Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Category: Jazz

  • “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

  • “Sugar Foot Stomp” – Fletcher Henderson and his Orchestra (1925) f/Louis Armstrong

    “Sugar Foot Stomp” – Fletcher Henderson and his Orchestra (1925) f/Louis Armstrong

    One of the most famous periods of the Fletcher Henderson band was the year that Louis Armstrong quit King Oliver’s Creole Jazz Band moved to NYC to join the Henderson orchestra.

    On Armstrong’s recommendation, arranger Don Redman looked through “a little book of manuscripts” that he and Oliver had written in Chicago. In it, he found a tune called “Dipper Mouth Blues” which was recorded by the Oliver band in 1923. He arranged it for Henderson band as “Sugar Foot Stomp”

    The record was “among the best-selling records of late 1925.” In fact, the record was so popular that Columbia kept it in print for over 10 years. It was reportedly Henderson’s personal favorite recording of everything his orchestra produced.

    Oddly, this record has some detractors: notably Gunther Schuller, who panned the recording and Redman’s arrangement. Armstrong, for his part, “plays Oliver’s solo nearly note for note” but with his own tone and character.

    0:00 Intro – Saxes chorus
    0:18 Brass chorus
    0:32 Clarinet trio
    0:51 Trombone solo (Green)
    1:05 Trumpet solo (Armstrong)
    1:49 Break
    2:02 Coda

    “Sugar Foot Stomp” would go on to be recorded as a beloved jazz standard by a great many bands in the 1930s and beyond, including Bob Crosby, Benny Goodman, Harry Roy, Artie Shaw, and Frank Trumbauer.

    Recorded in New York City on May 29, 1925.
    Matrix Ⓦ140639. Take 2
    Released as Columbia 395-D.

    Credits:
    Fletcher Henderson – piano, director
    Elmer Chambers, Joe Smith, Louis Armstrong – trumpet
    Charlie Green – trombone
    Buster Bailey – clarinet, alto sax
    Don Redman – clarinet, alto sax, arranger
    Coleman Hawkins – clarinet, tenor sax
    Charlie Dixon – banjo
    Bob Escudero – tuba
    Kaiser Marshall – drums

    Sources:
    Hendersonia: The Music of Fletcher Henderson and his Musicians, Walter C. Allen, 1973

    The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, Jeffrey Magee, 2005

  • “Battleship Kate” – Wilbur Sweatman’s Brownies (1924)

    “Battleship Kate” – Wilbur Sweatman’s Brownies (1924)

    Wilbur Sweatman was a talented clarinetist and composer with a long recording career spanning four decades. His first recording was made in Minneapolis, Minnesota in 1903-4 for the Metropolitan Music Store and his last was made in 1935 for the Vocalion label.

    Sweatman was born and raised in Missouri but began touring as a teenager in various circus bands. He worked in Minneapolis with his own dance band before moving to Chicago in 1908 and NYC in 1913, performing ragtime and early proto-jazz.

    His 1916 recordings on the Emerson label are some of the earliest examples of recorded jazz – earlier even than the Original Dixieland Jazz Band’s 1917 “Livery Stable Blues”.

    Though his last recording was made in 1935, Sweatman continued to perform throughout his life. He died in 1961 in New York City.

    By the looks of the label, this copy certainly looks as though it has had a run-in with a battleship – but fortunately the grooves were clean as a whistle and made a splendid transfer.

    Recorded in New York City on October 10, 1924.
    Matrix 9781. Take B.
    Released as Edison 51438.

    Credits:
    Wilbur Sweatman – clarinet, bass clarinet, director
    John Reeves – trombone
    Vess Williams – alto sax
    Dan Parish – piano
    Ogese T. McKay – tuba
    Maceo White – drums, vocals
    ____ Bachlor – vocals (probably the banjoist)
    Unknown Artist – cornet (2x), banjo, alto sax

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

  • “Doo Dah Blues” – Ford Dabney’s Syncopated Orchestra (1922)

    “Doo Dah Blues” – Ford Dabney’s Syncopated Orchestra (1922)

    The last recording session of Ford Dabney’s band in 1922.

    A relatively straightforward blues tune delivered with raggy pep and a very enthusiastic tuba player.

    Recorded in New York City circa May 1922.
    Released as Paramount 20120, Puritan/Triangle 11122, and Banner 1061

    Credits:
    Ford Dabney – piano, director
    Pike Davis, Wesley Johnson – trumpet
    John Reeves – trombone
    Herschel Brassfield – clarinet, alto sax
    Casey Cooper or Willie Carroll – violin
    Mose Ross – drums
    Unknown artists – tenor sax, banjo, tuba

  • “Sweet Man O’Mine” – Ford Dabney’s Syncopated Orchestra (1922)

    “Sweet Man O’Mine” – Ford Dabney’s Syncopated Orchestra (1922)

    The second-to-last recording session of Ford Dabney’s band in 1922.

    Didn’t see a transfer of this one on YouTube yet – it’s a peppy lil’ number with some raggy edges and interesting instrumental breaks throughout.

    Recorded in New York City circa March 1922.
    Matrix 1017 Take 2
    Released as Paramount 20120, Puritan 11120 & 11121, Triangle 11121, Regal 9308, Famous 3114, Claxtonola 40120, and Banner 1061

    Credits:
    Ford Dabney – piano, director
    Pike Davis, Wesley Johnson – trumpet
    John Reeves – trombone
    Herschel Brassfield – clarinet, alto sax
    Casey Cooper or Willie Carroll – violin
    Mose Ross – drums
    Unknown artists – tenor sax, banjo, tuba

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

  • “Jazz Cocktail” – Duke Ellington and his Famous Orchestra (1932)

    “Jazz Cocktail” – Duke Ellington and his Famous Orchestra (1932)

    The Duke’s men take on a swingin’ original composition by Benny Carter.

    There’s a fun moment during the trombone solo (I believe by Joe Nanton?) starting at 1:37 is a playful quote of Gershwin’s “Rhapsody in Blue” – see if you can catch it!

    Recorded in New York City on September 21, 1932.
    Released in the U.K. as Brunswick 1399.
    Originally released in the U.S. as Brunswick 6404.

    Credits:
    Duke Ellington – piano, director
    Arthur Whetsel Freddy Jenkins, Cootie Williams – trumpet
    Joe Nanton, Lawrence Brown – trombone
    Juan Tizol – valve trombone
    Johnny Hodges – clarinet, soprano sax, alto sax
    Barney Bigard – clarinet, tenor sax
    Harry Carney – clarinet, alto sax, baritone sax
    Otto Hardwick – alto sax, bass sax
    Fred Guy – banjo, guitar
    Wellman Braud – string bass
    Sonny Greer – drums
    Benny Carter – arranger

  • “Lots O’ Mama” – Ray Miller and his Orchestra (1924)

    “Lots O’ Mama” – Ray Miller and his Orchestra (1924)

    A rousing number featuring new members of the Ray Miller orchestra: Miff Mole and Frank Trumbauer.

    Recorded in New York City on April 23, 1924.
    Released as Brunswick 2613.

    Credits:
    Ray Miller – director
    Ray Lodwig, LeRoy “Roy” Johnston – trumpet
    Miff Mole, Andy Sindelar – trombone
    Bernard Daly, Andy Sannella – clarinet, alto sax
    Frank Trumbauer – C-melody sax
    Don Yates – violin
    Harry Perrella, Tom Satterfield – piano
    Frank di Prima – banjo
    Louis Cassagne – tuba
    Gus or John Helleberg – tuba
    Ward Archer – drums

  • “Ramblin’ Blues” – California Ramblers (1924)

    “Ramblin’ Blues” – California Ramblers (1924)

    The California Ramblers, here recording under the name “Golden Gate Orchestra” for the Pathé-Perfect label.

    This tune (sometimes titled “Them Rambling Blues”) was recorded a number of times by Ramblers-affiliated “band-within-a-band” groups in 1924 – often as small combo quintets that featured kazoo and goofus solos. The goofus – also known as a couesnophone – is a melodica-like instrument that sounds a bit like an accordion.

    On July 3, The Little Ramblers recorded the first version for Columbia using a quintet with Rollini on goofus and kazoo) Subsequent sessions occurred on August 1 (The Kentucky Blowers), August 11 (Goofus Five) and September 10 (Varsity Eight w/ Jimmy Dorsey on clarinet).

    Here we find the whole Ramblers outfit giving it the full treatment (sans kazoo or goofus). Depending on how you feel about kazoos and goofuses, this is either the best or worst version.

    We get a panopoly of solos – highlights include a bass sax solo from Rollini at 1:24, a muted trumpet solo at 1:46, a banjo breakdown at 2:01 and a sax solo at 2:17.

    An excellent number to ramble along to on a fine summer day. Happy rambling!

    Recorded in New York City on July 22, 1924.
    Released as Perfect 14309, Pathé-Actuelle 036128, Harmograph 960, and Silvertone 1243.

    Credits:
    Arthur Hand – violin, director
    Frank Cush, Bill Moore – trumpet
    Lloyd “Ole” Olsen – trombone
    Bobby Davis – clarinet, soprano sax, alto sax
    Arnold Brilhart – clarinet, alto sax
    Freddy Cusick – tenor sax
    Adrian Rollini – bass sax
    Irving Brodsky – piano
    Ray Kitchingman – banjo
    Stan King – drums

  • “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