Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Category: Jazz

  • “Blue Skies” – George Olsen and his Music (1927)

    “Blue Skies” – George Olsen and his Music (1927)

    Be sure to listen to Johnny Marvin and Ed Smalle’s version of “Blue Skies” and read the early history of the tune I posted there.

    “Blue Skies” – Johnny Marvin & Ed Smalle (1927)
    https://youtu.be/worniO1uvTs

    To continue the story of “Blue Skies” from that post: after the deluge of recorded versions of the tune in early 1927, the decision was made to include it in the new Al Jolson film, “The Jazz Singer”, which was the very first “talkie” film with synchronized music and dialogue. The Jazz Singer went on to be one of the biggest films of 1928, grossing $2.6 million worldwide.

    Jazz bands continued to perform and record the tune throughout the 1930s with recordings by:

    Benny Goodman (1935)
    Bob Pope (1937)
    Artie Shaw (1937)
    Earl Hines (1937)
    Edgar Hayes (1937)
    Dixieland Swingsters (1937)
    Mario Lorenzi and his Rhythmics (1937)
    Maxine Sullivan (1937)
    Royal Rhythm Boys (1939)
    John Kirby (1939)
    Paul Whiteman’s Sax Soctette (1939)
    Phillipe Brun (1940)
    Sonny Dunham (1940)
    Cyril Blake and his Jig’s Club Band (1941)
    Tommy Dorsey (1941)
    Jimmy Dorsey (1942)
    Mel Powell (1942)

    After WWII, both Benny Goodman and Count Basie recorded versions of the song which both cracked the top ten list and became popular hits of 1946.

    Jazz artists continued to perform the song, with notable versions appearing in the 1950s by Ella Fitzgerald and Oscar Peterson.

    Oscar Peterson’s version of Blue Skies:
    https://youtu.be/ws5UTJmjYVw

    Surprisingly, the most popular version of “Blue Skies” was not performed by a jazz artist at all – but by country singer Willie Nelson, who recorded it in 1978 on his triple platinum album “Stardust”. His version of “Blue Skies” went to #1 on the Billboard Country singles chart.

    Back to 1927, here we have a peppy version of “Blue Skies” by George Olsen and his Music. The finely crafted arrangement clips along at a faster tempo, verging on hot, and features a beautiful vocal harmony by tenor Bob Borger and baritones Bob Rice and Fran Frey.

    Recorded in New York, New York on January 19, 1927.
    Released as Victor 20455 in April of 1927.

    Credits:
    George Olsen – Director
    Floyd Rice, Bob Borger – trumpet
    Jack Fulton – trombone
    Edward Joyce – clarinet, alto sax
    Fran Frey – clarinet, alto sax
    Milton Neul – clarinet, tenor sax
    Larry Murphy – piano
    Bob Rice – banjo, guitar
    Jack Hansen – tuba
    Eddie Kilfeather – arrangement
    Unknown artist – violin
    Unknown artist – drums

  • “Blue Skies” – Johnny Marvin & Ed Smalle (1927)

    “Blue Skies” – Johnny Marvin & Ed Smalle (1927)

    After posting a transfer of Oscar Peterson’s manic 1952 version of “Blue Skies”, a viewer commented that he felt it was too frenetic and I thought it might be interesting to listen to a few earlier versions of the tune to trace its interesting voyage as a jazz standard.

    Oscar Peterson’s 1952 version of Blue Skies:
    https://youtu.be/ws5UTJmjYVw

    “Blue Skies” by Irving Berlin was written for a Broadway musical called Betsy that was not terribly popular, opening on Dec 28, 1926 and closing after 39 performances on January 29, 1927. “Blue Skies”, however, was a hit – audiences loved the song and in mid-January of 1927, record companies scrambled to get recordings out to capitalize on its popularity.

    Irving Kaufman seems the first to record it for Columbia’s Harmony label on January 8, 1927. This was followed in rapid succession by:

    Jan 10: The Astorites (Harmony)
    Jan 12: Giersdorf Sisters (Columbia)
    Jan 14: Vincent Lopez and his Casa Lopez Orchestra (Okeh)
    Jan 15: The Knickerbockers / Ben Selvin (Columbia)
    Jan 17: Don Voorhees (Edison)
    Jan 18: Mandel’s Melody Men (Challenge)

    Victor was a little late on the draw, but certainly hot on their heels with this version by Johnny Marvin and Ed Smalle recorded on January 17, which was in turn, followed by George Olsen and his Music’s version two days after that (and Jesse Crawford’s instrumental organ version two days after that!).

    Other versions that were recorded in 1927 include: Bob Haring and his Orchestra (Cameo), William Robyn (Cameo), Al Goering’s Collegians (Vocalion), Harry Richman (Vocalion), Pacific Coast Players (Grey Gull), Arthur Fields (Emerson), Frank Dailey Meadowbrook Orchestra (Emerson), Miss Betty Morgan (Pathé), George DeWees (Challenge), Dixie Music Makers (Romeo), Buddy Gravelle (Romeo), and The Artist Ensemble (Columbia).

    This version starts with the sounds of a Hawaiian guitar leading us in, with a piano and second guitar accompanying. Marvin and Smalle perform the tune as a duet, with Smalle’s humming and Sannella’s saxophone providing a kind of call and response to Marvin’s lead. The Hawaiian guitar takes a solo in the middle – followed by Marvin and Smalle singing the final chorus together.

    Recorded in New York, New York on January 17, 1927.
    Released as Victor 20457 in April 1927.

    This version stayed in the Victor catalog for four years until it was cut in 1931.

    Credits:
    Johnny Marvin – vocals, guitar
    Ed Smalle – vocals, piano
    Andy Sannella – saxophone, guitar

  • “Boneyard Shuffle” – The Arkansas Travellers

    “Boneyard Shuffle” – The Arkansas Travellers

    The Arkansas Travellers was one of the many names Red Nichols used for his studio band, alternatively called one of a handful of variations such as Lanin’s Red Heads, Red and Miff’s Stompers, and the Charleston Chasers.

    Here, Red states the melody and plays it straight while Miff Mole, Jimmy Dorsey, and even Arthur Schutt take ample time for relaxed solos and hot breaks on Hoagy Carmichael’s “Boneyard Shuffle”.

    Recorded in New York, NY on January 4, 1927.
    Released as Harmony 332-H, Velvet Tone 1332-V, and Diva 2332-G.

    Credits:
    Red Nichols – trumpet
    Miff Mole – trombone
    Jimmy Dorsey – clarinet
    Fred Morrow – alto sax
    Arthur Schutt – piano
    Vic Berton – drums

  • “It Ain’t Right” – Stuff Smith and his Onyx Club Boys (1936)

    “It Ain’t Right” – Stuff Smith and his Onyx Club Boys (1936)

    Stuff Smith was one of the early great jazz violin pioneers, along with such contemporaries as Eddie South, Joe Venuti, and Stéphane Grappelli. After moving to NYC in 1935, Smith pulled a swingin’ band together featuring hot trumpeter Jonah Jones and jazz royalty drummer Cozy Cole.

    The excellent “It Ain’t Right” was one of a string of records that Stuff and his Onyx Club band recorded for Vocalion in 1936.

    Recorded in New York, NY on July 1, 1936.
    Released as Vocalion 3270.

    Credits:
    Stuff Smith – violin, vocals
    Jonah Jones – trumpet
    James Sherman – piano
    Bobby Bennett – guitar
    Mack Walker – string bass
    Cozy Cole – drums

  • “I’ll Chase The Blues Away” – Chick Webb f/ Ella Fitzgerald (1935)

    “I’ll Chase The Blues Away” – Chick Webb f/ Ella Fitzgerald (1935)

    A very early recording of the 18-year-old Ella Fitzgerald singing with Chick Webb and his Orchestra in late 1935.

    Recorded in New York, NY on October 12, 1935.
    Released as Decca 640.

    Credits:
    Chick Webb – drums, director
    Taft Jordan, Mario Bauza, Bobby Stark – trumpet
    Sandy Williams, Claude Jones – trombone
    Edgar Sampson, Pete Clark – alto sax
    Elmer Williams – tenor sax
    Wayman Carver – tenor sax, flute, arrangement
    Don Kirkpatrick – piano
    John Trueheart – guitar
    Bill Thomas – string bass

  • “Worn Out Blues” – Clarence Williams’ Washboard Band (1930)

    “Worn Out Blues” – Clarence Williams’ Washboard Band (1930)

    For a “worn out” blues, this certainly has quite a bit of pep!

    There is some contention as to the identity of the trumpet player on this 1930 recording by Clarence Williams’ Washboard Band. Contenders nominated by past discographers include Ed Allen, Louis Metcalf, Charlie Gaines, Henry “Red” Allen, Ed Anderson, and Roy Eldridge.

    Recorded in New York on April 23, 1930.
    Originally released in the U.S. as Okeh 8790.
    Parlophone R 2203 is a U.K. master pressing. This copy is in very fine shape and sounds quite excellent.

    Credits:
    Charlie Gaines or Henry Allen – trumpet
    Prince Robinson – clarinet, tenor sax
    Clarence Williams – piano
    Floyd Casey – washboard

  • “Blue Clarinet Stomp” – Andy Kirk And His Twelve Clouds Of Joy (1929)

    “Blue Clarinet Stomp” – Andy Kirk And His Twelve Clouds Of Joy (1929)

    Andy Kirk was a tuba player who grew up in Denver, Colorado where he studied music with the father of Paul Whiteman. From 1925-29, he was a member of a group led by Terence Holder in Dallas, Texas. The group was known as “Clouds of Joy”. In the winter of 1928-29, Holder left the group stranded in Oklahoma City. Kirk become the new band leader, pulled the group together, finished the tour, and began a gig at a ballroom in Kansas City, where they attracted the notice of A&R scouts from Brunswick.

    At their audition for Brunswick, their piano player was a no-show, so Saxophonist John Williams called his wife to come in, who was a pianist with perfect pitch and a good ear for jazz. She arrived and played through the band’s charts flawlessly. This was Mary Lou Williams’ big break, as when the band showed up to the recording session with their regular pianist, the A&R scouts insisted that Mary Lou be on the recording – securing her place in the band.

    This first recording session resulted in four released tracks, including this tune, “Blue Clarinet Stomp”.

    Recorded in Kansas City, Missouri circa November 7-8, 1929.
    Originally released as Brunswick 4694. This Vocalion dubbed reissue was from the late 1930s.

    Credits:
    Andy Kirk – bass sax, tuba, director
    Gene Prince, Harry Lawson – trumpet
    Allen Durham – trombone
    John Harrington – clarinet, alto sax
    John Williams – alto sax, baritone sax
    Lawrence Freeman – tenor sax
    Claude Williams – violin
    Mary Lou Williams – piano
    William Dirvin – banjo, guitar
    Edward “Crackshot” McNeil – drums

    Sources:
    “Jazz Style in Kansas City and the Southwest” by Ross Russell
    University of California Press, 1971 pp 163-165

  • “Chimes Blues” – King Oliver’s Creole Jazz Band f/Louis Armstrong (1923)

    “Chimes Blues” – King Oliver’s Creole Jazz Band f/Louis Armstrong (1923)

    This channel just hit 200 subscribers – so I wanted to give you all a special video to show my thanks for your support.

    “Chimes Blues” was the first issued recording of a Louis Armstrong solo. Armstrong had just moved to Chicago to join fellow New Orleans cornet player Joe Oliver and his band that played at Lincoln Gardens.

    0:00 Intro (Blues in Bb, Ensemble)
    1:13 Hear the chimes! (Lil Armstrong on piano)
    1:48 Louis Armstrong cornet solo
    2:22 Outro and ending

    Oliver’s Creole Jazz Band was made up of true jazz giants – Joe Oliver himself, who had been blowing since as early as 1899 in New Orleans during a time when Buddy Bolden, Freddy Keppard, and other legends played.

    The great clarinetist Johnny Dodds – who Armstrong humorously remembers was a massive White Sox fan who was obsessed with baseball scores.

    Lil Hardin – a valedictorian from Fisk University and classically-trained pianist – who learned to play jazz piano with Joe Oliver, Freddy Keppard, Sugar Johnny, Lawrence Dewey, and other pioneering New Orleans legends.

    Drummer Baby Dodds (Johnny’s brother), who Armstrong greatly admired and said “He was a wizard on the drums, and he certainly made me blow my horn… when I heard him beat those sticks behind one of my hot choruses.”

    The humble Armstrong noted in his autobiography that when he started playing with Oliver’s band, “I did not take a solo… ahead of Papa Joe because I felt that any glory that came to me must go to him. I was playing second to his lead, and I never dreamed of trying to steal the show or any of that silly rot.”

    Despite his humility, he did take a solo – and here we have his first recorded solo. His relaxed, flowing notes perfectly complement the rhythmic momentum and ensemble playing of the band – and also take it a step further – suggesting all the things that jazz was to become.

    The Gennett studios in Richmond Indiana used acoustic recording technologies before the advent of electric recording and microphones. The studio location was said to be near a railroad track that frequently interrupted sessions when trains would pass by. Despite this – it is truly a gift that this session happened at all and was captured with such clarity.

    A true hallmark achievement of American music!

    Ever since I began collecting jazz on 78 rpm records, I dreamed of owning this record. It was only in the past year that I acquired this excellent copy from another collector. Please enjoy my digital transfer and thanks for supporting my channel!

    Recorded in Richmond, Indiana on April 5, 1923.
    Released as Gennett 5135.

    Credits:
    King Oliver, Louis Armstrong – cornet
    Honore Dutrey – trombone
    Johnny Dodds – clarinet
    Lil Hardin – piano
    Bill Johnson – banjo
    Baby Dodds – drums

  • “Blue Rhythm” – Blue Rhythm Boys (1931)

    “Blue Rhythm” – Blue Rhythm Boys (1931)

    The Blue Rhythm Boys (later named the Mills Blue Rhythm Band) were managed by Irving Mills, who also managed Duke Ellington and Cab Calloway. Along with Ellington and Calloway, they made regular appearances at the Cotton Club in Harlem.

    This hot stompin’ early track from 1931 shows what the Blue Rhythm was all about.

    Recorded in New York on April 28, 1931.
    Originally released in the U.S. as Brunswick 6143.

    Credits
    Wardell Jones, Shelton Hemphill, Ed Anderson – trumpet
    Harry White, Henry Hicks – trombone
    Charlie Holmes – clarinet, alto sax
    Ted McCord, Castor McCord – clarinet, tenor sax
    Edgar Hayes – piano
    Benny James – banjo
    Hayes Alvis – string bass
    WiIlie Lynch – drums
    Nat Leslie – arranger

  • “Bees Knees” – Original Memphis Five (1922)

    “Bees Knees” – Original Memphis Five (1922)

    The Curry’s label began in the U.K. at the turn of the century as bicycle manufacturer Curry’s Cycle Co. began selling phonographs and manufacturing records on their own private label.

    This release is from the mid-20s, as Currys began using masters from the British Imperial label – which in turn licensed them from the American Plaza Music Company. This Curry’s record proudly proclaims “Every Record a Gem by World Famous Artists” and “Pure, Sweet, Loud Tones”

    As was the practice, American band names were given pseudonyms. In this instance “The Castle Jazz Band” was in fact the Original Memphis Five (OM5), who released “Bees Knees” domestically on the Banner, Regal, Emerson, and Grey Gull labels.

    The tune was recorded in November of 1922, and includes OM5 regulars minus Miff Mole, who had been replaced on trombone by Charlie Panelli.

    A rousing dance tune penned by Ray Lopez with many hot breaks and lively ensemble playing.

    Credits:
    Phil Napoleon – trumpet
    Charlie Panelli – trombone
    Jimmy Lytell – clarinet
    Frank Signorelli – piano
    Jack Roth – drums