy that matches the humor and optimism of the Berlin composition – which is a sunny panacea that advises a little sunshine to solve most of life’s problems:

    “Pay your doctor bills
    Throw away his pills
    You can cure your ills
    with sunshine.”

    In addition to this Lanin version, several others recorded the tune that same year, including Irving Kaufman, Little Jack Little, Nick Lucas, Jack Smith, and Seger Ellis. Lanin himself re-recorded it with his Ipana Troubadours the very next week.

    Recorded in New York City on February 17, 1928.
    Released as Okeh 40992.

    Credits:
    Sam Lanin – director, drums
    Red Nichols (?) – trumpet
    Sam Lewis (?) – trombone
    Jimmy Dorsey (?) – clarinet, alto sax
    Unknown Artist – piano
    Tony Colucci (?) – banjo
    Joe Tarto (?) – tuba
    Scrappy Lambert – vocals

  • “Goin’ To Get ‘Cha” – Fess Williams and his Royal Flush Orchestra (1929)

    “Goin’ To Get ‘Cha” – Fess Williams and his Royal Flush Orchestra (1929)

    Stanley “Fess” Williams was a clarinetist and bandleader whose style, showmanship, and raw energy won many fans while holding residence with his Royal Flush Orchestra at the Savoy Ballroom in Harlem during the late 1920s.

    This self-penned energetic dance number from late 1929 features two sides that showcase his wild style of playing. From the first few notes – his alto sax howls and squeals! Williams’ raw energy and acrobatic glissandos seem to push the music toward its dramatic conclusion.

    Recorded in New York City on December 6, 1929.
    Released as Victor V-38106.

    Credits
    Fess Williams – clarinet, alto sax, director
    George Temple, John Brown – trumpet
    David “Jelly” James – trombone
    Bobby Holmes, Ralph Brown or Felix Gregory – clarinet, alto sax
    Perry Smith – clarinet, tenor sax
    Henry Duncan – piano
    Ollie Blackwell or Andy Pendleton – banjo
    Emanuel Casamore – tuba
    Ralph Bedell – drums

  • “Slide, Mr Jelly, Slide” – Fess Williams and his Royal Flush Orchestra (1929)

    “Slide, Mr Jelly, Slide” – Fess Williams and his Royal Flush Orchestra (1929)

    When I first say “Mr. Jelly”, I immediately thought of Doctor Jazz himself, Jelly Roll Morton – but here the reference is to trombonist David “Jelly” James, who opens this track with a sliding trombone line that repeats at intervals throughout the song – and takes a leading role throughout.

    Williams takes many hot breaks and eventually takes a solo – as does the trumpet and piano.

    Recorded in New York City on December 6, 1929.
    Released as Victor V-38106.

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

  • “Caravan” – Barney Bigard and his Jazzopaters (1936)

    “Caravan” – Barney Bigard and his Jazzopaters (1936)

    The Variety label, owned by Irving Mills, had some great small combo jazz from members of the Ellington orchestra in various configurations.

    Here we have the excellent original recording of trombonist Juan Tizol’s composition, “Caravan” recorded in California in late 1936.

    For fun, learn how I made this video at:
    https://youtu.be/Ffh4X2-96Wk

    Recorded in Hollywood, Calilfornia on December 19, 1936.
    Released as Variety VA 515.

    Credits:
    Cootie Williams – trumpet
    Juan Tizol – valve trombone
    Barney Bigard – clarinet
    Harry Carney – baritone sax
    Duke Ellington – piano
    Billy Taylor – bass
    Sonny Greer – drums

    To hear the full Ellington orchestra record this tune a few months later, take a listen to:
    https://youtu.be/mG2WkIfQipE