Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Category: Jazz

  • “Close Fit Blues” – Memphis Jazzers (1929)

    “Close Fit Blues” – Memphis Jazzers (1929)

    “Memphis Jazzers” here is a pseudonym for Clarence Williams and his orchestra, who had previously recorded this Williams composition, “Close Fit Blues”, in 1927 (Okeh 8510) and 1928 (Columbia 14287-D).

    This hard-to-find 1929 release was the only side Clarence Williams recorded for the Grey Gull label (which included Madison, Radiex, and Van Dyke). These budget labels were known for their grainy playing surface, resulting in more surface noise.

    The tune begins with a stately blues cornet theme by Ed Allen, which develops into a clarinet duet between Arville Harris and an unknown player. Ed Cuffee adds a somber trombone solo followed by a wonderful articulated passage by Cyrus St. Clair on tuba supported by Leroy Harris on banjo, punctuated by the rest of the band.

    Credits:
    Ed Allen – cornet
    Ed Cuffee – trombone
    Arville Harris – clarinet, alto sax
    Unknown Artist – clarinet, tenor sax
    Clarence Williams – piano
    Leroy Harris – banjo
    Cyrus St. Clair – tuba

    Recorded in March of 1929 in New York
    Released as Van Dyke 7801.
    Also released as Grey Gull 1718, Madison 1718, and Radiex 1713.

  • “That’s What I Call Keen” – Eddie South and his Alabamians (1928)

    “That’s What I Call Keen” – Eddie South and his Alabamians (1928)

    Hot jazz violinist Eddie South. Things really get swingin’ around 1:42.

    “When I saw her first I nearly fainted – and I’ve been unconscious since we got acquainted.”

    Recorded in New York on May 10, 1928.
    Released as Victor 21605

    Credits
    Eddie South – violin, vocals
    Henry Crowder – piano
    Mike McKendrick – guitar
    Jerome Bourke – drums, vocals

  • “Sun to Sun Blues” – Lonnie Johnson (1926)

    “Sun to Sun Blues” – Lonnie Johnson (1926)

    A very early record by Lonnie Johnson documenting a lovely piano and guitar duet between Messrs Johnson and Johnson. This session was recorded by Okeh’s “TrueTone” process – and it is unclear whether this session was acoustically or electrically recorded.

    At 1:20, you can hear an unidentified voice in the background (James Johnson?) shout out “How you gonna (unclear)?”, to which Lonnie replies, “I’m gonna kick (keep?) that thing!”

    The last lyric beautifully articulates the risks of love: “Love feels very light, but it drives like a weight of iron. Sometimes it drives so heavy, you can’t help from crying.”

    Recorded in New York, New York on January 19, 1926.
    Released as Okeh 8291

    Credits
    Lonnie Johnson – guitar, vocals
    James Johnson – piano

  • “Slow Death” – Douglas Williams (1928)

    “Slow Death” – Douglas Williams (1928)

    Memphis clarinetist Douglas Williams’ first Victor session. The first of many records of original compositions that he would make with Victor from 1928-1930 before fading into complete obscurity thereafter.

    The first time I heard this side, the plaintive bleating of his gaspipe clarinet starting around 0:45 hit me hard – so expressively mournful!

    Recorded in Memphis, Tennessee on January 31, 1928
    Released as Victor 21269 and reissued as Bluebird BB B-6151

    Credits
    Douglas Williams – clarinet
    Blaine Elliott – piano
    Sam Sims – drums

  • “Kansas City Stomps” – Jelly Roll Morton’s Red Hot Peppers (1928)

    “Kansas City Stomps” – Jelly Roll Morton’s Red Hot Peppers (1928)

    Recorded in New York on June 11, 1928.
    Released as Victor V-38010.
    Later reissued as Bluebird BB B5109-A and B-7757-A.

    The infectious optimism of this performance of “Kansas City Stomps” by Jelly Roll Morton’s Hot Peppers is a wonderful listen.

    After a rondo-style introduction, we are introduced to the lively theme. Omer Simeon treats us to a clarinet solo, solidly backed by the rhythm section. Jelly Roll then takes a piano solo punctuated by sharp drum beats. Lee Blair gives us a frenetic banjo solo followed by a trumpet solo by Ward Pinkett frequently interrupted by tremulant rejoinders from Blair’s banjo.

    Credits
    Jelly Roll Morton – piano, director
    Ward Pinkett – trumpet
    Geechie Fields – trombone
    Omer Simeon – clarinet
    Lee Blair – banjo
    Bill Benford – tuba
    Tommy Benford – drums

    For fun, also listen to Jelly Roll’s earlier 1923 solo piano recording of this same tune:
    https://youtu.be/R_DLXeFu8l8

  • “Showboat Shuffle” – King Oliver and his Dixie Syncopators (1927)

    “Showboat Shuffle” – King Oliver and his Dixie Syncopators (1927)

    Recorded in Chicago on April 22, 1927.
    Released as Brunswick 3998.

    A short piano phrase from Luis Russell starts this tune off, handing it off to Joe Oliver’s cornet to introduce the head. Other highlights include a forlorn trombone solo from Kid Ory and a blues tuba run by Lawson Buford.

    Credits
    King Oliver, Thomas “Tick” Gray – cornet
    Kid Ory – trombone
    Omer Simeon – clarinet, soprano sax, alto sax
    Paul Barnes – clarinet, alto sax
    Barney Bigard – clarinet, tenor sax
    Luis Russell – piano
    Junie Cobb – banjo
    Lawson Buford – tuba
    Paul Barbarin – drums

  • “Bimbo” – Clarence Williams and his Orchestra (1933)

    “Bimbo” – Clarence Williams and his Orchestra (1933)

    Recorded on September 1, 1933
    Released as Vocalion 2778

    Whenever I hear a Clarence Williams record start off with the scratchy syncopated washboard playing of Floyd Casey, I know it’s gonna be good.

    This record is no exception: “Bimbo” by Clarence Williams and a small washboard band (labeled as an “orchestra”) that also featured Ed Allen on cornet, Cecil Scott on clarinet, and an unknown guitarist.

    A real treat to listen to – enjoy!

    Credits
    Ed Allen – cornet
    Cecil Scott – clarinet
    Clarence Williams – piano
    Floyd Casey – washboard
    Unknown artist – guitar

  • “Wild Man Blues” – Johnny Dodds’ Black Bottom Stompers (1927)

    “Wild Man Blues” – Johnny Dodds’ Black Bottom Stompers (1927)

    Recorded in Chicago on April 22, 1927.
    Released as Brunswick 3567

    A few weeks before the Hot Seven version of “Wild Man Blues”, Louis Armstrong and Johnny Dodds recorded the first version under Dodd’s band In Chicago in April of 1927.

    This version follows the same basic structure as the Hot Seven version, with Armstrong and Dodds taking extended solos. Armstrong seems to hang back just a bit and takes a shorter solo while Dodds plays an exquisitely haunting solo that is one of my favorites.

    Credits
    Louis Armstrong – cornet
    Roy Palmer – trombone
    Johnny Dodds – clarinet
    Barney Bigard – tenor sax
    Earl Hines – piano
    Bud Scott – banjo
    Baby Dodds – drums

    Equipment used in the transfer:
    • Lenco L75 turntable with Shure M91ED cartridge
    • Focusrite Scarlett 2i2
    • Audacity (for digitization, de-clicking, and De-RIAA/Re-EQing)
    • Logic (for additional EQ tweaks, light compression, and stereo mixdown to mono)
    • Adobe Premiere (for adding label image and final export to MP4)

  • “Wild Man Blues” – Johnny Dodds and his Chicago Boys (1938)

    “Wild Man Blues” – Johnny Dodds and his Chicago Boys (1938)

    Recorded in New York in January of 1938 (one of Johnny’s last recording sessions).
    Released in the UK as Vocalion S.231

    The 1930s were not kind to Johnny Dodds – as New Orleans-style hot jazz faded in popularity, he did not record at all for nearly nine years. During these depression years, he and his brother Baby Dodds kept up their livelihood as musicians by playing popular tunes from stock arrangments in “various obscure night spots” in Chicago.

    In January of 1938 Dodds was invited to New York (his only visit to that city in his lifetime!) to lead a session for Decca with Lil Armstrong, guitarist Teddy Bunn, and a group of studio players who played in styles quite different than the bluesy New Orleans ensemble players Dodds worked best with.

    The result is a “Wild Man Blues” seemingly out of time altogether – but nonetheless quite enjoyable. From the first, this “Wild Man” swings hard with a surprisingly brash and upbeat solo from Dodds himself – with trumpeter Charlie Shavers following with a muted but debonair solo.

    Next, Teddy Bunn treats us to a guitar solo that reinforces the optimism of this “Wild Man” – and we end with a duet between Dodds and Shavers in a more modern vein that gives us a glimpse of how Dodds may have prospered in the Dixieland revival of the 1940s and beyond.

    Sadly, Johnny suffered a stroke in 1939 and a few weeks after recording one last session in June of 1940, Johnny had a second stroke and died on August 8, 1940.

    Here’s to the original wild man: Johnny Dodds. May he rest in peace.

    Credits
    Charlie Shavers – trumpet
    Johnny Dodds – clarinet
    Lil Armstrong – piano
    Teddy Bunn – guitar
    John Kirby – string bass
    O’Neil Spencer – washboard

    Equipment used in the transfer:
    • Lenco L75 turntable with Shure M91ED cartridge
    • Focusrite Scarlett 2i2
    • Audacity (for digitization, de-clicking, and De-RIAA/Re-EQing)
    • Logic (for additional EQ tweaks, light compression, and stereo mixdown to mono)
    • Adobe Premiere (for adding label image and final export to MP4)

  • “The Doodle Um Blues” – The Benson Orchestra of Chicago (1924)

    “The Doodle Um Blues” – The Benson Orchestra of Chicago (1924)

    Recorded in Camden, New Jersey on June 19, 1924.
    Released as Victor 19386

    Don Bestor – director, piano
    Walter Zurawski, Herb Carlin – trumpet
    Siegfried Berendson – trombone
    Dudley Doe – clarinet, alto sax
    Harold Sturr – alto sax, tenor sax, flute
    Art Kassel – clarinet, tenor sax
    Myron Fisher – violin
    Jack Lundin – banjo
    Pierre Olker – tuba
    Herb Quigley – drums, xylophone