Some favorite sides featuring what early jazz writers termed “The Chicagoans,” a loosely affiliated group of young, white, mostly Midwestern jazz musicians who congregated in the city during the 1920s.
CHICAGO RHYTHM KINGS (as “Jungle Kings”; Red McKenzie, uncredited vocal): Friars Point Shuffle
Chicago (Marsh Laboratories): c. Late March – Early April 1928
UHCA 3 (dub of Paramount 12654 [NYRL mx. 20563-2])
Given the scrambled accounts of this session in Eddie Condon’s autobiographical We Called It Music, and later in Brian Rust’s Jazz & Ragtime Records (6th Ed.), the date remains open to question. Rust erroneously stated that Condon said this session was held “on the day after the Chicago Rhythm Kings session for Brunswick.” But what Condon actually said was “The next day, he [Red McKenzie] went to Paramount and sold Lyons a date for us.” Compounding the problem is Condon himself, who got his two Brunswick-studio sessions out-of-order in his autobiography, confusing the first (on March 27, which produced only unissued masters allocated to Vocalion, including “Friars Point Shuffle”) with the second (on April 6). Although Condon stated that the Paramount date followed the session that produced “I’ve Found a New Baby,” his confusion over the Brunswick-studio sessions raises the question of which date the Paramount session actually followed.
CHICAGO RHYTHM KINGS: I’ve Found a New Baby
Chicago: April 6, 1928
Brunswick 4001 (mx. C 1886 – A)
RAY MILLER & HIS ORCHESTRA: That’s a Plenty
Chicago: January 3, 1929
Brunswick 4225 (mx. C 2743 – )
Three takes were recorded; the selected take is not indicated in the Brunswick files or on inspected pressings.
ELMER SCHOEBEL & HIS FRIAR’S SOCIETY ORCHESTRA: Prince of Wails
Chicago: October 18, 1929
Brunswick 4653 (mx. C 4560 – A)
EDDIE [CONDON]’S HOT SHOTS (Jack Teagarden, vocal): That a Serious Thing
New York: February 8, 1929 (released May 17, 1929)
Victor V-38046 (mx. BVE 48346 – 2)
“Eddie Condon and his Orchestra” entered in Victor ledger, with “Eddie’s Hot Shots” assigned. This was a mixed-race session, with Leonard Davis (trumpet), Happy Caldwell (reeds), and George Stafford (percussion) present, which apparently was enough to land it in Victor’s predominantly black “Hot Dance” series.