Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Category: Jazz

  • “Talking to Myself” – Varsity Eight (1924)

    “Talking to Myself” – Varsity Eight (1924)

    Varsity Eight was one of several “band-within-a-band” ensembles made up of members of the California Ramblers. The concept was simple: form a small combo from a larger dance orchestra and record them playing jazzier numbers with more playing time for individual soloists and experimentation with novelty instruments such as the kazoo or the goofus.

    Richard Sudhalter, in his book Lost Chords, writes: “…small groups from the personnel, recording for minor labels… could afford a looser, more relaxed approach. Small labels, with small budgets, small distribution and sales expectations, seemed less subject to the constraints governing major-label policy. The resultant small-band performances, infrequently reissued and hard to find, are the real key to understanding the Ramblers in 1920s hot music.”

    Varsity Eight recorded extensively for the Cameo label from 1923-28. Some titles were also released on the Lincoln and Romeo labels. This lineup features Jimmy Dorsey – who replaced Bobby Davis on alto sax and clarinet in the Sept-Oct 1924 V8 recordings.

    This jaunty number opens with Bill Moore’s trumpet leading the way. The alto sax figures prominently – and I believe the solos are Dorsey. Rollini gets a bass sax showcase, accompanied by Dorsey’s clarinet.

    0:00 Intro (trumpet)
    0:24 Intro (reeds)
    1:02 Trumpet (Moore)
    1:38 Sax (Dorsey?)
    2:18 Bass sax and clarinet (Rollini and Dorsey)
    2:38 Coda

    Enjoy!

    Recorded in New York City on October 3, 1924.
    Released as Cameo 620.

    Credits:
    Bill Moore – trumpet
    Lloyd “Ole” Olsen – trombone
    Jimmy Dorsey, Arnold Brilhart – clarinet, alto sax
    Freddy Cusick – tenor sax
    Adrian Rollini – bass sax
    Irving Brodsky – piano, arranger
    Ray Kitchingman – banjo
    Stan King – drums

  • “Blue Evening Blues” – Fry’s Million Dollar Pier Orchestra (1924)

    “Blue Evening Blues” – Fry’s Million Dollar Pier Orchestra (1924)

    Here’s a treat – a jazz record from 1924 on Edison Records – which could hold more music than a standard 78 rpm shellac disc. This tune clocks out at over four minutes and ten seconds!

    If you’re a frequent 78 listener, around the 3 minute mark you’ll have to resist the urge to get up to flip the record.

    Some fun doo-wacka-doo sections, a piano solo at 1:44, a sax solo at 2:08, a muted trumpet solo at 2:31, and a clarinet solo at 3:17 round things out to make this blue evening blues quite a cheerful number.

    Recorded in New York City on September 15, 1924.
    Released as Edison 51406.

    Credits:
    Charlie Fry – alto sax, violin, director
    Julian Kurtzman, Theo Wohleben – trumpet
    Ben Morgan – trombone
    Ray Thwaite, Oscar Moldaur – clarinet, soprano sax, alto sax
    John Baviton – clarinet, tenor sax
    Ray Allen – piano
    Frank Kriell – banjo
    Herman Schmidt – tuba
    Fred Niehardt – drums

  • “Endurance Stomp” – State Street Ramblers (1928)

    “Endurance Stomp” – State Street Ramblers (1928)

    The State Street Ramblers is a name given to three different ensembles that recorded 1927-31. The one consistent member was pianist Jimmy Blythe.

    The first iteration included Johnny Dodds and recorded for Gennett in 1927-28. The third iteration featured trombonist Roy Palmer and recorded for the Champion label in 1931. This, the second iteration, was made up of a collection of players centered around Blythe and frequent collaborator W.E. Burton.

    Endurance Stomp is a rollicking number that exudes optimism and shouts encouraging blandishments to keep the energy high and solos flowing. You can’t help but have a ball listening to it!

    In this Decca reissue from the late 1930s, the alias “Blue Jay Boys” is used.

    Recorded in Richmond, Indiana on July 18, 1928.
    Originally released as Gennett 6552, Champion 15615 and 40025.
    Reissued in the late 1930s as Decca 7224.

    Credits:
    Baldy McDonald – clarinet
    unknown white teenager – alto sax
    W. E. Burton – kazoo, vocals
    Jimmy Blythe – piano
    Bill Johnson – string bass
    Cliff Jones – drums, vocals

  • “I’ve Got My Habits On” – Selvin’s Dance Orchestra (1921)

    “I’ve Got My Habits On” – Selvin’s Dance Orchestra (1921)

    A peppy early dance number composed by Jimmy Durante, “I’ve Got My Habits On”, as recorded by Ben Selvin’s Dance Orchestra in late 1921.

    The vocalist is not officially identified – though it’s been attributed to Selvin himself. Also – I’m not convinced Loren McMurray can be heard on this one.

    Lots of trombone glissandos throughout and a rollicking piano solo at 1:42 give it the jazzy flava that earned it a place in Rust’s Jazz Records discography.

    Recorded in New York City on November 16, 1921.
    Released as Vocalion 14277.

    Credits:
    Ben Selvin – violin, director, vocalist?
    Jules Levy, Jr. or Harry Gluck, Hymie Farberman – trumpet
    Ephraim Hannaford – trombone
    Loren McMurray (?), Bernie Daly (?) – soprano sax, alto sax
    Joe Winshup – tenor sax
    Norman Spencer – piano
    John Cali – banjo
    John Helleberg – tuba
    Milton Sands – tuba

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

  • “When” – Cleo Brown (1935)

    “When” – Cleo Brown (1935)

    When you listen to a lot of 78s, you inevitably just stumble upon performers you might otherwise never have heard. Though Cleo Brown’s prewar recordings are limited to a handful of sides for Decca in 1935-36, her piano stylings and iconic voice turn one into an immediate fan.

    “When” is a pleasant little tune that will set you adoringly, at the feet of Ms. Brown as she croons so cajolingly.

    Fun fact: Fans of 20s jazz will recognize the legendary Vic Berton sitting in on drums.

    Recorded in Los Angeles, California on November 20, 1935.
    Released as Decca 632.

    Credits:
    Cleo Brown – vocals, piano
    Bobby Sherwood – guitar
    Manny Stein – string bass
    Vic Berton – drums

  • “Runnin’ Wild” – Benny Goodman Quartet (1937)

    “Runnin’ Wild” – Benny Goodman Quartet (1937)

    Starting in 1936, Benny Goodman began recording sessions with trios, quartets, and sextets in various configurations – often involving some combination of pianist Teddy Wilson, drummer Gene Krupa, and vibes player Lionel Hampton. These sessions produced some excellent records of small combo jazz that are among my favorites.

    Recorded in New York City on February 3, 1937.
    Released as Victor 25529.

    Credits:
    Benny Goodman – clarinet, director
    Teddy Wilson – piano
    Lionel Hampton – vibes
    Gene Krupa – drums

  • “Saturday Night Blues” – Sidney Bechet’s Blue Note Quartet (1940)

    “Saturday Night Blues” – Sidney Bechet’s Blue Note Quartet (1940)

    An early Blue Note 78 by the legendary Sidney Bechet, performing a chill blues perfect for a melancholic last call late on Saturday night.

    Blue note said of the tune: “Bechet’s charged but restrained melodic line reaches an unprecedented artistic summit. Collaborating with Bechet is a rhythm section of unparalleled distinction – Teddy Bunn, whom the famous French critic, Panassie, calls ‘the world’s greatest guitarist’; and George ‘Pop’ Foster and Sidney Catlett, celebrated bassist and drummer respectively of Louis Armstrong’s orchestra.”

    The label notes the performance is an improvisation, and one imagines a late night jam session on an easy blues. Alas, March 27, 1940 was a Wednesday night so the illusion is spoilt. But as we listen, it ceases to matter: Bechet and company take us there regardless.

    Hope your Saturday night is not blue – but if it is, here is the remedy. 💙

    Recorded at Reeves Sound Studios, NYC, on March 27, 1940.
    Released as Blue Note 502.

    Credits:
    Sidney Bechet – clarinet
    Teddy Bunn – guitar
    George “Pop” Foster – bass
    Sidney Catlett – drums

  • “Ole Miss Blues” – Jones’s Novelty Dance Orchestra (1919)

    “Ole Miss Blues” – Jones’s Novelty Dance Orchestra (1919)

    Here we find the Novelty Dance Orchestra of F. Wheeler Wadsworth recording a W. C. Handy composition for Pathé. Pathé issued the tune on its vertical-cut discs and also licensed the masters to the Operaphone company, who produced lateral-cut dubs that they reissued on that label. This dub was then licensed and re-issued by the Empire Talking Machine Company of Chicago Illinois. So this recording has had quite a journey!

    Wadsworth, Arden, and Green recorded extensively for Victor, Edison, and Okeh as the “All Star Trio” starting in 1918 – but here on the third-hand Empire label, they appear anonymously using the alias Jones’s Novelty Dance Orchestra.

    Interesting to note that the saxophone in 1919 was not as ubiquitous an instrument in jazz orchestras as it is today. Then, clarinets, trumpets, and trombones were favored as lead instruments. The saxophone was seen as a novelty instrument.

    Artists such as Wadsworth, Rudy Wiedoeft, Paul Biese, Nathan Glantz, and Six Brown Brothers all played a role in popularizing the instrument, which would gain popularity over the next 10-15 years to take more and more of the spotlight in the jazz ensemble.

    Recorded in New York City circa September 1919.
    Released as Pathé 22206, Empire 507 and Operaphone 31136.

    Credits:
    Frank Wheeler “Waddy” Wadsworth – alto sax
    Victor Arden – piano
    George Hamilton Green – xylophone

    Source:
    American Dance Band Discography, Brian Rust

  • “Five O’Clock Whistle” – Duke Ellington and his Famous Orchestra (1940)

    “Five O’Clock Whistle” – Duke Ellington and his Famous Orchestra (1940)

    I was thinking about a record that would make a good Labor Day post – and then I remembered this Ellington recording with one of my favorite jazz vocalists, Ivie Anderson.

    This tune, recorded with the Blanton-Webster band, has always been kind of an unsung hero of mine. The liner notes by Mark Tucker of the RCA reissue 3 CD set of 1986 are brutal: “This is an unexceptional performance. It’s not that the band doesn’t play well, but they haven’t much to play.” Oof – Jazz writers are a tough crowd!

    I find it a pleasant listen – and how can one complain when Ivie Anderson is on the mic? Rex Stewart’s insistent cornet provides the perspective of the missing whistle, constantly blasting as though being willed back into existence by the toiling workers expecting it to sound at any moment. If you’ve ever worked a long day of manual labor – you can relate.

    Happy Labor Day! Hope your five o’clock whistle has long-since blown and you are relaxing and enjoying the day.

    Recorded in Chicago, Illinois on September 5, 1940.
    Released as Victor 26748

    Credits:
    Ivie Anderson – vocals
    Duke Ellington – piano, arranger, director
    Wardell Jones, Cootie Williams – trumpet
    Rex Stewart – cornet
    Joe Nanton, Lawrence Brown – trombone
    Juan Tizol – valve trombone
    Barney Bigard – clarinet
    Johnny Hodges – clarinet, soprano sax, alto sax
    Harry Carney – alto sax, bass sax
    Ben Webster – tenor sax
    Fred Guy – guitar
    Jimmy Blanton – string bass
    Sonny Greer – drums

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

  • “Hotter Than ‘Ell” – Fletcher Henderson and his Orchestra (1934)

    “Hotter Than ‘Ell” – Fletcher Henderson and his Orchestra (1934)

    In September of 1934, the Henderson band travelled to Montreal, where they played at the Palais D’Or for a week before returning to NYC to record two sessions for Decca. His band was hot – coming out of the Great Depression with steady gigs and recording sessions.

    They had a reputation for putting on musically thrilling live shows which were not always adequately captured in their recorded output. This record is an exception.

    The tune was originally titled “Yeah Man!” by songwriters Noble Sissle and J. Russell Robinson. It is a “rhythm changes” contrafact – using the same chord progression as “I Got Rhythm” By George Gershwin. Henderson recorded “Yeah Man!” in 1933. On this record, however, the song was re-titled as “Hotter Than ‘Ell” – with songwriting credit to Henderson himself.

    It begins with a kind of blaring call and response between the band’s brass and reed sections – and quickly heats up with solos by the orchestra’s star players: Buster Bailey, Henry Allen, and Ben Webster.

    0:00 Intro
    0:36 Clarinet solo (Bailey)
    1:00 Trumpet solo (Allen)
    1:26 Tenor sax solo (Webster)
    1:54 Ensemble
    2:34 Tenor sax solo (Webster) and Coda

    Only a few months after this session, nearly the entire Henderson band quit en masse. Many joined up with Benny Carter – a few others with the Mills Blue Rhythm Band. While Henderson cobbled together other musicians and continued to play live shows, his celebrated orchestra would not record again until March of 1936 – when they would record their biggest hit.

    Recorded in New York City on September 25, 1934.
    Released as Decca 555.

    Credits:
    Fletcher Henderson – piano, director
    Russell Smith, Irving Randolph, Henry Allen – trumpet
    Claude Jones, Keg Johnson – trombone
    Buster Bailey – clarinet
    Russell Procope, Hilton Jefferson – alto sax
    Ben Webster – tenor sax
    Horace Henderson – arranger
    Lawrence Lucie – guitar
    Elmer James – string bass
    Walter Johnson – drums

    Sources:
    Hendersonia, Walter C. Allen, 1973
    The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, Jeffrey Magee, 2005