Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Author: Professor Emma

  • “Goose Pimples” – New Orleans Owls (1927)

    “Goose Pimples” – New Orleans Owls (1927)

    From the last recording session of the New Orleans Owls – in New Orleans, no less.

    As pointed out in an excellent article in Syncopated Times referenced below, this Fletcher Henderson / Jo Trent composition (which some suspect may have been originally written by Fats Waller) was recorded by three bands in three consecutive days in late 1927:

    October 24: Fletcher Henderson (as Dixie Stompers) in NYC
    October 25: Bix Beiderbecke and his Gang in NYC
    October 26: New Orleans Owls in New Orleans

    The bands each interpreted the stock arrangement in their own unique manner. The Owls’ version was played at a bit slower tempo. Read the article below for more discussion!

    I post this as I am missing the Bix jazz festival this weekend – which will feature a New Orleans Owls set tomorrow night. Very sad about this as I love going to hear 20s jazz played live by some of the most talented players in the world! Hope to be there next year, fellas!

    Recorded in New Orleans, Louisiana on October 26, 1927.
    Released as Columbia 1261-D.

    Credits:
    Red Bowman, Bill Padron – cornet
    Benjie White – clarinet, alto sax, director
    Frank Netto – trombone
    Pinky Vidacovich – clarinet – alto sax
    Lester Smith – tenor sax
    Sigfre Christensen – piano
    Nappy Lamare – banjo
    Dan LeBlanc – tuba
    Earl Crumb – drums

    Sources:
    Three Recordings of “Goose Pimples”, Jeff Barnhart, Hal Smith, and Andy Schumm, Syncopated Times, April 30, 2023
    https://syncopatedtimes.com/three-recordings-of-goose-pimples/

  • “Forty and Tight” – Beale Street Washboard Band (1929) f/ Johnny Dodds

    “Forty and Tight” – Beale Street Washboard Band (1929) f/ Johnny Dodds

    In addition to his well-known work with King Oliver’s Creole Jazz Band and Louis Armstrong and his Hot Five, clarinetist Johnny Dodds recorded with a number of small combos in Chicago during the late 1920s.

    Two sides were recorded by a casual studio group calling themselves the Beale Street Washboard Band in the summer of 1929. The band was comprised of three black New Orleanian musicians joined by white pianist “Kansas City” Frank – who is also credited as the composer of this number.

    Dodds on clarinet is masterful – his melodic lines flow effortlessly and effusively.

    Apparently this was cornetist Herb Morand’s first recording session – and first time playing with a group outside of New Orleans. He later went on to play with the Harlem Hamfats.

    Friends of the channel know I love the loose and laid-back feel of washboard bands from the late 1920s and early 30s. The performances still feel fresh today, nearly 100 years later.

    Recorded in Chicago, Illinois on July 24, 1929.
    Originally released as Vocalion 1403.
    Reissued in the U.K. on Vocalion’s “Origins of Jazz” series V.1016.

    Credits:
    Herb Morand – cornet
    Johnny Dodds – clarinet
    Frank Melrose – piano
    Baby Dodds – washboard, drums

  • “Savannah (The Georgianna Blues)” – Georgia Melodians (1924)

    “Savannah (The Georgianna Blues)” – Georgia Melodians (1924)

    An early Georgia Melodians recording from their second session with Edison. This one was also released as an Amberol cylinder!

    After a bit of drama in the intro section, this tune starts out with an immediately likable melody and jaunty, charming playing.

    At 1:03 a muted trumpet cranks up the rizz and is followed by an animated piano solo, trombone solo, and a sax solo before being handed back to the rizzler on trumpet. Not to be outdone, we get a finale section involving some slap-tongue sax soloing.

    Recorded in New York City on May 15, 1924.
    Released as Edison 51346.

    Credits:
    Charles Boulanger – violin, director
    Ernie Intlehouse, (usually) Mickey Bloom – trumpet
    Herb Winfield – trombone
    Merritt Kenworthy – clarinet
    Clarence Hutchins – tenor sax, baritone sax
    Oscar Young – piano
    Elmer Merry – banjo
    Unknown Artist – tuba
    Carl Gerold – drums

  • “Do Something” – Sam Lanin and his Orchestra (1929)

    “Do Something” – Sam Lanin and his Orchestra (1929)

    Sam Lanin’s Orchestra, here playing under the pseudonym John Vincent’s Californians.

    Dedicated to Javier Soria Laso, who has been “doing something” about the accuracy of Lanin entries in Johnson-Shirley’s ADBORAF discography this past month. 🫡

    He will no doubt have amendments to the credits below, which I welcome. 🙏

    Recorded in New York City on April 26, 1929.
    Released as Conqueror 7354, Cameo 9158, Romeo 960, Pathé-Actuelle 36990, Perfect 15171, and Lincoln 3185.

    Credits:
    Sam Lanin – director
    Phil Napoleon – trumpet
    Tommy Dorsey – trombone
    Jimmy Dorsey, Andy Sannella – clarinet, alto sax
    Merle Johnson – clarinet, tenor sax
    Arthur Schutt – piano
    Tony Colucci – banjo
    Jimmy Mullen – tuba
    Stan King – drums
    Scrappy Lambert – vocals

  • “Do It If You Wanta” – Sonny Boy Williamson (1951)

    “Do It If You Wanta” – Sonny Boy Williamson (1951)

    Not to be confused with John Lee Curtis “Sonny Boy” Williamson, who recorded for Bluebird and RCA Victor in the late 30s and 40s and passed away in 1948, *this* Sonny Boy Williamson was born in Mississippi as Alex Ford.

    He performed in Mississippi and Arkansas in the 30s, consorting with Robert Johnson, Big Joe Williams, and Elmore James. Radio station KFFA in Arkansas hired him as a performer and starting promoting him as Sonny Boy Williamson (while the original Sonny Boy was still alive).

    Willard and Lillian McMurry started Trumpet records in Mississippi from the makeshift recording studio in the back room of the Record Mart, their little record store in Jackson.

    This rockin’ tune was recorded when Bill Haley was still playing western swing with the Saddlemen and Elvis was still a high school student. It’s a reminder of how influential, important, and prescient blues players like Williamson were in the history of rock and roll.

    Not a record I usually go out of my way to look for, but this one showed up at a garage sale at a price I couldn’t say no to.

    Recorded in Jackson, Mississippi on August 5, 1951.
    Released as Trumpet 139.

    Credits:
    Sonny Boy Williamson – harmonica
    Willie Love or David Cambell – piano
    Elmore James, Joe Willie Wilkins – guitar
    Leonard Ware – bass
    Unknown Artist – drums

    Sources:
    https://bobcorritore.com/photos/sonny-boy-williamson-ii/
    https://sundayblues.org/?p=4066

  • “In The Basement” – Art Blakey Quartet (1954)

    “In The Basement” – Art Blakey Quartet (1954)

    A few of my audiophile friends have wondered about just how good the 78 rpm format can sound. Well, here is exhibit A: a VERY clean virtually unplayed copy of an EmArcy disc from 1954 that I got at the Austin Record Convention earlier this summer from Justin from the Antique 78 rpm Record Shop. Justin has a store in Wichita Falls, Texas that I hope to visit some day.

    I did not do *any* declicking, gain adjustment, compression, or summing to mono to this transfer. Pretty much the raw transfer with equalization adjusted.

    This is almost a perfect record to really critically listen to, as there are both quiet sections with Blakey’s drums or Heath’s bass solo and louder passages with Henry Durant’s tenor sax. You can also hear Blakey shouting out encouragement to the band in the background.

    This tune was originally released on 7″ 45 rpm and 10″ 78 rpm only. It finally made it to LP/CD in the late 80s, where it was included with the eight songs on the 10″ LP “Blakey” from 1955 and presented as “The Complete Art Blakey on EmArcy”.

    Recorded in New York City on March 24, 1954.
    Released as Emarcy 16007.

    Credits:
    Henry Durant – tenor sax
    Horace Silver – piano
    Percy Heath – bass
    Art Blakey – drums

    Sources:
    https://www.jazzdisco.org/art-blakey/discography/

    Link to Justin’s record store
    https://antique78rpm.com/

  • “Fiddleobia” – Dixieland Swingsters (1937)

    “Fiddleobia” – Dixieland Swingsters (1937)

    A swingin’ number from a North Carolina territory band that will rouse you from your sleepy Sunday morning!

    This outfit played jazzy western swing and recorded two sessions for Victor/Bluebird in 1937 and 1938. Trumpet player Dave Durham was also a regular, but is not listed as performing on this side.

    This one has a Lang-Venuti feel – rollicking rhythm and real virtuosity on the violin. A great listen!

    Buck Houghins is listed as both the tenor sax and violin player on this number. At first listen I felt it was so instructive to hear his melodic mind at work within the confines of both instruments on the same tune.

    Then sharp listener Dan Weinstein noted that toward the end of the song, the tenor sax can be heard playing legato notes in the background as the fiddle solos. So now I wonder: Is that Buck Houghins on fiddle or tenor sax? And if so, who is playing the other instrument?

    Recorded in Charlotte, North Carolina on August 2, 1937.
    Released as Bluebird B-7160

    Credits:
    Buck Houghins – tenor sax, violin
    Jerry Collins – piano
    Larry Dowing – guitar
    Cliff Stein – string bass

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

  • “Railroad Man” – Tampa Blue Jazz Band (1923)

    “Railroad Man” – Tampa Blue Jazz Band (1923)

    Here we have a composition by Elmer Schoebel recorded as a novelty number by Tampa Blue Jazz Band. The train conductor’s voice at the beginning of the recording is not identified.

    The song was recorded by many bands in 1923, including Original Memphis Five, Frank Westphal’s Orchestra, Lanin’s Roseland Orchestra, and Ben Bernie’s Orchestra.

    Tampa Blue Jazz Band was essentially the same lineup as Joseph Samuels’ Jazz Band and the Synco Jazz Band (on Pathé).

    We hear a trombone solo starting at 1:26 followed by Levy on cornet (mostly playing it straight) starting at 1:44 and Samuels on clarinet at 2:12. Some delightful ensemble playing rounds out the tune. A train whistle is heard throughout, punctuating the air above the music.

    Recorded in New York City circa March, 1923.
    Released as Okeh 4816.

    Credits:
    Jules Levy, Jr. – cornet
    Ephraim Hannaford – trombone
    Joseph Samuels – clarinet, bass sax, violin
    Larry Briers – piano
    Unknown artist – drums, train whistle

  • “Keep Off My Shoes” – Tampa Blue Jazz Band (1923)

    “Keep Off My Shoes” – Tampa Blue Jazz Band (1923)

    32 years before Carl Perkins warned listeners to “stay off of my blue suede shoes”, tin pan alley songwriters Henry and Charles Tobias wrote “Keep Off My Shoes”. In the lyrics to this song, a woman pleads with a male partner “your dancing may be good – but my feet ain’t made of wood – so keep off my shoes!”

    The tune was recorded in 1923 by Nora Bayes, Ernest Hare, Kaplan’s Melodists, and Tampa Blue Jazz Band.

    Tampa Blue Jazz Band was essentially the same lineup as Joseph Samuels’ Jazz Band (also on Okeh) and the Synco Jazz Band (on Pathé).

    We hear some jazzy breaks and ensemble playing in this version – Samuel’s clarinet and Hannaford’s sliding trombone are showcased.

    Recorded in New York City circa March, 1923.
    Released as Okeh 4816.

    Credits:
    Jules Levy, Jr. – cornet
    Ephraim Hannaford – trombone
    Joseph Samuels – clarinet, bass sax, violin
    Larry Briers – piano
    Unknown artist – drums

  • “Preachin’ the Blues” – Bessie Smith (1927)

    “Preachin’ the Blues” – Bessie Smith (1927)

    One last video to celebrate Pride Month, though I’m late posting it.

    Bessie Smith, one of the most popular and prolific of the early blues singers of the 1920s, was known, like her mentor Ma Rainey, to be bisexual.

    She was also reportedly “quite religious” and would often attend Sunday morning services while on tour. Drummer Zutty Singleton once said that Bessie “was real close to God, Very religious.”

    Her music often took on the characteristic of preaching, and here, in her original composition, “Preachin’ the Blues”, Ms. Smith lays down a sermon for her flock of faithful:

    “I will learn you something if you listen to this song.
    I ain’t here to try to save your soul
    Just want to teach you how to save your good jelly roll.”

    Angela Davis argues, in her excellent book, Blues Legacies and Black Feminism, that this song “juxtaposes the spriit of religion and the spirit of the blues, and contests the idea of the incontrovertible separateness of these two spheres.”

    Smith’s song combines the evangelical spirit of her religious upbringing with the worldly pleasures of the blues lifestyle. The song “advises women to take control of their sexuality and implicitly challenges the church’s condemnation of sexuality.”

    This open celebration and affirmation of sexuality, given in the context of blasphemously “preaching” a “sermon”, was quite radical and progressive for this time period. It was, as a teenage friend of mine in the 80s would have called it, “totally punk rock”.

    We owe Bessie Smith and other bisexual female blues singers of the 1920s a debt of gratitude for their courage to sing their authentic truth to the world.

    Once more: Happy Pride Month! 🏳️‍🌈🏳️‍⚧️ I didn’t get to explore as many artists as I had planned – but as the month progressed, I found myself out celebrating Pride and neglecting the channel. That’s ok – that leaves more artists to feature next year!

    Recorded in New York City on February 17, 1927.
    Released as Columbia 14195-D

    Credits:
    Bessie Smith – vocals
    James P. Johnson – piano

    Sources:
    Bessie, Chris Albertson, Yale University Press, 2003
    Blues Legacies and Black Feminism, Angela Y. Davis, Pantheon, 1998