Good Listening • “The Missing Link: How Gus Haenschen Got Us from Joplin to Jazz and Shaped the Music Business” (Archeophone)

Good Listening:

The Missing Link: How Gus Haenschen Got Us from Joplin to Jazz and Shaped the Music Business
(Archeophone 6011)

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If you’ve been following Jim Drake’s Gus Haenschen interview series on the blog, here’s the accompanying soundtrack, on a newly released CD. Archeophone Records has compiled a superb sampling of recordings by Haenschen and some of the bands and singers he oversaw in the studio, along with some interesting related items.

The star attraction is a complete run of Haenschen’s 1916 Columbia Personal Records, including his Banjo Orchestra’s  impossibly rare “Maple Leaf Rag” — a wonderfully relaxed performance that stands in striking contrast to Vess Ossman’s break-neck rendition of a decade earlier. It’s interesting to compare this with recordings of the same piece by Brun Campbell, the only other confirmed Joplin pupil to have recorded it (Haenschen recalled paying Joplin “around $25 a month” for instruction). Unfortunately, the Personal Records were made at a time when Columbia’s recording and pressing quality were at their all-time worst, but Archeophone has done a remarkable job of  recovering what’s there while preserving the integrity of the original recordings.

The rest of the CD is devoted largely to jazz, pop vocal, and dance numbers of 1920–1924 by artists Haenschen recorded for Brunswick, ranging from some fine regional bands captured on their home turf, to the rather dreadful (but historically interesting) Charlie Chaplin–Abe Lyman collaboration. Brunswick’s acoustic recording technology was far superior to Victor’s or Columbia’s and comes through brilliantly through in these clean transfers. A nice bonus is an excerpt from Jim Drake’s 1975 interview with Haenschen and songwriter Irving Caesar.

Archeophone productions are notable for their accompanying booklets, and this one (at a generous thirty pages) is no exception, with an expertly researched and well-written biography and listening guide by Colin Hancock, a detailed discography, and many rare illustrations. For more details, visit Archeophone Records.

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On the Mainspring Press Blog:
James A. Drake: The Gus Haenschen Interviews

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Hide the Band: The Coon-Sanders “Castle Farms Serenaders” Paramounts (1928)

Hide the Band: The Coon-Sanders “Castle Farms Serenaders” Paramounts (1928)

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MSP_bwy-1227b

Broadway pressing from NYRL mx. 20924 (with Joe Sanders’ last name misspelled), originally issued on Paramount 20668

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Here’s a bit of “hide the band” activity that escaped Brian Rust and those who have copied his work —  In November 1928, the Coon-Sanders Orchestra recorded Joe Sanders’ “Tennessee Lazy” for Paramount at Chicago’s Marsh Laboratories — on the sly, since they were under exclusive contract to Victor at the time — as the “Castle Farms Serenaders.” The alias had at least a bit of basis in fact, since the Coon-Sanders band  occasionally played at Cincinnati’s Castle Farms (the name was used to cover other bands as well).

Three other titles on adjacent master numbers (preceded by a Big Bill & Thomps session, and followed by Richard Jones’ Jazz Wizards), were variously issued as the “Castle Farms Serenaders” and “Manhattan Entertainers.” Unfortunately, there are no Victor versions of these three titles for comparison.

Chronologically, there is no possibility that the Paramount was copied from the Victor by some cover band (not that any cover band could have produced such a perfect sound-alike anyway). Aside from the addition of Joe Sanders’ vocal, and the slightly slower tempo, the arrangement and solos are identical.

Brian Rust somehow missed the correlation in Jazz Records 6th Edition, listing the “Castle Farms Serenaders” on this session as an entirely unknown band. American Dance Bands on Record and Film erroneously credits the record to a Bill Haid group, with no source cited (banjoist Haid had been in and out of the Coon-Sanders Orchestra over the years, but by this time he had his own band, a so-so outfit). Earlier Paramount issues under the “Castle Farms” name still bear further investigation; the undocumented personnel listed by Rust and others for those sessions, although not disclosed as such, appear to be purely speculative.

Here are both versions of “Tennessee Lazy” for side-by-side comparison:

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COON-SANDERS ORCHESTRA (as Castle Farms Serenaders): Tennessee Lazy

Chicago (Marsh Laboratories): November 1928
Broadway 1227 (mx. 20924 – 2)
Paramount release: c. January 1929
Broadway release: Spring 1929 Montgomery Ward list

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COON-SANDERS ORCHESTRA (Joe Sanders, director and vocal): Tennessee Lazy

Chicago (Victor Lab, 925 N. Michigan Ave.): February 12, 1929
Victor 21939 (mx. BVE 48880 – 2)
Released: May 17, 1929 — Deleted: 1931

“Bandleader to Storekeeper”: Isham Jones in Colorado

“Bandleader to Storekeeper”:
Isham Jones in Colorado

By Allan Sutton

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Paul Whiteman wasn’t the only 1920s bandleader with Colorado connections. Isham Jones — one of Whiteman’s closest rivals at the time — liked what he saw while playing at Denver’s Elitch Gardens in the mid-1930s. He began purchasing land around Shaffers Crossing, where he eventually built a modern lodge. Lying in the foothills thirty-five miles southwest of Denver, the Crossing was (and, thankfully, still largely is) little more than a spot on the map.

In the early 1940s, with his popularity on the wane, Jones disbanded his orchestra and moved to his lodge at Shaffers Crossing, where he settled into the life of a rural shopkeeper and part-time treasure-hunter:

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Isham Jones tending the store at Shaffers Crossing (1945)

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Jones never found the hidden gold (supposedly stashed in the area in 1864 by members of the notorious Reynolds Gang, fleeing a posse from Leadville), although folks continue to hunt for it to this day. In the late 1940s, he sold his land, which is now a rural subdivision outside the small town of Pine Junction. There’s still a Jones Road, a Jones Creek, and a deteriorating octagonal structure that locals say he used as an impromptu dance hall, but that’s about all that remains to commemorate his stay.

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Locals say that Jones used this large octagonal structure near Shaffers Crossing as an impromptu dance hall. A rectangular extension at the rear of the building is said to have served as the bandstand.

 

Shaffers Crossing is located along present-day Highway 285, which in part follows an old stagecoach route connecting Denver and South Park. Part of Jones’ former holdings now abut Staunton State Park, home to some of the best hiking in the foothills.

 

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Ed Kirkeby’s 1931 – 1932 American Record Corporation Sessions: The “Missing” Personnel, from Kirkeby’s Payroll Books

Ed Kirkeby’s 1931 – 1932 American Record Corporation Sessions: The “Missing” Personnel
From the payroll books of Ed Kirkeby

 

Although the compilers of The American Dance Band Discography and American Dance Bands on Records and Film claimed they consulted Ed Kirkeby’s recording files, that clearly was not the case for most of Kirkeby’s later sessions. They lumped sessions from the late 1920s onward under a massive “collective personnel” listing — a way of saying “If we throw enough crap at the wall, something’s bound to stick.”

In addition, the compilers sometimes list prominent musicians on sessions at which they were not present, without ever citing a credible source — because there are none, in these cases. See May 8, 1931, for one such instance (Rust and Johnson & Shirley seem particularly fond of claiming the Dorsey brothers were present for sessions on which the Kirkeby files confirm they don’t play).

The personnel for the American Record Corporation sessions listed below are transcribed from Ed Kirkeby’s own payroll books, and therefore negate all the guesswork in ADBD, ADBRF, and derivative discographies.

For the purposes of this post, only master numbers and titles are shown. Where spellings of names differ from those in modern works, we have used Kirkeby’s spelling. Unlisted vocalists were either Kirkeby himself or were singers employed by the studio, and thus do not appear in the payroll books. Vocalists listed here as “paid” were hired by Kirkeby on a per-session basis, and their names appear in the payroll books.

All vocalists, and other details (including take numbers, labels, catalog numbers, and label credits) will appear in a fully revised Plaza-ARC discography that’s being developed for the University of California–Santa Barbara’s Discography of American Historical Recordings project.

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American Record Corporation studio (1776 Broadway, New York)

 

February 9, 1931

10383             Headin’ for Better Times (take 4 and above) *

10405              Tie a Little String Around Your Finger

10406              Hello, Beautiful

Frank Cush, Ed Farley (trumpets); Al Philburn (trombone); Bobby Davis, Elmer Feldkamp, Tommy Bohn (reeds); Sam Hoffman, Sid Harris (violins); Lew Cobey (piano); Ed Sexton (banjo/guitar); Ward Lay (bass); Jack Powers (percussion); unlisted (vocals). Kirkeby present.

*Earlier takes are by Joe Morgan’s Palais d’Or Orchestra. Inspected pressings from mx. 10383 use labels for the Morgan recording, in error.

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March 18, 1931  (“Cameo” session [sic])

10416              I’ve Got Five Dollars (take 10) *

10417              Sweet and Hot  (take 10) *

10507              Teardrops and Kisses

Jack Purvis, Fred Van Eps Jr. (trumpets); Al Philburn (trombone); Bobby Davis, _ Lodovar (reeds); M.  Dickson, Sid Harris, Sam Hoffman (violins); Lew Cobey (piano); Ed Sexton (banjo/guitar); _ Klein (bass); Jack Powers (percussion); unlisted (vocals). Kirkeby present.

*Earlier takes are by Ben Pollack’s Orchestra. Inspected pressings from mxs. 10416 and 10417 use labels for the Pollack recordings, in error.

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April 28, 1931

10578              Can’t You Read Between the Lines?

10579              Since an Angel Like Mary Loves a Devil Like Me

10580              If You Haven’t Got Love

Jack Purvis, Fred Van Eps Jr. (trumpets); Carl Loeffler (trombone); Bobby Davis, Tommy Bohn, Ad Coster (reeds); Sid Harris, Sam Hoffman (violins); Lew Cobey (piano); Ed Sexton (banjo/guitar); Ward Lay (bass); Jack Powers (percussion). Jack Parker (paid vocalist). Kirkeby present.

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May 8, 1931

10614              Mickey Mouse (We All Love You So)

10615             Popeye (The Sailor Man)

10616              I Wanna Sing About You

Jack Purvis, Fred Van Eps Jr. (trumpets); Carl Loeffler (trombone); Bobby Davis, Tommy Bohn, Paul Mason (reeds); Lew Cobey (piano); Ed Sexton (banjo/guitar); Ward Lay (bass); Jack Powers (percussion); Billy Murray (paid vocalist). Kirkeby present.

Jimmy Dorsey (reeds) is not present, as is erroneously claimed in American Dance Bands on Record and Film.

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May 22, 1931 – Accompanying vocals by Billy Murray & Walter Scanlan

10670              Skippy

10671              Let a Little Pleasure Interfere with Business

Jack Purvis (trumpet); Bobby Davis, Adrian Rollini (reeds); Lew Cobey (piano); Jack Powers (percussion).

This session is missing from American Dance Records on Records and Film.

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September 3, 1931  (“9:30, went on to 2 o’clock”)

10791              I Don’t Know Why (I Just Do)

10795              There’s Nothing Too Good For My Baby

10796              Guilty

10797              Blue Kentucky Moon

Jack Purvis, Earle Isom (trumpets); Carl Loeffler (trombone); Bobby Davis, Elmer Feldkamp, Nye Mayhew (reeds); Harold Bagg (piano); Ed Sexton (banjo/guitar); Ward Lay (bass); Jack Powers (percussion); unlisted (vocals).

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November 13, 1931

11000              Concentratin’

11001              When I Wore My Daddy’s Brown Derby

11002              I Promise You

11003              Save the Last Dance for Me

Jack Purvis, Tony Giannelli, Earle Isom (trumpets); Carl Loeffler (trombone); Bobby Davis, Elmer Feldkamp, Paul Mason (reeds); Harold Bagg (piano); Ed Sexton (banjo/guitar); _ Smith (bass?); Jack Powers (percussion).

Erroneously attributed to “ARC Studio Band” (personnel unlisted) in American Dance Bands on Records and Film.

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February 24, 1932

11343              What a Life! (American Record Corp. labels)

B-11344          What a Life! (Brunswick Record Corp. labels)

11345              My Mom

11346              (In the Gloaming) By the Fireside

11347              Too Many Tears

Bunny Berigan, Ted Sandow (trumpets); Carl Loeffler (trombone); Bobby Davis, Elmer Feldkamp, Paul Mason (reeds); Ray Gold (piano); Noel Kilgen (guitar); Ward Lay (bass); Jack Powers (percussion); unlisted (vocals).

Erroneously attributed to “ARC Studio Band” (personnel unlisted, other than Berigan) in American Dance Bands on Records and Film.

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April 21, 1932

B-11726          That’s What Heaven Means to Me (Brunswick Record Corp. labels)

11727              That’s What Heaven Means to Me (American Record Corp. labels)

B-11728          Happy-Go-Lucky You (Brunswick Record Corp. labels)

11729              Happy-Go-Lucky You (American Record Corp. labels)

B-11730          In My Little Hideaway (Brunswick Record Corp. labels)

11731              In My Little Hideaway (American Record Corp. labels)

Bunny Berigan, Ted Sandow (trumpets); Carl Loeffler (trombone); Bobby Davis, Elmer Feldkamp, Paul Mason (reeds); Lew Cobey (piano); Ed Sexton (banjo/guitar); Ward Lay (bass); Jack Powers (percussion); unlisted (vocals).

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July 13, 1932

12065              Waiting

12066              No One But You

12067              I Love You More and More

12068              Every Hour

Sylvester Ahola, Ted Sandow (trumpets); Carl Loeffler (trombone);  Ed Sexton (banjo/guitar); Adrian Rollini (bass saxophone); George Hnida (bass); Herb Weil (percussion). Johnny Rude (reeds) was scheduled for this session but was not present.

Session missing from American Dance Records on Records and Film. Entered in the ARC files under the following false credits: Art Kahn’s Orchestra (12065, 12068), Owen Fallon’s Orchestra (12066), and Sleepy Hall & his Collegians (12067).

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Related postings (correcting errors and omissions in The American Dance Band Discography and American Dance Bands on Records and Film):

Correct Personnel for Cameo’s Late 1927–Early 1928 California Ramblers Sessions, from Ed Kirkeby’s Files

Correct Personnel for Gennett’s 1926–1927 “Vagabonds” Sessions, from Ed Kirkeby’s Files

Correct Personnel for Grey Gull’s 1929–1930 California Ramblers Sessions, from Ed Kirkeby’s Files

Correct Personnel for Okeh’s 1927 “Goofus Five” Sessions, from Ed Kirkeby’s Files

Correct Personnel for Okeh’s 1927 “Ted Wallace” Sessions, from Ed Kirkeby’s Files

“Lloyd Dayton & his Music” Finally Identified, from the Ed Kirkeby Files

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Earl Hines, Lois Deppe, and their 1923 Gennett Specials

The Pittsburgh band that recorded for Gennett as Lois Deppe’s Serenaders in 1923 began life as The Symphonium Serenaders, under the direction of reed player Vance Dixon. Deppe served as manager and vocalist. Earl Hines was already a featured attraction when the band broadcast from the Westinghouse studio in Pittsburgh on August 5, 1922. He performed two piano solos on that broadcast, “Southland” and “Original Blues” (Pittsburgh Courier, “Westinghouse Radio Program for Today”).

A photo of the band, with Hines present, appeared in the Pittsburgh Courier for July 21, 1923. We’re especially fortunate that all members of the band (even the juvenile “mascot”) are identified. Not surprisingly, the personnel are at odds to some extent with the anecdotal listing published in Brian Rust’s Jazz Records and copycat works.

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The Deppe band in July 1923; Earl Hines is in the back row, fifth from the left.

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On September 1, 1923, the Courier reported that Deppe and Hines would go to New York to “register” with Okeh records. Apparently Okeh was not interested. If any recordings were made (and we have no way of knowing for certain, since Okeh’s files for the early 1920s are long-gone), they are not known to have been issued.

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The Pittsburgh Courier on Deppe’s and Hines’ recording activities

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Deppe instead went the private-issue route, paying Gennett records to record his band in their Richmond, Indiana, studio in October 1923. The presumably correct personnel as listed by the Courier, which differs from Brian Rust’s anecdotal listing, appear below, with the personnel from Rust’s Jazz Records (sixth edition) for comparison.

Discrepancies in Rust are shown in red italics. Brassfield is known to have left the band by the time these recordings were made. It’s certainly possible that some changes occurred between the July photo and the October recording session, but since he listed no source (as was usual in his work), Rust’s personnel are questionable at best:

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Gennett “specials” of this type were not listed in the company’s catalogs. Recording and production were paid for entirely by the artists, who were responsible for their own marketing and sales. A few specials are known to have been placed in the Starr Piano Company’s various retail outlets, but most often they were hawked directly by the artists, or were sold by independent dealers (as was the case with Deppe):

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November 1923 announcement of the first Deppe disc
(Pittsburgh Courier)

 

Only two titles by the full band were released. “Falling” is of little interest, but “Congaine” (Hines’ own composition) features a lengthy piano solo. The record is a rarity, so a dubbed reissue will have to suffice until something better comes along:

 

DEPPE’S SERENADERS: Congaine

Richmond, Indiana: October 3, 1923
Gennett (special) 20012 (mx. 11630-A)

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Of more interest are Deppe’s vocal sides, not for the singing (a frankly awful attempt in the Noble Sissle vein), but for Earl Hines’ accompaniments. Again made as Gennett “specials,” on November 6, 1923, they reveal a young Hines still very much under the influence of James P. Johnson.

“Southland,” posted here, is a mash-up of the Harry T. Burleigh’s adaptation of the old spiritual “Deep River,” and “Dear Old Southland,” a popular 1921 rip-off by the black vaudeville team of Creamer & Layton, which added a second strain and retrofitted some cornball “mammy-and-home-on-the levee”–type lyrics to the original melody. We’ve had to rely on a particularly bad dubbed reissue here:

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LOIS DEPPE (EARL HINES, piano): Southland [“Deep River” and “Dear Old Southland”]

Richmond, Indiana: Novmber 6, 1923
Gennett (special) 20021 (mx. 11669 – B)

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Did Lois Deppe Record for Arto?

While we’re on the topic, there’s a reference to someone listed simply as Deppe in band manager Ed Kirkeby’s log for May 2, 1922. (No coverage of Lois Deppe in the Pittsburgh papers has been found from mid-April through mid-May 1922, so it’s possible that he could have visited New York at that time.) The occasion was an Arto remake session for the song “Georgia,” and the cryptic notation reads simply,

10:30 [a.m.] – Remake – Jazz Band
11 [a.m.] – Deppe – Georgia.

So — Did the Deppe band remake this title, and/or did Deppe record it as a vocal for Arto? If so, it was never released. The issued version was credited to the Superior Jazz Band, an obviously white band that played in the style of the Original Memphis Five (although they were not the same band, as has been erroneously stated in some discographies).

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Fletcher Henderson’s Satellite Bands (1924 – 1929)

Fletcher Henderson’s Satellite Bands (1924 – 1929)
By Allan Sutton

 

 

One aspect of Fletcher Henderson’s career that’s been generally overlooked by most of his biographers is his use of “satellite” bands — those second-string groups that busy bandleaders dispatched  under their names to tour the boondocks or play low-prestige events like college and civic-group dances. This was a common practice in the 1920s, known to have been engaged in by Harry A. Yerkes*, Ed Kirkeby, and other popular band leaders and managers.

The first mention of a suspected Henderson satellite band appeared in March 1925. Henderson’s Rainbow Orchestra, it was reported, was a new unit that would “bid for popular favor against Mr. Henderson’s original Roseland Orchestra.”

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An early mention of Henderson’s Rainbow Orchestra (March 1925)

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Whether Henderson’s Rainbow Orchestra was a separate unit, as the article suggests, or perhaps just a small group drawn from the main band, remains unclear. No recordings credited to Fletcher Henderson’s Rainbow Orchestra are known. The name (sometimes spelled “Rainbo”) appeared in newspaper ads off-and-on for a few months, mostly in connection with a touring band that played the smaller cities in Pennsylvania and central New York state.

There is far more certainty surrounding Fletcher Henderson’s Collegians. This appears to have been a group of younger musicians who were employed primarily as a touring band. The name first appeared in the autumn of 1925, with one advertisement describing the group as “A Fletcher Henderson unit of young colored boys full of ‘pep.’”

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Altoona, Pennsylvania (October 2, 1925)

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Based on strong circumstantial and aural evidence, it seems virtually certain that the Collegians were a Henderson satellite band. There are confirmed instances of the group appearing in far-flung locations on the same dates that Henderson’s main band is known to have been performing, recording, or broadcasting in New York city. The Plaza Music Company released three very un-Hendersonlike sides credited to Fletcher Henderson’s Collegians, and they can come as a bitter disappointment to unwary collectors. The mundane stock arrangements and total absence of Henderson’s own readily recognizable soloists strongly suggest that these recordings were the work of a band that was his in name only:

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FLETCHER HENDERSON’S COLLEGIANS (Andy Razaf, vocal):
Dear, On a Night Like This

New York (Independent Recording Laboratory): November 26, 1927
Regal 8441  (mx. 7622 – 3)

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Ads for Henderson’s Collegians vanished in early 1928. In the meantime, another apparent satellite band had surfaced — Fletcher Henderson’s Stompers (not to be confused with The Dixie Stompers, an alias that Columbia used to mask the actual Henderson band, or a small unit derived from it, on its low-priced Harmony and Velvet Tone labels). Ads for the Stompers began appearing in the autumn of 1927. An article from October of that year reported that Henderson’s brother Horace was directing the group:

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Horace Henderson as director of Fletcher Henderson’s Stompers
(Pittsburgh, October 1927)

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The Stompers’ itinerary is well documented in newspapers of the period. Like the Collegians, they are known to have been traveling on some dates when the main Henderson band was performing or recording in New York or Chicago. Occasional ads declaring that “Fletcher Henderson himself” would appear suggest that his presence with the group might have been something out of the ordinary. The Stompers spent the autumn of 1927 and early winter of 1928 crisscrossing Pennsylvania and parts of New York state. Aside from Pittsburgh, the band played mostly smaller cities and college towns.

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Benny Carter as director of Fletcher Henderson’s Stompers (Mansfield, Ohio, September 1928). Several months later, Horace Henderson took over the Stompers name for his own band.

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One Bennett Carter took over direction of the Stompers in the summer of 1928. Better known to modern listeners as saxophonist and arranger Benny Carter, he began working with  Fletcher Henderson’s main band later that year, playing a key role in reshaping what had become a rather slipshod outfit following Henderson’s late-August auto accident.

Horace Henderson subsequently appropriated the Stompers name for his own band, ads for which began running in early 1929. Occasional ads for Fletcher Henderson’s Stompers continued to appear into mid-1930, intermixed with a larger number for Horace Henderson’s Stompers, mostly involving one- or two-night stands in Pittsburgh and some smaller Pennsylvania cities.

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* Not the same individual as Hulbert A. Yerkes, a Columbia records executive who went by the initials “H. A,” causing some writers to conflate the two.

 

© 2019 by Allan R. Sutton. All rights are reserved.

Highlights from the Pathe Records Catalog (August 1916)

From the Bill Bryant papers at Mainspring Press. Note the issue by Rector’s New York Dance Orchestra (Leopold Kohls, director), which is missing from American Dance Bands on Records and Film. A bit of trivia for the organ fans out there, from a page not pictured: Pathé’s “exclusive” studio organ was a Mason & Hamlin (a popular line of reed organs), model not mentioned.

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Gennett Odd-and-Ends • How to Pronounce “Gennett” (1920) / H. Ross Franklin Orchestra Personnel (1922)

We’ve heard “Gennett” pronounced every which-way over the years, and apparently so had the Gennett family, who finally placed an ad in 1920 to set the record straight. Here you have it, from the folks who knew best:

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Muncie [IN] Evening Post, January 16, 1920

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For anyone owning the H. Ross Franklin Orchestra’s Gennett personal record — all two of you, perhaps? — here are the rather obscure personnel (not listed in the American Dance Band Discography and derivative works) who were present at that session on March 6, 1922. This list is transcribed verbatim from The Fort Wayne [IN] Journal-Gazette for April 2, 1922, and probably contains some misspellings:

H. Ross Franklin [piano] directing: Vern C. McDermitt (trumpet); Benjamin West (trombone); Glendon C. Davis (clarinet); Harold D. Smith (alto saxophone); Lawrence G. Pape (oboe); Steward C. Loranze (violin); Edward Melching (banjo); Paul E. Dickerson (brass bass); John Kehne (percussion).

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The Journal-Gazette reported that this session entailed “eight hours of strenuous effort.” A third title, “You Know,” was also recorded, but so far we’ve not found any reliable evidence that it was issued. Let us know if you have a copy, and be sure to include a photo or scan for confirmation. Franklin’s orchestras cut two additional sides for Gennett in October 1928, but both were rejected.

For more on Franklin and several of his musicians, see Duncan Schiedt’s superb The Jazz State of Indiana (Indiana Historical Society, 1999).

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Some Corrections to Johnson & Shirley’s “American Dance Bands,” from Vic D’Ippolito’s Date Books

Horn-man Vic D’Ippolito’s 1920s date book is the sort of primary-source documentation (like Ed Kirkeby’s files) that causes discographers to salivate. The late Woody Backensto transcribed D’Ippolito’s original data in the late 1950s, a portion of which was published in a special (and now quite rare) October 1958 supplement to Record Research magazine. It’s since been largely overlooked — not least of all by Brian Rust and followers Johnson & Shirley, none of whose dance bands discographies include this information. So to set the records straight, here are a few nuggets we’ve uncovered in just our initial skim:

BLACK SWAN 2106
Brashear’s California Orchestra: Crinoline Days / Lady of the Evening

ADB UNDOCUMENTED IDENTITY AND DATE:
Nathan Glantz’s Orchestra (c. late 10/ 1922)

IDENTITY AND ACTUAL DATE IN D’IPPOLITO LOG:
“Sam Lascabza” [sic? Mike LoScalzo?]  (11/28/1922)

A bit of a mystery here. Backensto interpreted  D’Ippolito’s entry to read “Lascabza,” which could easily be a misreading on his part, or a misspelling on D’Ippolito’s part, for LoScalszo. We’ve not found a Lascabza or a Sam LoScalzo making records at this time, but Mike LoScalzo’s band was recording for Olympic (masters from which were frequently issued on Black Swan under pseudonyms); thus, he seems the most likely suspect. At any rate, there’s nothing in D’Ippolito’s entry to suggest Glantz.

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BLACK SWAN 2110
Laurel Dance Orchestra: Burning Sands / You Remind Me of My Mother

ADB UNDOCUMENTED IDENTITY AND DATE:
Listed as an actual orchestra (c. 12/ 1922)

IDENTITY AND ACTUAL DATE PER D’IPPOLITO LOG:
“Sam Lascabza” [sic? Mike Loscalzo?] (11/28/1922)

Same comments as above. The “Laurel Dance Orchestra” pseudonym also appears on other Black Swan issues confirmed as LoScalzo’s.

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CAMEO 289
Blue Bird Dance Orchestra: Whistling
CAMEO 290
Blue Bird Dance Orch: Teddy Bear Blues

ADB UNDOCUMENTED IDENTITY AND DATE:
Possibly Arthur Lange (c. late 10/1922)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Al Burt’s Orchestra (12/14/1922)

“Blue Bird Dance Orchestra” isn’t so much a pseudonym as an incomplete artist credit, probably used because Al Burt was an Edison artist at the time. Burt’s band was appearing at the Bluebird Dancing Palace, as confirmed by a check made out to Burt that was endorsed by the dance-hall, which survives at the Edison National Historic Site.

“Teddy Bear” is an under-appreciated little item (as one might expect of a record condemned to Arthur Lange Hell by the supposed experts), with D’Ippolito front-and-center:

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CAMEO 724
Mike Speciale’s Orchestra: Something’s Wrong

CAMEO 727
Mike Speciale’s Orchestra: Cross Words

ADB UNDOCUMENTED IDENTITY AND DATE:
Orchestra identity is correct, but Vic D’Ippolito not shown in the undocumented personnel listing  (c. 4/20/1925)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Vic D’Ippolito is present (4/21/1925)

 

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VOCALION 14475
Broadway Syncopators: Without You

ADB UNDOCUMENTED IDENTITY AND DATE:
Ben Selvin’s Orchestra (c. 12/6/1922)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Emil Coleman’s Montmartre Orchestra (12/4/1922)

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ACTUAL RECORDING DATES FROM THE D’IPPOLITO BOOK (ADB BAND IDENTITIES ARE CORRECT):

Cameo 256: 9/13/1922 (Apparently for the remake session [takes D-F], based on the master-number gap between these sides and those on the other two sides [takes A-C] from this session) (ADB: c. 7/1922)
Cameo 265 (both sides): 9/13/1922 (ABD: c. 8/20/1922)
Cameo 273 (both sides): 10/13/1922 (ADB: c. 9/20/1922)
Cameo 274 (both sides): 9/25/1922 (ADB: c. 9/19/1922)
Cameo 713 (both sides): 4/7/1925 (ADB: c. 4/6/1925)
Cameo 727 (both sides): 4/21/1925 (ADB: c. 4/20/1924)
Federal 5244 (both sides): 1/5/1923 (ADB: c. 1/1923)
Federal 5245 (Starlight Bay): 1/5/1923 (ADB: c. 1/1923)
To be continued….

 

More Discographic Updates: Correct Personnel for Okeh’s 1927 “Ted Wallace” Sessions, from Ed Kirkeby’s Payroll Books

MSP_kirkeby-ed_3
Ed Kirkeby

Some more corrections to the undocumented personnel listings for Ed Kirkeby groups that appear in Johnson & Shirley’s American Dance Bands on Films and Records — this time for the 1927 Okeh sessions by Kirkeby’s conventional dance orchestra that were issued under the name of “Ted Wallace,” along with  various other pseudonyms.

The correct personnel shown here are from Ed Kirkeby’s payroll books; see the previous posts for details on the Kirkeby archival materials. Names in boldface are correct entries from the payroll books (an underline indicates a name that does not appear in the ADBFR listing); struck-out names are incorrect guesses in ADBFR. In some cases, musicians the ADBFR compilers state are “definitely present” definitely are not.

ADBFR’s listings for the 1928–1929 Okeh and Columbia “Wallace” sessions show only the compiler’s “collective personnel,” consisting of about 45 names (read: “Throw enough crap at the wall, and something’s bound to stick”). Actually, Kirkeby’s payroll books contain very specific personnel for all of those sessions (including some names not found among the “collective”), which we’ll consider posting if there’s sufficient interest in the current posts.

 

___________________________________

New York: February 14, 1927

“Oh! Lizzie” (mx. 80418, as “Okay Kate” in EK log); “The Cat” (mx. 80419); “My Regular Gal” (mx. 80420, remade March 17)

 

Tpt: Chelsea Quealey, Roy Johnston, Bill Moore

Tbn: Tommy Dorsey, Abe Lincoln “definitely present”  [?; one of the unidentified below?]

Reeds: Arnold Brillhart “definitely present,” Sam Ruby, Adrian Rollini  Pete Pumiglio, Spencer Clark

Vln: Hal White, Joe LaFaro

Pno: Jack Russin  Lennie Hayton

Bjo: Tommy Felline  Carl Kress

Percussion: Herb Weil  [?; one of the unidentified below?]

Unidentified instrument(s): R. Busch, R. Rossan

Note: Kirkeby originally entered a $50 payment to himself, which he crossed-out.

____________________

New York: March 17, 1927

“My Regular Gal” (remake, take D); “Nesting Time” (mx. 80639); “For Mary and Me” (mx. 80640)

 

Tpt: Sylvester Ahola, Chelsea Quealy

Tbn: Ivan Johnston  Edward Lapp

Reeds: Arnold Brillhart “definitely present,” Bobby Davis, Sam Ruby, Adrian Rollini

Vln: Al Duffy or Hal White  [none listed]

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Unidentified instrument(s): An unidentified artist was paid $15 for this session

Note: Kirkeby originally entered a $50 payment to himself, which he crossed-out.

____________________

New York: June 27, 1927

“Bless Her Little Heart” (mx. 81110) / “Who-oo? You-oo, That’s Who” (mx. 81111) / Pleading (mx. 81112) / Love and Kisses (mx. 81113)

 

Tpt: Chelsea Quealey, Frank Cush?

Tbn: Abe Lincoln  Tommy Dorsey

Reeds: Johnny Rude or Arnold Brillhart or Sam Ruby  Bob Fallon, Bobby Davis, Adrian Rollini

Vln: [None listed]

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Unidentified instrument(s): [?] Black

____________________

New York: September 9, 1927

“Cornfed” (mx. 81429) / “Buffalo Rhythm” (mx. 81430) / “Zulu Wail” (mx. 81431)

 

Tpt: Chelsea Quealey, Frank Cush

Tbn: Tommy Dorsey or Abe Lincoln  Joe Vargas

Reeds: Bobby Davis or Johnny Rude or Arnold Brillhart, Adrian Rollini, Sam Ruby, Bob Fallon, Pete Pumiglio, Spencer Clark

Vln: [None listed]

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

____________________

New York: November 23, 1927

“Mary” (mx. 81858) / “Changes” (mx. 81859)

 

Tpt: Henry Levine  Chelsea Quealey

Tbn: Al Philburn

Reeds: Harold Marcus, Sam Ruby  Pete Pumiglio, Bob Fallon

Vln: Al Duffy

Pno: Jack Russin

Bjo: Tommy Felline

Bass: Jack Hansen  [None listed]

Percussion: Herb Weil

Unidentified instrument(s): [?] Black, [?] Hart, [?] Lloyd

____________________

New York: December 7, 1927

“For My Baby” (mx. 81924) / “There’s Something Spanish in Your Eyes” (mx. 81925) / “Cobblestones” (mx. 81926)

 

Tpt: Chelsea Quealey, Henry Levine

Tbn: Al Philburn

Reeds: Harold Marcus  Sam Ruby, Pete Pumiglio

Vln: Al Duffy   Joe LaFaro

Pno: Jack Russin

Bjo: Tommy Felline

Bass: Jack Hansen

Percussion: Herb Weil

.

 

Discographic Update: Corrected Personnel for the 1927 Okeh “Goofus Five” Sessions, from Ed Kirkeby’s Payroll Book

We continue with our corrections to the undocumented (and thus, often very incorrect) personnel listings in Johnson & Shirley’s American Dance Bands on Films and Records, successor to Brian Rust’s American Dance Band Discography.

The following listings, taken from Ed Kirkeby’s payroll books,  correct ADBFR’s speculative personnel for the 1927 “Goofus Five” sessions at Okeh’s New York studio. Names in boldface are correct personnel, from the payroll books. Struck-out names are incorrect guesses that appear in ADBFR. See the previous posting for more information on the Kirkeby archival materials.

____________________________________________

New York: February 8, 1927

“Farewell Blues” (mx. 80402) / “I Wish I Could Shimmy Like My Sister Kate” (mx. 80403) / “Some of These Days” (mx. 80404)

 

Tpt: Chelsea Quealey  Roy Johnston

Tbn: Abe Lincoln  Ivan Johnston

Reeds: Sam Ruby, Bobby Davis, Adrian Rollini

Pno: Irving Brodsky  Jack Russin

Bjo: Tommy Felline

____________________

 

New York: April 14, 1927

“Muddy Water” (mx. 80730) / “The Wang Wang Blues” (mx. 80731) / “The Whisper Song” (mx. 80732) / “Arkansas Blues” (mx. 80733)

 

Tpt: Chelsea Quealey

Tbn: Abe Lincoln  [none listed]

Reeds: Sam Ruby, Bobby Davis, Adrian Rollini

Pno: Irving Brodsky  Jack Russin

Bjo / Gtr: Tommy Felline

Percussion: Herb Weil

____________________


New York: June 15, 1927

“Lazy Weather” (mx. 81015) / “Vo-Do-Do-De-O Blues” (mx. 81016) / “Ain’t That a Grand and Glorious Feeling?” (mx. 81017)

 

Tpt: Chelsea Quealey

Tbn: Al Philburn  Tommy Dorsey

Reeds: Bobby Davis, Sam Ruby, Adrian Rollini

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Vocal: Ed Kirkeby

____________________

 

New York: August 10 and 12, 1927

August 10: “Clementine” (mx. 81207) / “Nothin’ Does It Like It Used to Do-Do-Do” (mx. 81208)

August 12: “I Left My Sugar Standing in the Rain” (mx. 81219; originally scheduled for August 10 session)

 

Tpt: Chelsea Quealey

Tbn: Al Philburn  [none listed]

Reeds: Bobby Davis, Sam Ruby, Adrian Rollini

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Note: The vocalist (Beth Challis) was not on Kirkeby’s payroll.

____________________

New York: November 3, 1927

“Blue Baby, Why Are You Blue?” (mx. 81772) / “Make My Cot Where the Cot-Cot-Cotton Grows” (mx. 81773) / “Is She My Girl Friend?” (mx. 81774)

 

Tpt: Henry Levine, Chelsea Quealey

Tbn: Al Philburn

Reeds: Bob Fallon, Pete Pumiglio, Spencer Clark

Pno: Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Note: The vocalist (Les Reis) was not on Kirkeby’s payroll.

Discographic Update: Corrected Personnel for Gennett 1926–1927 “Vagabonds” (California Ramblers) Sessions, from Ed Kirkeby’s Payroll Books

We continue with our corrections to the undocumented (and thus, often very incorrect) personnel listings in Johnson & Shirley’s American Dance Bands on Films and Records, successor to Rust’s American Dance Band Discography.

The following listings, taken from Ed Kirkeby’s payroll books,  correct ADBFR’s speculative personnel for the California Ramblers’ 1926–1927 “Vagabonds” sessions at the Starr Piano Company’s Gennett studio in New York. Names in boldface are confirmed in the payroll books. Struck-out names are incorrect guesses that appear in ADBFR. Perhaps the most important correction to note is the absence of Tommy Dorsey on all of these records.

In addition to Ed Kirkeby’s “diaries” and payroll books (two separate sets of documents, which when merged provide a very complete picture of each session), we are using Perry Armagnac’s unpublished annotations, which were made with Mr. Kirkeby’s personal assistance in the early 1950s. At that time, Kirkeby was able to clear up some of the ambiguities in his files, which included providing full names for some of his lesser-known part-time musicians (generally, only last names were entered), and the instruments they played. In other cases, he was unable to recall full details; rather than guess (although in some cases the answers seem fairly obvious), we’ve listed those personnel as [?],  to avoid muddling the original data.

 

___________________________________________

New York: March 19, 1926

“Gimme a Little Kiss” (mxs. X-43) / “Could I? I Certainly Could (mx. X-44) / “I’d Climb the Highest Mountain” (mx. X-45)

 

Tpts: Chelsea Quealy, Frank Cush  Leo McConville, Roy Johnston

Tbn: Abe Lincoln  George Troup

Reeds: Sam Ruby, Bobby Davis, Arnold Brillhart, Adrian Rollini

Pno: Irving Brodsky  F. Fabian Storey

Bjo: Tommy Felline  [?]

Percussion: Stan King  Herb Weil

Unknown instrument(s): [?] Deacon, [?] Frink

Note: The vocalist (Arthur Fields) was not on EK’s payroll.

____________________

New York: August 19, 1926

“Looking at the World Thru’ Rose Colored Glasses” (mx. X-227) / “On the Riviera” (mx. X-228) / “The Birth of the Blues” (mx. X-229 — Rejected per Gennett ledger; remade by Willie Creager’s Orchestra on X-259*)

 

Tpts: Frank Cush  Chelsea Quealy, Roy Johnston

Tbn: Tommy Dorsey  George Troup

Reeds: Arnold Brillhart, Bobby Davis, Sam Ruby, Adrian Rollini

Pno: Irving Brodsky  Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Unknown instrument(s): [?] Stark

* Musicians’ pay was reduced proportionally (to two titles from three) because X-229 was rejected. ADBFR’s claim that X-229 appeared on Champion 15079 is unconfirmed. If you have the Ramblers’ version of this record and can supply confirming photo and audio evidence, please let us know.

Kirkeby paid himself $26.65 for unspecified services on this session.

____________________

 

New York: “Seeley — Starr,” January 14, 1927

“College Girls” (—) / “Sam, the Old Accordion Man” (—)

It is not certain that this was a California Ramblers session. It is listed only in Kirkeby’s logbook; no corresponding entry has been found in his payroll book or the Gennett ledgers. Although it’s tempting to speculate this refers to Blossom Seeley, we’ve so far found no evidence to support that.

 

_____________________

New York: May 2, 1927

“I’m Back in Love Again” (mx. GEX-635) / “Yes She Do — No She Don’t” (mx. GEX-636) / “Sluefoot” (mx. GEX-637)

 

Tpts: Frank CushChelsea Quealy

Tbn: Tommy Dorsey  Edward Lapp

Reeds: Arnold Brillhart, Bobby Davis, Bob Fallon, Sam Ruby, Adrian Rollini

Pno: Irving Brodsky  Jack Russin

Bjo: Tommy Felline

Percussion: Herb Weil

Unknown instrument(s): [?] Black

Three ARSC 2015 Awards for Mainspring Press Books: Eli Oberstein, Victor Special Labels, Ajax Records

We’re honored to announce that three Mainspring Press titles have received 2015 awards from the Association for Recorded Sound Collections. Details and secure online ordering are available on the Mainspring Press website.

The ARSC Award for Excellence—Best Label Discography went to Eli Oberstein’s United States Record Corporation: A History and Discography, 1939–1940:

cover-USRC

2015 Certificates of Merit were awarded to The Victor Discography: Special Labels, 1928–1941; and Ajax Records: A History and Discography:

COVER_victor-specialsAJAX-COVER-x252

ORDER SOON if you’re interested in Oberstein or Victor Special Labels. Both titles have been on the market for a while, so supplies are running low (and in addition, there’s recently been a big library run on USRC). We won’t be reprinting either title once our current supplies are gone.

Sorry, Ajax has already sold out (it was a 2013 title — the wheels sometimes turn very slowly at ARSC), although we might consider reprinting this one if there’s sufficient interest — Let us know.

Discography Update • Correct Personnel for Ted Wallace’s Campus Boys (1930 Columbia Sessions)

We continue with corrections to the Ed Kirkeby personnel listings found in Jazz Records (Rust) and American Dance Bands (Johnson & Shirley). The corrected data below, for the 1930 “Ted Wallace” dates at Columbia, are all from Kirkeby’s Payroll Book #4.

(For those not familiar with Kirkeby’s papers, there are two main components of discographical interest — the “dairies” (which we refer to in these postings as “session logs”) and the payroll books. “Diary” entries often made were before the actual sessions took place, and as such, they are not always reliable. The payroll books show which musicians were paid after each date, and thus can be taken as authoritative. Brian Rust (JR) apparently did have access to some of the “diaries” as claimed (and that information was recycled in ADB), but obviously neither he nor the Johnson-Shirley group consulted some of the payroll books.)

For comparison’s sake, we’ve also shown the JR and ADB personnel listings, with the erroneous guesses crossed-out. ADB gives very specific (albeit often incorrect) personnel, with no sources cited, although obviously not from the Kirkeby files. On the other hand, JR shows only a “collective personnel,” consisting of forty-one names comprising anyone even marginally connected with Kirkeby at the time (while managing to miss a number of musicians who actually were present) — proof of the axiom that if you throw enough crap at the wall, some of it’s bound to stick.

Here are our previous postings correcting the bad JR-ADB data using Kirkeby’s session logs and payroll books:

Correct Personnel and Dates for the California Ramblers’ 1929–1930 Grey Gull Sessions
Correct Personnel and Dates for the California Ramblers’ 1927–1928 Cameo Sessions
Correct Personnel for Grey Gull’s July 1926 “Little Pilgrims” Session (California Ramblers)
Correct Personnel for Gennett’s 1926 “Vagabonds” Sessions (California Ramblers)
Correct Personnel and Date for Crown’s 1930 “Lloyd Newton Varsity Eleven” Session
The Missing May 1931 Ed Kirkeby – Billy Murray Sessions (American Record Corp.)


TED WALLACE & HIS CAMPUS BOYS: Columbia, 1930 — Part 1

 New York: January 18, 1930

When You’re Smiling (mx. W 149782)
What Do I Care? (mx. W 149783)

Fred Van Eps, Jr. (trumpet)
[JR: “Collective” / ADB: probably Jack Purvis]

Frank Cush (trumpet)
[JR: “Collective” / ADB: probably Chelsea Quealy]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: probably Ted Raph]

Pete Pumiglio (reeds)
[JR: “Collective” / ADB: probably Pete Pumiglio]

Paul Mason (reeds)
[JR: “Collective” / ADB: probably Paul Mason]

Carl Orrick [Orech] (reeds)
[JR: “Collective” / ADB: probably Harold Marcus]

Chauncey Gray (piano)
[JR: “Collective” / ADB: probably Chauncey Gray]

Tommy Felline (guitar)
[JR: “Collective” / ADB: probably Tommy Felline]

Ward Lay (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Stan King (drums)
[JR: “Collective” / ADB: probably Stan King]


 

 New York: February 19, 1930

Get Happy  (mxs. W 149999 [Columbia], W 195080 [export], W 100366 [budget   labels], W 495022 [American Odeon-Parlophone])
Sweetheart Trail  (mx. W 150000 [Columbia], W 195083 [export], W 100363 [budget labels], W 405023 [American Odeon-Parlophone])

Don McCarter (trumpet)
[JR: “Collective” / ADB: Jack Purvis]

(?) Condon (trumpet)
[JR: “Collective” / ADB: Chelsea Quealy]

Herb Winfield (trombone)
[JR: “Collective” / ADB: Al Philburn]

Paul Mason (reeds)
[JR: “Collective” / ADB: probably Paul Mason]

Tommy Bohn (reeds)
[JR: “Collective” / ADB: Sam Ruby]

(?) Herbert (reeds)
[JR: “Collective” / ADB: Pete Pumiglio]

Tony Zangh (crossed out, with Zonchi substituted) (piano)
[JR: “Collective” / ADB: probably Chauncey Gray]

Mike Poveromo (guitar)
[JR: “Collective” / ADB: probably Tommy Felline]

Tex Hurst (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Herb Weil (drums)
[JR: “Collective” / ADB: probably Stan King]

One of the Feldkamps was also paid $25 for this session (which Feldkamp, and in what capacity, are not noted)


 

New York: March 14, 1930

The Stein Song (mx. W 150088)
Telling It to the Daisies (mx. W 150089)

Don McCarter (trumpet)
[JR: “Collective” / ADB: Leo McConville]

Tony Giannelli (trumpet)
[JR: “Collective” / ADB: Fuzzy Farrar or Tommy Gott]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: Tommy Dorsey]

Pete Pumiglio (reeds)
[JR: “Collective” / ADB: Pete Pumiglio]

Paul Mason (reeds)
[JR: “Collective” / ADB: no second reed man listed]

Tommy Bohn (reeds)
[JR: “Collective” / ADB: No third reed man listed]

Irving Brodsky (piano)
[JR: “Collective” / ADB: probably Chauncey Gray]

Tommy Felline (guitar)
[JR: “Collective” / ADB: probably Tommy Felline]

Tex Hurst (bass)
[JR: “Collective” / ADB: Joe Tarto]

Herb Weil (drums)
[JR: “Collective” / ADB: Stan King]


 

New York: July 10, 1930

Hittin’ the Bottle (mx. W 150643)
Little White Lies (mx. W 150644)

Fred Van Eps, Jr. (trumpet)
[JR: “Collective” / ADB: Jack Purvis]

Tony Giannelli (trumpet)
[JR: “Collective” / ADB: no second trumpet listed]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: probably Carl Loeffler]

Joe Gillespie (reeds)
[JR: “Collective” / ADB: Pete Pumiglio]

Ed Blanchard (reeds)
[JR: “Collective” / ADB: Tommy Bohn]

Elmer Feldkamp (reeds)
[JR: “Collective” / ADB: probably Elmer Feldkamp]

Lew Cobey (piano)
[JR: “Collective” / ADB: probably Lew Cobey]

Ed Sexton (guitar)
[JR: “Collective” / ADB: probably Ed Sexton]

Ward Lay (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Jack Powers (drums)
[JR: “Collective” / ADB: probably Jack Powers]


New York: August 12, 1930

Tomorrow Is Another Day (mx. W 150701)
Don’t Tell Her (What’s Happened to Me) (mx. W 150702, also dubbed to W 91937 and W 91938 as part of two radio-program transcriptions)

Jack Purvis (trumpet)
[JR: “Collective” / ADB: probably Jack Purvis]

(?) Osborne (trumpet)
[JR: “Collective” / ADB: no second trumpet listed]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: probably Carl Loeffler]

Bobby Davis (reeds)
[JR: “Collective” / ADB: probably Pete Pumiglio]

Paul Mason (reeds)
[JR: “Collective” / ADB: probably Tommy Bohn]

Elmer Feldkamp (reeds)
[JR: “Collective” / ADB: probably Elmer Feldkamp]

Lew Cobey (piano)
[JR: “Collective” / ADB: probably Lew Cobey]

Ed Sexton (guitar)
[JR: “Collective” / ADB: probably Ed Sexton]

Ward Lay (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Jack Powers (drums)
[JR: “Collective” / ADB: probably Jack Powers]


 

New York: September 23, 1930

My Baby Just Cares for Me (mx. W 150837)
Sweet Jennie Lee (mx. W 150838)

Jack Purvis (trumpet)
[JR: “Collective” / ADB: probably Jack Purvis]

Don McCarter (trumpet)
[JR: “Collective” / ADB: no second trumpet listed]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: probably Carl Loeffler]

Bobby Davis (reeds)
[JR: “Collective” / ADB: Bobby Davis]

Tommy Bohn (reeds)
[JR: “Collective” / ADB: probably Tommy Bohn]

Pete Pumiglio (reeds)
[JR: “Collective” / ADB: probably Pete Pumiglio]

Lew Cobey (piano)
[JR: “Collective” / ADB: probably Lew Cobey]

Ed Sexton (guitar)
[JR: “Collective” / ADB: probably Ed Sexton]

Ward Lay (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Jack Powers (drums)
[JR: “Collective” / ADB: probably Jack Powers]

The payroll book also lists “D. Dixon” without further identification.


New York: October 21, 1930 [no session log; date listed in payroll book only]

Fraternity Blues (mx. W 150894)
Football Medley (My Collegiate Man) (mx. W 150895)

Jack Purvis (trumpet)
[JR: “Collective” / ADB: probably Jack Purvis]

— (second trumpet: none in payroll list)
[JR: “Collective” / ADB: Fred Van Eps, Jr.]

Carl Loeffler (trombone)
[JR: “Collective” / ADB: probably Carl Loeffler]

Bobby Davis (reeds)
[JR: “Collective” / ADB: Dick Dixon*]

Joe Gillespie (reeds)
[JR: “Collective” / ADB: Joe Gillespie]

M. Dickson (violin)
[JR: “Collective” / ADB: probably Sam Hoffman and Sidney Harris]

Lew Cobey (piano)
[JR: “Collective” / ADB: probably Lew Cobey]

Ed Sexton (guitar)
[JR: “Collective” / ADB: probably Ed Sexton]

Ward Lay (bass)
[JR: “Collective” / ADB: probably Ward Lay]

Jack Powers (drums)
[JR: “Collective” / ADB: probably Jack Powers]

*The last line of the payroll book entry, where singers usually were listed when used, shows “Dixon” (no first name), which normally was a pseudonym for vocalist Dick Robertson.


To be continued…

 

DISCOGRAPHY UPDATE • Personnel for Grey Gull’s July 1926 “Little Pilgrims” Session (California Ramblers)

This morning we add another “lost” session to the California Ramblers’ confirmed output, thanks to further foraging in Ed Kirkeby’s payroll books. This information does not appear in Jazz Records or the new edition of American Dance Bands — Kirkeby’s session log for this date seems to be missing (it’s absent from our copy, anyway), and the compilers of JR and ADB  apparently didn’t access the corresponding payroll book.

Oh, the dangers of “aural identification” — Jazz Records cites no instrumental personnel other than trumpeter Red Nichols who, as it turns out, was not present. Kirkeby paid his featured soloists extra, so at least based upon the pay rates shown below, it appears likely that Roy Johnston plays the trumpet solos  on these sides.


New York: Friday, July 23, 1926 — Grey Gull *

The Girl Friend (mx. 2023)
Hi Diddle Diddle (mx. 2025)
When the Red, Red Robin Comes Bob, Bob, Bobbin’ Along (mx. 2024)
(Titles are shown above in the order listed by EK, not in mx-number order)

Personnel and payments, per Ed Kirkeby’s payroll book:

Ed Kirkeby — $44
Roy Johnston (trumpet) — $22
Frank Cush (trumpet) — $15
George Troup (trombone) — $15
Freddy Cusick (saxophone) — $15
Bobby Davis (saxophone) — $22
Sam Ruby (saxophone) — $15
Jimmy Pugliese (bass saxophone) — $15
Tommy Felline (banjo) — $20
Jack Russin (piano) — $15
Herb Weil (percussion) — $15

*Grey Gull was finally recording in its own studio by this time, after several years with Emerson.