Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Category: Jazz

  • “T.N.T.” – Fletcher Henderson and his Orchestra f/ Louis Armstrong (1925)

    “T.N.T.” – Fletcher Henderson and his Orchestra f/ Louis Armstrong (1925)

    From the last recording session of the Fletcher Henderson orchestra with Louis Armstrong.

    Louis’ wife Lil Armstrong had already left NYC to move back to Chicago and had formed her own band that was booked at the Dreamland Cafe for November dates. Henderson drummer Kaiser Marshall said that Louis missed Lil and wrote her every day.

    Lil encouraged Louis to join her band in Chicago. In early November, he did, ending a prolific year of collaboration with Henderson in New York. His influence on the New York jazz scene had been huge – and he would return to New York many times before moving to Queens permanently in 1943.

    0:00 Intro/head
    0:21 Louis Armstrong (trumpet breaks)
    0:34 Clarinet trio & brass
    0:51 Louis Armstrong (trumpet) & saxes
    1:08 Restated head
    1:33 Coleman Hawkins (tenor sax break)
    1:46 Charlie Green (trombone breaks)
    1:59 Clarinet trio
    2:15 Joe Smith (trumpet)
    2:31 Outro

    Recorded in New York on October 21, 1925.
    Released as Columbia 509-D under Columbia matrix Ⓦ141170.

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

  • “All Your Love” – Magic Sam (1957)

    “All Your Love” – Magic Sam (1957)

    Recorded in Chicago circa May 1957.
    Released as Cobra 5013.

    Credits:
    Magic Sam – guitar, vocals
    Little Brother Montgomery – piano
    Willie Dixon – bass
    Bill Stepney – drums

  • “Elysses” – Jay Jay Johnson’s Sextet (1949)

    “Elysses” – Jay Jay Johnson’s Sextet (1949)

    A 19-year-old Sonny Rollins plays here with master trombonist J. J. Johnson’s sextet featuring trumpeter Kenny Dorham, Leonard Gaskin, John Lewis, and Max Roach on a boppin’ New Jazz side from 1949.

    0:00 Intro / head
    0:38 Kenny Dorham trumpet solo
    1:11 John Lewis piano solo
    1:26 Sonny Rollins tenor sax solo
    1:43 J.J. Johnson trombone solo
    2:13 Max Roach drum breaks punctuating trombone solo continuation
    2:35 Outro

    Recorded in New York City on May 26, 1949.
    Released on the New Jazz label as NJ 810.

  • “Haunted Nights” – Duke Ellington and his Orchestra (1929)

    “Haunted Nights” – Duke Ellington and his Orchestra (1929)

    For your78 rpm Halloween playlist: “Haunted Nights” by Duke Ellington’s Orchestra.

    Recorded in New York on September 16, 1929.
    Originally released as Victor V-38092 – but this reissued Bluebird master pressing sounds mighty fine (B-6727).

    Credits :
    Duke Ellington – piano, director, arranger
    Arthur Whetsel, Cootie Williams – trumpet
    Joe Nanton – trombone
    Teddy Bunn – guitar
    Johnny Hodges -clarinet, soprano sax, alto sax
    Harry Carney – clarinet, alto sax, baritone sax
    Barney Bigard – clarinet, tenor sax
    Fred Guy – banjo
    Wellman Braud – string bass
    Sonny Greer – drums

  • “Shag” – New Orleans Footwarmers (1932)

    “Shag” – New Orleans Footwarmers (1932)

    In May 1932, Sidney Bechet and Tommy Ladnier formed an orchestra called “The Harlem Feetwarmers” that included former Fletcher Henderson trombonist Teddy Nixon. That fall, the band landed a contract at the Savoy Ballroom and a recording date with Victor.

    That session, on September 15, yielded six vibrant and exciting tracks of which “Shag” is the last. Bechet notes in an interview that the band was “feeling pretty good” by the time they started recording “Shag” – and that confidence is audible.

    Unfortunately, an sound engineering mistake (or snub, depending on whose account is accurate) found Tommy Ladnier (and to a lesser extent, Nixon) standing off-mike – and as a result, their instruments appear at a reduced volume lower in the mix.

    The net effect is that Sidney Bechet has the full spotlight – and he makes the most of it, turning in an inspired performance throughout.

    0:00 Intro (Bechet and ensemble)
    0:34 Teddy Nixon trombone solo
    0:48 Henry Duncan piano break + continuation of Nixon solo
    1:03 Wilson Meyers scat vocals
    1:33 Sidney Bechet solo
    2:29 Whoo!
    2:50 Outro

    The energy of the band, even with the attenuated trumpet, was at a fever pitch on this tune – and it is a shame they made so few recordings. After this session, they continued their gig at the Savoy until early 1933, when their contract was terminated and the band folded.

    Recorded in New York on September 15, 1932.
    Originally released in the U.S. as Victor 24150.
    This master pressing was released in the U.K. as HMV B.4944.

    Credits:
    Tommy Ladnier – trumpet
    Teddy Nixon – trombone
    Sidney Bechet – clarinet, soprano sax
    Henry Duncan – piano
    Wilson Myers – string bass, vocals
    Morris Morland – drums

    Source: “Traveling Blues: The Life and Music of Tommy Ladnier” by Bo Lindström and Dan Vernhettes.

  • “Cathedral Blues” – Tiny Parham and his Musicians

    “Cathedral Blues” – Tiny Parham and his Musicians

    A majestic opening leads to a jaunty blues tune with Punch Miller and Dalbert Bright trading solos – backed by a strident rhythm section kept in line by Quinn Wilson’s tuba.

    The transformative magic happens at the two minute mark when we hear Tiny Parham’s precious celesta solo! Absolutely entrancing.

    Recorded in Chicago on December 3, 1929.
    Released as Victor V-38111.

    Credits
    Tiny Parham – director, piano, celesta,
    Punch Miller – cornet
    Charles Lawson – trombone
    Dalbert Bright – clarinet, soprano sax, alto sax, tenor sax
    Elliott Washington – violin
    Mike McKendrick – banjo
    Quinn Wilson – tuba
    Ernie Marrero – drums

  • “I Gotta Get Myself Somebody to Love” – Jack Pettis and his Band (1927)

    “I Gotta Get Myself Somebody to Love” – Jack Pettis and his Band (1927)

    “I’m like a book covered up with dust. Wish I was a hunk of pie with plenty of crust.”

    A catchy tune performed by Jack Pettis & his band – which included Eddie Lang on guitar, Joe Venuti (who contributes a violin solo heard in clip two) and Al Goering on piano. Vocal duet by Harold “Scrappy” Lambert and Billy Hillpot.

    Recorded in New York City on January 7, 1927. The day before, on January 6, 1927, Sam Lanin recorded the song for Okeh with Red Nichols and Tommy Dorsey. A month later, Annette Hanshaw would record her version.

    In addition to being released on the Banner, Domino, Regal, and Oriole labels, the Pettis band version was also released on Broadway, Paramount, Puritan and Silvertone under the pseudonym “The Badgers”.

  • Mary Lou Williams – “Clean Pickin'” (1936)

    Mary Lou Williams – “Clean Pickin’” (1936)

    Original jazz composition by the talented Mary Lou Williams on piano accompanied by bass and drums.

    Recorded in New York, New York on March 11, 1936.
    Released in the U.S. as Decca 1155.
    This master pressing was released in the U.K. as Columbia DB 5003

    Credits
    Mary Lou Williams – piano
    Booker Collins – bass
    Ben Thigpen – drums

  • Bessie Smith – “Moan Mourners” (1930)

    Bessie Smith – “Moan Mourners” (1930)

    A little Sunday morning sermon for all the backsliders and moanin’ moaners out there from the Queen of the Blues, Bessie Smith.

    “Moan Mourners” on Columbia 14538-D is a deep depression-era cut from late in Smith’s career. At this time, the record industry experienced a huge drop in sales and recording sessions for artists. Ms. Smith had seven sessions in 1928, seven in 1929, four in 1930, two in 1931, and none in 1932.

    The original title of the tune, composed by Spencer Williams, was “Moan, You Moaners! (A Syncopated Sermon)”. It is not clear why the title was shortened on this record. Typo, perhaps?

    Backing vocals are supplied by “The Bessemer Singers” – a pseudonym for the gospel quartet The Dunham Jubilee Singers, who recorded for Gennett and Columbia. Their personnel is not credited but they recorded a week earlier for Columbia with Charlie Alf “Son” Dunham (lead), Rufus Beavers (tenor), Ben Ransaw (baritone), and Leon Patrick (bass).

    The identity of the pianist seems to also be disputed – Rust gives Alex Hill while DAHR and Dixon/Godrich credit James P. Johnson.

    Recorded in New York City on June 9, 1930.

    Credits
    Bessie Smith – vocals
    The Bessemer Singers – backing vocals
    James P. Johnson (?) or Alex Hill (?) – piano

  • Lawrence Welk’s Novelty Orchestra – “Spiked Beer” (1928)

    Lawrence Welk’s Novelty Orchestra – “Spiked Beer” (1928)

    Lawrence Welk left the family farm when he turned 21 with his accordion and set off to make a living in music. He played in a traveling dance band in South Dakota that was known to play hot dance tunes from time to time.

    In late 1927 during a blizzard, the band arrived exhausted to Yankton, South Dakota, where they got in touch with Chan Gurney, the son of the President of Gurney’s Seed & Nursery, who operated radio station WNAX. After agreeing to give the boys an audition – which was broadcast live on-air!

    Based on their popularity with listeners, they were offered a one-week contract with WNAX that turned into a long and fruitful relationship with the radio station.

    The following year, the band traveled to Indiana to record their first record with Gennett. The two sides were released on the Gurney label – funded by the seed company in Yankton.

    This release was once considered extremely rare. In 78 Quarterly Volume 12 only two copies were known to exist. Based upon recent conversations with collectors, it appears that a larger number (10-20?) are now known to exist – with perhaps more copies out there yet undiscovered. This copy was found in Vermillion, South Dakota.

    Recorded in Richmond, Indiana on November 16, 1928.
    Released as Gurney 20341.
    (A different take of “Spiked Beer” was released on Gennett 6712 and Champion 15639)

    Credits
    Lawrence Welk – director, clarinet, alto saxophone, piano-accordion
    Leo Fortin – trumpet
    Jimmy Garvey – trumpet
    Harold “Squeak” Boughton – trombone
    Raleigh “Rollie” Chestney – clarinet, alto saxophone, violin, banjo, guitar
    Cliff Moore – clarinet, tenor saxophone
    Howard Kaiser – clarinet, saxophone
    Sidney “Spider” Webb – piano, clarinet
    Homer “Smitty” Schmidt – brass bass
    Gordon Malie – drums