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.

Collectors’ Corner (Free MP3’s) • Some Early April Finds: Charlie Segar, L. C. Williams, Claude Casey’s Pine State Playboys, Jelly Roll Morton, Seven Hot Air-Men

Collectors’ Corner (Free MP3’s) • Some Early April Finds:
Charlie Segar, L. C. Williams, Claude Casey’s Pine
State Playboys, Jelly Roll Morton,
Seven Hot Air-Men

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Spring is bustin’ out all over, and so are the 78s. A few favorite finds from the last several weeks, a couple of them from dealers and the rest from lucky estate-sale and junk-shop finds:

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SEVEN HOT AIR-MEN [ED KIRKEBY]: Lowdown Rhythm (E-)

New York: May 23, 1929
Columbia 1850-D (mx. W 148618 – 2)
Ed Kirkeby’s “hot” unit, after his California Ramblers went the big-band route. Personnel from the Kirkeby log: Phil Napoleon (trumpet); Carl Loeffler (trombone); Pete Pumiglio (reeds); Chauncey Gray (piano); Tommy Felline (guitar); Ward Lay (string bass); Stan King (percussion).

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JELLY ROLL MORTON & HIS ORCHESTRA: Courthouse Bump (EE+)

Camden, NJ: July 9, 1929
Victor V-38093 (mx. BVE 49453 – 2)
Other than Morton, the personnel listed in Rust’s Jazz Records and derivative works are anecdotal (no source cited, and not original Victor file data). Note that personnel were added to some RCA documentation long after the fact, probably in conjunction with the Bluebird reissue program in the 1940s. They appear to have been taken from the none-too-reliable Charles Delauney discography and unfortunately are often mistaken for original Victor documentation, which lists only the instrumentation (not the players).

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CHARLIE SEGAR: [Pine Top’s] Boogie Woogie (E)

Chicago: January 11, 1935
Decca 7075 (mx. C 9646 – A)

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CHARLIE SEGAR: Cow Cow Blues (E)

Chicago: January 11, 1935
Decca 7075 (mx. C 9645 – A)

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CLAUDE CASEY & HIS PINE STATE PLAYBOYS:
Pine State Honky Tonk
(
EE-)

Rock Hill, SC (Andrew Jackson Hotel): September 27, 1938
Bluebird B-7883 (mx. BS 027737 – 1)

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L. C. WILLIAMS: You Never Miss The Water (E- to V++)

Houston (Bill Quinn studio): c. June 19, 1947
Gold Star unnumbered acetate
Issued commercially on Gold Star 614. For a detailed history of Bill Quinn’s studios and labels, along with more than 1200 other entries, check out American Record Companies and Producers, 1888–1950 (limited edition, available from Mainspring Press while supplies last).

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We pay top collector prices for records of this type (must be true,  non-grainy E- or better; V+ may be acceptable for rarer items). Why settle for dealer prices for your higher-end disposables? Let us know what you have, grade honestly and accurately with all defects noted (including any label damage), and state your best price.

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Collectors’ Corner (Free MP3’s): Some March 2019 Finds • Fats Waller with Tom Morris, Fletcher Henderson, Duke Ellington, Red Nichols, East Texas Serenaders, Uncle Dave Macon

Collectors’ Corner: Some March 2019 Finds
Fats Waller with Tom Morris, Fletcher Henderson,
Duke Ellington, Red Nichols, East Texas Serenaders,
Uncle Dave Macon
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THOMAS MORRIS & HIS HOT BABIES with THOMAS [FATS] WALLER  (E)

Camden, NJ (Church studio): December 1, 1927
Victor 21358 (mx. BVE 40097 – 2)
“Race release,” per Victor files. The personnel listed in Rust’s Jazz Records and derivative works, other than Waller and Morris, should be considered speculative (no source cited, not from Victor file data).

 


RED NICHOLS & HIS FIVE PENNIES: Ida, Sweet as Apple Cider  (E+)

New York: August 15, 1927
Brunswick (British) 01536 (mx. E 24232)
Stock arrangement, per the Brunswick files. The personnel listed in Rust’s Jazz Records and derivative works, other than Nichols, should be considered speculative (no source cited, not from Brunswick file data).

 


DUKE ELLINGTON & HIS ORCHESTRA (as The Jungle Band): Tiger Rag,
Part 2
 (EE+)

New York: January 8, 1929
Brunswick (French) A 9279 (mx. E 28941 – A)
Irving Mills arrangement, per the Brunswick files. The personnel listed in Rust’s Jazz Records and derivative works should be considered speculative (no source cited, not from Brunswick file data).

 


FLETCHER HENDERSON & HIS ORCHESTRA: Tidal Wave  (E)

New York: September 12, 1934
Decca 213 (mx. 32602 – A)
The personnel listed in Rust’s Jazz Records and derivative works should be considered speculative (no source cited, not from Decca file data).

 


EAST TEXAS SERENADERS: Acorn Stomp  (E)

Dallas: December 2, 1927
Brunswick 282 (mx. DAL-720- )

 


UNCLE DAVE MACON & HIS FRUIT-JAR DRINKERS: Tom and Jerry (E- to V+)

New York: May 9, 1927
Vocalion 5165 (mx. E 2759)

Collectors’ Corner (Free MP3 Downloads) • Some February Finds: 1920s Pop (Annette Hanshaw, Banjo Buddy, Al Jolson, Bernie Cummins, Cass Hagan, Baker & Silvers)

Collectors’ Corner • Some February Finds: 1920s Pop (Annette Hanshaw, Banjo Buddy, Al Jolson, Bernie Cummins, Cass Hagan, Baker & Silvers)

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Some favorites from a recent estate-sale cache of late 1920s pop singers and hot dance bands:

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PHIL BAKER, assisted by SID SILVERS: At the Theater  (E)

New York: September 21, 1927
Victor 20970 (mxs. BVE 39117 – 1 / 39118 – 2)
Victor files show only BVE 39117 – 3 as having been mastered.

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HAROLD SANDELMAN (as BANJO BUDDY): Let’s Misbehave  (E)

New York: March 7, 1928
Brunswick 3865 (mx. E 26855 or E 26856)
William F. Wirges (conductor), “Mr. Daulton – monitoring,” per the Brunswick files; accompanying personnel are unlisted. The take used is not indicated in the files or visible in the pressing.

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ANNETTE HANSHAW (as PATSY YOUNG) with THE NEW ENGLANDERS: I Want to Be Bad  (EE+)

New York: March 14, 1929
Velvet Tone 1878-V (Columbia mx. [W] 148077 – 2)
Accompanying personnel listed in Rust’s Jazz Records and similar works are speculative (not Columbia file data).

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CASS HAGAN & HIS PARK CENTRAL HOTEL ORCHESTRA (Franklyn Baur, Lewis James, Elliott Shaw, vocal): The Varsity Drag  (E–)

New York (Okeh studio): September 2, 1927
Columbia 1114-D (mx. W 144617 – 2)
Personnel listed in Rust’s Jazz Records and similar works are speculative (not Columbia file data).

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BERNIE CUMMINS’ ORCHESTRA (Bernie Cummins, vocal): When You’re with Somebody Else  (E)

New York (Brunswick Room #2): January 7, 1928
Brunswick 3772 (mx. E 25875)
Karl Radlach, arranger, per Brunswick files. Personnel listed in Rust’s American Dance Band Discography and derivative works are speculative (not Brunswick file data).

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AL JOLSON with WILLIAM F. WIRGES’ ORCHESTRA: Blue River  (E–)

New York: November 11, 1927
Brunswick 3719 (mx. E 25189)
William F. Wirges (conductor / arranger); Harry Reser (banjo) present as an “extra,” per the Brunswick files; other personnel unlisted.

 

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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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)

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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Free Personal-Use Download: Brian Rust’s Complete “Jazz and Ragtime Records, 1897-1942” (6th and Final Edition)

Response to the initial Personal Use Edition of the late Brian Rust’s JR-6 (1917-1934) has been so positive that we’re now making the complete work (1897-1942) available free of charge for the benefit of the collecting and research communities, in keeping with Brian’s wishes.

This edition is in Adobe Acrobat only. (A plain-text file is not being provided, but text files can be created from Acrobat by various methods. Please note that we are unable to provide any technical assistance in this regard; information can be found in your Acrobat or word-processor documentation, or online.)

Be sure to open the Bookmarks sidebar, on the left side of the screen, for easy navigation through the entries. Abbreviation lists  will be found at the end of the file. Indexes are not included, nor are they needed any longer, thanks to Acrobat’s superior search-engine capabilities.

 

CLICK HERE TO DOWNLOAD BRIAN RUST’S
JAZZ & RAGTIME RECORDS, 1897-1842

Free Complete 6th Edition, for Personal Use Only (~ 10mb)

 

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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)

__________

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….

 

The Playlist • “Some Of These Days,” Four Ways (1910–1930)

msp_tucker_some-of-these-da

 

Four very different treatments of Shelton Brooks’ 1910 hit, beginning with a Victor release by studio singer Billy Murray in auto-pilot mode. Given what we know of Victor’s musical assembly-line of the period, Murray’s first encounter with the song quite likely came when a company representative handed him the score and gave him a few days to prepare for the recording.

The song might have died on the spot, given such treatment, but Sophie Tucker made it her own. She brought audiences to their feet (and folks of the sort who carped about “white coon shouters” to near-apoplexy), and it would serve as her signature tune for the rest of her career. Here are two of Tucker’s many recorded versions — the original, and a mid-1920s reworking with the Ted Lewis band that incidentally marks one of the earliest fruits of the Columbia-Okeh merger. Lewis was exclusive to Columbia, Tucker to Okeh; the fact that Columbia got the release was perhaps a not-so-subtle reminder of who was boss in the new relationship.

And finally, a full jazz treatment by The Missourians, the sensationally hot band that Cab Calloway had recently taken over. Within a few months he would begin adjusting personnel and reducing them to glorified accompanists, but here we have them in their final, untampered-with glory.

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BILLY MURRAY & AMERICAN QUARTET: Some of These Days

Camden NJ: December 27, 1910 (Released March 1911)
Victor 16834 (mx. B 9740 – 3)

Personnel not listed in the Victor files. The American Quartet at this time normally included Murray (lead tenor),  John Bieling (tenor), Steve Porter (baritone), and William F. Hooley (bass).

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SOPHIE TUCKER: Some of These Days

New York: February or March 1911 (Released May 25, 1911)
Edison Amberol 691 (four-minute cylinder)

The Edison studio cash books list Tucker four-minute sessions on February 17 and 24, and March 2, but do not indicate the titles recorded at each.

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TED LEWIS & HIS BAND with SOPHIE TUCKER: Some of These Days

Chicago: November 23, 1926
Columbia 826-D (mx. W 142955 – 2)

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CAB CALLOWAY & HIS ORCHESTRA (Cab Calloway, vocal):
Some of These Days

New York: December 23, 1930
Brunswick 6020 (mx. E 35880 – A)

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The Playlist • “Charleston Back to Charleston,” Three Ways (1925)

msp-sm_charleston-back

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JACK STILLMAN’S ORIOLE ORCHESTRA:  I’m Gonna Charleston Back to Charleston

New York: c. October–November 1925?*
Paramount 20423 (mx. 2333 – 1)
*Evidence is mounting that Paramount’s New York studio did not always assign final master numbers at the time of recording — particularly some discrepancies between the date ranges given in traditional discographies (like the questionable one shown here), and confirmed date ranges extrapolated from talent-broker Ed Kirkeby’s session files. Could this be one of those instances, given that companies for which original files exist recorded this title during the mid-summer of 1925? A large amount of research remains to be done in this regard, but we’re on it — stay tuned!

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COON-SANDERS ORIGINAL NIGHT HAWKS ORCHESTRA (Carleton Coon & Joe Sanders, vocal): I’m Gonna Charleston Back to Charleston

Camden, NJ: July 13, 1925 (Released  August 21, 1925;  Deleted 1927)
Victor 19727 (mx. BVE 32768 – 4)

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CALIFORNIA RAMBLERS: I’m Gonna Charleston Back to Charleston

New York: July 9, 1925
Columbia 419-D (mx. W 140674 – 1)
Rust’s Jazz & Ragtime Records 1897–1942 and derivative works, including American Dance Bands on Records and Film, give the date as June 9, in error. July 9 is confirmed in the Kirkeby logbook and Columbia files.

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.

 

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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

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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.