Collector’s Corner – Some September Finds • Billy Murray & Friends, The Plantation Orchestra, Clarence Williams’ Washboard Five, Louis Armstrong’s Savoy Ballroom Five, Bill Cox

Collector’s Corner (September 2018) • Billy Murray and Friends, The Plantation Orchestra, Clarence Williams’ Washboard Five, Louis Armstrong’s Savoy Ballroom Five, Bill Cox

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September was a real mixed bag collecting-wise, everything from pioneer stuff to some 1920s jazz classics to a big stack of early 1930s Champions (plus a slew of nice cylinders that are still being gone through for a future posting). Here are a few favorites from the September additions:

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BILLY MURRAY:
Eskimo Rag
  (EE-)

Camden, NJ: June 17, 1912
Victor 17166 (mx. B 12112 – 2)
Released November 1912; Deleted November 1914

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ELSIE BAKER (as EDNA BROWN) & AMERICAN QUARTET:
Mysterious Moon  (E-)

Camden, NJ: June 18, 1912
Victor 17166 (mx. B 12114 – 2)
Released November 1912; Deleted November 1914

Elsie Baker is identified in the Victor files, as is the American Quartet (Billy Murray, lead tenor and speech), who are not credited in the labels.

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THE PLANTATION ORCHESTRA:
Smiling Joe
 
(V++)

London: December 1, 1926
Columbia (British) 4185  (mx. A 4544 -1)

This was the pit orchestra from the Blackbirds Revue, an American production featuring Florence Mills that played the London Pavilion in 1926.

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CLARENCE WILLIAMS’ WASHBOARD FIVE (Williams, vocal):
Have You Ever Felt That Way?
(E-)

New York: September 26, 1928
Okeh 8629 (mx. W 401153 – A)

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CLARENCE WILLIAMS’ WASHBOARD FIVE (Williams, vocal):
Walk That Broad
(E-)

New York: September 26, 1928
Okeh 8629 (mx. W 401152 – A)

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LOUIS ARMSTRONG & HIS SAVOY BALLROOM FIVE:
Mahogany Hall Stomp (EE-)

New York: March 5, 1929
Okeh 8680 (mx. W 401691 – B)

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BILL COX (as LUKE BALDWIN):
My Rough and Rowdy Ways
(E-)

Richmond, IN: April 28, 1930
Champion 16009 (mx. GE 16544)

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Going to Press in October:

Collectors’ Corner • Some April Finds (Blind Willie Johnson, Oscar “Lone Wolf” Woods, Ted & Roy, East Texas Serenaders)

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BLIND WILLIE JOHNSON: Trouble Will Soon Be Over  (EE-)

Atlanta: April 20, 1930
Columbia 14537-D  (mx. W 194930 – 2; remastering of  W 150311)

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BLIND WILLIE JOHNSON: The Rain Don’t Fall on Me  (E)

Atlanta: April 20, 1930
Columbia 14537-D  (mx. W 194929 – 2; remastering of  W 150310)

These and most of the other recordings from this session were remastered in May 1930, prior to release, and show only the 194000-series master numbers. The female singer (said to be Johnson’s first or second wife in various anecdotal accounts) is unidentified in the Columbia files and on the labels.

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OSCAR WOODS (THE LONE WOLF): Lone Wolf Blues  (V+)

New Orleans: March 21, 1936
Decca 7219  (mx. 60848 – A)

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OSCAR WOODS (THE LONE WOLF): Don’t Sell It — Don’t Give It Away  (V+)

New Orleans: March 21, 1936
Decca 7219  (mx. 60849)

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TED BROUGHTON & ROY RODGERS (THE HAWAIIAN SONGBIRDS):  Happy Hawaiian Blues  (V+)

Dallas: c. October 25, 1928
Perfect 11342  (ARC mx. 12135 – D1; remastering of Brunswick mx.
DAL-697 – A)

Not Roy Rogers, the movie cowboy. Unfortunately, this duo recorded only four titles, two of which (from November 1930) were never issued. The ARC dubbings were made on July 29, 1932.

Note to newer collectors: A “-D” master-number suffix on ARC pressings always indicates a dubbing — which should be disclosed as such by dealers, but rarely is. Most of ARC’s dubbings are of good quality and make fine “listening” copies; but they are not as valuable monetarily as original-master pressings, except in cases where the latter were not issued. Caveat emptor.

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EAST TEXAS SERENADERS: Acorn Stomp  (EE-)

Dallas: October 25, 1928
Brunswick 282  (mx. DAL-720 – )

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The Louisville Jug Band Gets Arrested (1914), and Other Earl McDonald Snippets

The earliest known personnel listing for the Louisville Jug Band, 1914. “Colvin” presumably is a typo for Ben Calvin, who worked on-and-off with McDonald for many years; could “John Smith” be a typo for Cal Smith, a long-time McDonald associate? (Louisville Courier-Journal, October 20, 1914)

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A 1918 iteration of the Louisville Jug Band, interrupting their Chicago engagement for a week’s appearance at the Antler cabaret in Dayton, Ohio. Can anyone identify the members? (Dayton Daily News, April 14, 1918)

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McDonald and company fared far better than most race-record artists during the early Depression years, thanks to their popular “Ballard Chefs” broadcasts. Originating in Louisville, the program aired in many major cities. (What’s on the Air, April 1930)

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Earl McDonald entertains at the University Kentucky. (Louisville Courier-Journal, February 15, 1948)

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(Louisville Courier-Journal, April 29, 1949)

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SARA MARTIN & HER JUG BAND: I’m Gonna Be a Lovin’ Old Soul

New York: September 1924
Okeh 8211 (mx. S 72837-b)

Clifford Hayes, violin; Curtis Hayes, banjo; Earl McDonald, jug

 

Collectors’ Corner • Some March Finds (Fletcher Henderson, Sammy Stewart, William Haid, Wendell Hall, Bob Deikman)

After a sluggish start that included plowing through more red-label Columbias, etc., than anyone should ever have to, March ended with some nice finds from a collector who’s downsizing. If you’re doing the same, and have material of similar quality to dispose of, let us know (top prices paid for top records, if needed for the collection; true E- or better, on the VJM scale, with strong V+ the minimum acceptable grade except in rare cases). Here are a few favorites from the new batch:
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FLETCHER HENDERSON & HIS ORCHESTRA: You’ve Got to Get Hot  [EE-]

New York: October 1923
Vocalion 14726 (mx. 12199)

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FLETCHER HENDERSON & HIS ORCHESTRA: Charleston Crazy  [E]

New York: November 1923
Vocalion 14726 (mx. 12376)

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SAMMY STEWART & HIS ORCHESTRA: Copenhagen  [E-]

Chicago: September 1924
Paramout 20359 (mx. 1891-1)

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WILLIAM HAID: Shim-Sha-Wabble [sic] & I’ll See You in My Dreams  [V+]

Marsh Laboratories, Chicago: c. January 1925
Autograph unnumbered (mx. 701)

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WENDELL HALL: Hot Feet  [E-]

New York: March 29, 1927
Champion 15295 (Gennett mx. GEX-561)

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BOB DEIKMAN’S ORCHESTRA (as Grandview Inn Orchestra): Roll Up the Carpets  [E]

Richmond, IN: December 25, 1927
Champion 15401 (Gennett mx. GEX-991)

Collector’s Corner • Some January Finds (Arcadian Serenaders, Bennie Moten, The Missourians, William McCoy, Fleming & Townsend)

Pretty good pickings in January – Here are a few favorites from this month’s additions to the collection:

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ARCADIAN SERENADERS [WINGY MANNONE]: San Sue Strut  (E-)

St. Louis: November 1924
Okeh 40378

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: Get Low-Down Blues  (E)

Camden, NJ: September 7, 1928
Victor 21693

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: Kansas City Breakdown  (E)

Camden, NJ: September 7, 1928
Victor 21693

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THE MISSOURIANS: Missouri Moan  (E)

New York: June 3, 1929
Victor V-38067

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THE MISSOURIANS: Market Street Stomp  (E)

New York: June 3, 1929
Victor V-38067

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WILLIAM McCOY: Mama Blues  (EE-)

Dallas: December 6, 1927
Columbia 15269-D

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WILLIAM McCOY: Train Imitation and The Fox Chase  (EE-)

Dallas: December 6, 1927
Columbia 15269-D

An unusual example of a record issued in both the race  (14290-D) and country series (15269-D, which is missing from Brian Rust’s Columbia Master Book Discography [Greenwood Press]). The artist is African-American.

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REECE FLEMING & RESPERS TOWNSEND: She’s Just That Kind  (V+)

Memphis: June 6, 1930
Victor V-40297

 

From the “Gennett Record Gazette” – Joie Lichter, Bob Tamm, and the Questionable “Gene Bailey” (1924)

The Gennett Record Gazette was a nifty promo publication filled with photos, release lists, facts, and “alternative facts.” Here are a couple of excepts from Vol. I, No. 4 (April 1924) — one correcting a likely error in Johnson & Shirley’s American Dance Bands on Records and Film, and the other opening a discographical can of worms.

Joie Lichter’s and Bob Tamm’s Milwaukee orchestras visited Gennett’s Richmond, Indiana, studio on March 4, 1924 — Lichter recording five sides, with Tamm squeezing in a single title midway through the session, according to the Gennett ledgers. (“Tamm” or “Tamms”? It appears both ways in press reports and ads of the period, but “Tamm” is favored by a good margin.)

For god-only-knows what reason (since its compilers give none), ADBRF lists the Tamm side as a pseudonymous Lichter recording, even though the ledger, and the detailed information reported below, make that seem unlikely. For what it’s worth, Brian Rust credited the Tamm side to Tamm in his earlier  American Dance Band Discography, from which ADBRF was largely taken. If anyone can offer any credible reason for the change in ADBRF (credible excluding things like “so-and-so is sure he hears such-and-such” or “Joe Blow remembers that somebody said…”), please let us know, and of course be sure to cite the source. If it checks out, we’ll be happy to post it.

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Our next excerpt involves the ubiquitous Bailey’s Lucky Seven. For years it’s been taken for granted that this was a Sam Lanin group, and aural evidence does strongly suggest that was the case on many sides. Many others, however, are more generic-sounding. Unfortunately, the Gennett ledgers offer no clues in either case. (Note that the Bailey’s personnel listings in the various Rust and Johnson & Shirley discographies are all conjectural, even if the authors don’t make that clear. None of it is from file data or other primary-source documentation.)

But here we have one “Gene Bailey, of Bailey’s Lucky Seven” running a question-and-answer column in the Gennett Record Gazette. Not surprisingly, “Bailey” gave no answer whatsoever to the fan’s question concerning the Lucky Seven’s personnel, or where the band was performing, other than a vague reference later in the column to one “Saxophone Joe.”

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So, was there a real Gene Bailey involved with these recordings, and if so, in what capacity? Or was this just yet another case of the Gennett folks having fun with pseudonyms? We favor the latter, since we’ve found no trace of a Gene Bailey having been  active on the New York-area musical scene, either as a musician or a manager, at the time. (These were all New York recordings.  The cartoon above, by the way, is based on a well-known 1923 photo taken in the New York studio, which was configured differently than the Indiana facility).

There’s an old anecdote about Gennett borrowing the names of employees or other locals for its artist pseudonyms. And a Gene Bailey does turns up in the social notices of several eastern Indiana newspapers at the time, although with no mention of any musical connection. But just to muck things up a bit, Gennett once issued a record credited to “Jene Bailey’s Orchestra,” claiming (in the ledger as well as in their ads) that Mr. Bailey personally conducted the side:

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Of course, much of Gennett’s promotional material should be taken with the proverbial grain of salt. This was, after all, a  company whose “Colored Records” catalog included a photo of an unknown black band that was captioned “Ladd’s Black Aces” — a confirmed pseudonym on Gennett for the all-white Original Memphis Five.

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While we’re on subject, here’s a terrific book that all Gennett fans should own, by Charlie Dahan and Linda Gennett Irmscher (Arcadia Publishing). It’s available on Amazon.com, and a real  bargain at just $21.99 — crammed with rare photos and little-known facts, and covering a much broader scope than the earlier Kennedy tome. Highly recommended!
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(That’s Art Landry’s Call of the North Orchestra on the cover. At the top, you can see the heavy drapes that contributed to the Indiana studio’s notoriously muddy acoustics.)

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The Playlist • Henry “Red” Allen (1929 – 1930)

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Before Victor snagged Louis Armstrong, their chief trumpet star was Henry Allen, Jr. (the “Red” business didn’t appear on labels consistently until later). His orchestra on Victor was actually that of Luis Russell, which was under contract to Okeh at the time. (This wasn’t Luis Russell’s only instance of rebranding. Many of King Oliver’s big-band sides were also by the Russell band, sometimes with only minimal participation by Oliver himself.)

Original shellac pressings of recordings like these are lovely to behold, we’ll grant you, and some can bring a king’s ransom if in truly outstanding shape (which most aren’t — and for all the newbies out there overpaying on eBay for wiped-out crap copies, keep in mind: it’s all about condition-condition-condition, even for the scarce stuff).

But for pure musical enjoyment, nothing beats a custom virgin-vinyl disc carefully hand-pressed from a well-preserved original stamper, like these (and since only a few copies were pressed, and were not sold to the public, they’re actually much rarer than the original shellacs). The vinyls used here were pressed in the 1950s or 1960s, most likely in conjunction with RCA’s “X-“ or “Vintage” LP reissue program. A lot of these custom pressings found their way to collectors in England; those used here, and many used elsewhere on the blog, eventually found their way back via the late Malcolm Shaw.

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra]: It Should Be You

New York (46th Street Studio): July 16, 1929
mx. BVE 55133 – 3 (commercially issued on Victor V-38073)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra]: Swing Out

New York (studio unlisted): July 17, 1929
mx. BVE 53930 – 2 (commercially issued on Victor V-38080)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra; vocal by Allen]: Roamin’

New York (24th Street Studio): July 15, 1930
mx. BVE 62345 – 2 (commercially issued on Victor 23006)

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HENRY ALLEN, JR. & HIS ORCHESTRA [Luis Russell’s Orchestra; vocal by Allen]: Patrol Wagon Blues

New York (24th Street Studio): July 15, 1930
mx. BVE 62343 – 2 (commercially issued on Victor 23006)

 

All from c. 1950s–1960s blank-labeled custom vinyl pressings from the original stampers. Discographical data from the original RCA files (Sony archives, NYC), courtesy of John Bolig.

 

 

 

Last Call for “Paramount’s Rise and Fall” (Alex van der Tuuk)

We’re down to our last carton of Alex van der Tuuk’s classic Paramount’s Rise and Fall (Revised & Expanded Edition) and won’t be printing any further copies or producing a third edition.

Once these are gone, the only place you’ll be able to obtain a copy is on the collectible-book market, no doubt at an astronomical price. (Don’t believe it? Check out used-copy pricing for this and the original edition on Amazon.com.)

New sealed copies can still be ordered from the Mainspring Press website, while supplies last — and unlike the good folks at  Amazon, we won’t charge you $109!
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Some additional Paramount ads, from the Mainspring Press reference collection. If you enjoy these, be sure to check out Race Records and the American Recording Industry: An Illustrated History, 1919-1945, also available from Mainspring Press.

“Race Records” Nominated for 2017 ARSC Award

We’re pleased to announce that Race Records and the American Recording Industry, 1919–1945 (Allan Sutton, Mainspring Press) has been nominated for a 2017 Award for Excellence in Historical Recorded-Sound Research by the Association for Recorded Sound Collections. Winners will be announced later this year.

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MSP_race-records_cover
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Race Records
is available from Mainspring Press and many major libraries. Here’s a peek inside the book, at some of our favorite race-record ads:

msp_race-record-ads_1

 

 

The Playlist • Blue Kazoos (1924 – 1928)

msp_kazoo-composite-1

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MOUND CITY BLUE BLOWERS: Blue Blues

Chicago: February 23, 1924
Brunswick 2581 (mx. Ch 78)

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CHARLIE (DAD) NELSON: Cleveland Stomp

Chicago (Marsh Laboratories): c. April 1927
Paramount 12492 (mx. 4350 – )
From a tape dubbing supplied by the late Mike Stewart

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BLIND BLAKE & HIS KAZOO BAND [sic]: Buck-Town Blues

Chicago (Marsh Laboratories): c. April 1927
Paramount 12464 (mx. 4359 – 1)

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JOHNNIE HEAD: Fare Thee Blues — Parts 1 & 2

Chicago (Marsh Laboratories): c. January 1928
Paramount 12628 (mxs. 20274 – 2 / 20275 — 2)

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PINK ANDERSON & SIMMIE DOOLEY: Gonna Tip Out Tonight

Atlanta: April 14, 1928
Columbia 14336-D (mx. W 146067 – 1)

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Quote of the Week:

“Let them eat cake.

Specifically, let them eat Jean-Georges Warm Chocolate Cake. But let them start with Young Garlic Soup with Thyme and Sauteed Frog Legs. Let them follow that with Diver Scallops, Caramelized Cauliflower and Caper-Raisin Emulsion. And let them proceed to Niman Ranch Lamb Chops with Mushroom Bolognese and Pecorino… That’s what President-elect Donald Trump and Mitt Romney ate when the billionaire met with Mr. Forty-Seven Percent to discuss a job in the incoming administration.

Remember Trump’s talk about taking on the elites and the well-connected? Well, you can stick a sterling-silver fork in it.

If you feared that Trump would destabilize markets and impose reckless protectionism, his early appointments are reassuring. If you wanted him to shake up the system and depose the coastal elites — well, early signs are you’ve been had.”

Dana Milbank (Washington Post)

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The Playlist • Christmas with Rev. Nix (1927 – 1930)

msp_voc-1143_nix

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REV. A. W. NIX & CONGREGATION: Death May Be Your
Christmas Present

Chicago: October 12, 1927
Vocalion 1143 (mx. C 1298)

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REV. A. W. NIX & CONGREGATION: How Will You Spend Christmas?

Chicago: October 1930
Vocalion 1553 (mx. C 6468 – )
From a tape dubbing supplied by the late Mike Stewart.

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REV. A. W. NIX & CONGREGATION: That Little Thing May Kill You Yet — Christmas Message

Chicago: August 24, 1929
Vocalion 1431 (mx. C 4161 – )

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Quote of the Week

“Far from being a global branding goliath, Trump Inc. is a small, middle-aged, and largely domestic property business. Were it [publicly] listed, it would be the 833rd largest firm in America by market value, and 1,925th by sales… Trump is a director of almost 500 legal entities, but the vast majority appear to be empty shells that make no money.”

— “Deconstructing Donald Trump” (The Economist, 11/26/2016)

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The Playlist • Okeh Race Record Favorites (1921 – 1928)

race-records_okeh_comp1

Seven of our race-record favorites, from the company that broke the mold and started it all — Check out the full story in Race Records and the American Recording Industry, 1919–1945, available from Mainspring Press.

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MAMIE SMITH & HER JAZZ HOUNDS: Jazzbo Ball

New York: February 1921
Okeh 4295 (mx. S 7788 – B)
The February 21 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this period).

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KING OLIVER’S JAZZ BAND: Dipper Mouth Blues

Chicago (Consolidated Talking Machine Co. offices): June 23, 1923
Okeh 4918 (mx. 8402 – A)

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BENNIE MOTEN’S KANSAS CITY ORCHESTRA: 18th Street Strut

Kansas City, MO: May 1925
Okeh 8242 (mx. 9123 – A)

The May 14 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this Kansas City series).

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CLIFFORD [HAYES]’ LOUISVILLE JUG BAND: Struttin’ the Blues

Chicago: May 1925
Okeh 8238 (mx. 9143 – A)

The May 20 recording date shown in some discographies is speculative and not from the Okeh recording files (which do not exist for this session), but probably is fairly accurate, as the preceding session (consisting of Polish vocals) is dated May 19 in the Okeh files.

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WHISTLER [BRUFORD THRELKELD] & HIS JUG BAND: Pig Meat Blues

St. Louis: April 30, 1927
Okeh 8816 (mx. W 80799 – )
From a tape dubbing supplied by the late Mike Stewart.

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NAP HAYES & MATTHEW PRATER: Nothin’ Doin’

Memphis: February 15, 1928
Okeh 45231 (mx. W 400243 – B)
Issued in the white country-music series, although Hayes and Prater were African American. Lonnie Johnson performed with them on the first four titles from this eight-title session.

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JESSE STONE & HIS BLUE SERENADERS: Starvation Blues

St. Louis: April 27, 1927
Okeh 8471 (mx. W 80761 – C)

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ARIZONA DRANES (vocal and piano): I Shall Wear a Crown

Chicago: July 3, 1928
Okeh 8600 (mx. W 400980 – )
From a tape dubbing supplied by the late Mike Stewart. The accompanying vocalists and mandolin player are unidentified on the labels and in the Okeh files.

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The Playlist • Memphis Minnie on Vinylite (1936–1937)

In the 1960s and early 1970s, while CBS was literally bulldozing Columbia’s recorded legacy into the scrap heap, some insiders at the Bridgeport plant began secretly pulling new vinyl pressings from important and threatened stampers. It was a preservation project, albeit an illegal one, not a money-making scheme. The pressings were quietly handed out to company employees and interested outsiders, free of charge. A surprisingly large number of these clandestine pressings seem to have been made, and over the years many have found their way into private collections. They’re not true “test pressings,” as some dealers would like you to believe, but they are magnificent specimens that often play better than even pristine shellac originals. Here are four of our favorites.

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MSP_memphis-minnie_12

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MEMPHIS MINNIE: Ice Man (Come On Up)

Chicago: February 18, 1936
Mx. C 1263 – 1  (commercially issued on Vocalion 03222)
From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: Hoodoo Lady

Chicago: February 18, 1936
Mx. C 1264 – 1  (commercially issued on Vocalion 03222)
From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: It’s Hard to Be Mistreated

Chicago: November 12, 1936
Mx. C 1671 – 1 (commercially issued on Vocalion 03474)

From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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MEMPHIS MINNIE: You Can’t Rule Me

Chicago: June 9, 1937
Mx. C 1927 – 1 (commercially issued on Vocalion 03697)

From a c. 1960s blank-labeled vinyl pressing of the original stamper. The accompanists are uncredited in the ARC files.

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The Playlist • Memphis Jug Band (1927–1934)

MSP_vic-20809-a_MJB

 

MEMPHIS JUG BAND (Will Shade, vocal) : Sometimes I
Think I Love You

Victor Laboratory, Chicago: June 9, 1927
Released: September 16, 1927 — Deleted 1929
Victor 20809 (mx. BVE 38657 – 1)
Not designated as a race release in the Victor files.

 

MEMPHIS JUG BAND (Vol Stevens, vocal): Coal Oil Blues

Memphis Auditorium: February 13, 1928
Released: May 4, 1928 — Deleted: 1930
Victor 21278 (mx. BVE 41888 – 2)
Designated as a race release in the Victor files. From a tape transfer supplied by the late Mike Stewart.

 

MEMPHIS JUG BAND (as “Carolina Peanut Boys”; Charlie Nickerson, vocal): You Got Me Rollin’

Memphis Auditorium: November 28, 1930
Released: June 19, 1931 — Deletion date unlisted
Victor 23274 (mx.  BVE 64741 – 2)
The band’s identity is confirmed in the Victor ledger. From a tape transfer supplied by the late Mike Stewart.

 

MEMPHIS JUG BAND: Jazbo Stomp

Chicago: November 6, 1934
Mx. C 782 – 2 (commercially issued on Okeh 8955)
From a c. 1960s blank-labeled vinyl pressing from the original stamper

 

MEMPHIS JUG BAND (Will Shade and Charlie Burse, vocal):
Little Green Slippers

Chicago: November 7, 1934
Mx. C 784 – 1 (commercially issued on Okeh 8966/ Vocalion 03050)
From a c. 1960s blank-labeled vinyl pressing from the original stamper.

The Playlist • Tiny Parham & his Musicians (Chicago, 1929)

PARHAM_composite

 

TINY PARHAM & HIS MUSICIANS:  Fat Man Blues

Chicago: October 26, 1929 — Released: May 16, 1930
Victor V-38126 (mx. BVE 57335 – 2)

 

TINY PARHAM & HIS MUSICIANS:  Pig Feet and Slaw

Chicago: October 26, 1929 — Delayed Release: September 27, 1933
Victor 23410 (mx. BVE 57333 – 2)

 

TINY PARHAM & HIS MUSICIANS:  Steel String Blues

Chicago: October 26, 1929 — Delayed Release: September 27, 1933
Victor 23410 (mx. BVE 57337 – 3)

 

TINY PARHAM & HIS MUSICIANS:  Subway Sobs

Chicago: February 2, 1929 — Released: April 19, 1929
Victor V-38041 (mx. BVE 48849 – 1)

 

The original Victor files do not name band personnel for these selections (nor for most other jazz recordings of this period); the personnel listings in Jazz Records and other discographies are from uncited sources and should be considered speculative.