Collector’s Corner (Free MP3 Downloads) • Some June-July 2019 Finds — Mendello’s Five Gee Gee’s, Cotton Pickers, Earl Hines’ Orchestra, Fletcher Henderson’s Orchestra, Red Allen’s Orchestra, Louis Armstrong’s Sebastian New Cotton Club Orchestra)

Collector’s Corner (Free MP3 Downloads):
Some June – July 2019 Finds

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Some nice jazz additions to the collection in the past month or so, starting off with two sides that allegedly include Glenn Miller on trombone, although the sources of those claims are sketchy at best. Brian Rust and others have made that attribution, with no sources cited, as usual (and if you believe everything you read in Rust and the various Jazz Records clones, let’s talk about a big bridge in Brooklyn on which we can make you a terrific deal).

The Miller attribution on the Mendello side has also been made by a descendant. Granted, family tales are sometimes embroidered, but it adds perhaps a bit more credibility to the claim. If anyone has credible, verifiable documentary proof that Miller is on either of these records — not “I hear Glenn” or “so-and-so remembers” — please send us a scan of the document, and a note telling us where you found it, so that Miller can finally be properly credited. It’s good trombone work, for sure.

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JAMES G. G. MENDELLO & HIS FIVE GEE GEE’S
(as DIXIE JAZZ BAND): High Hattin’ Hattie
(E-)

New York: August 15, 1928
Oriole 1363 (mx. 8150 -1 / Plaza control 1804 – 1)

Vocal by Jack Kaufman, as Dick Holmes. Personnel listed in Rust’s
Jazz Records and derivative works are apparently speculative (no source cited; not Plaza-ARC file data).
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The Five Gee Gee’s appear to have been purely a studio pick-up group; no reliable report of the band performing in public has been found so far. All of the titles they recorded are what the recording industry used to call “dogs” — those “B”-side fillers that hack songwriters peddled to the record companies for a modest flat fee, no royalties required. Mendello was primarily a New York theater-band trumpeter who also recorded with Gus Haenschen’s “Carl Fenton” Orchestra for Brunswick (per the Paterson [New Jersey] Evening News, April 14, 1927) and reportedly directed one of the Ben Bernie orchestras (Paterson Morning Call, June 13, 1931). He died on June 12, 1931, at the age of twenty-eight.

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THE COTTON PICKERS: Kansas City Kitty (EE-)

New York: March 27, 1929
Brunswick 4325 (mx. E 29525 -)
Personnel listed in Rust’s Jazz Records and derivative works are apparently speculative (no source cited; not Brunswick file data). The selected take is not indicated in the pressing, nor in the Brunswick files; two takes were made.

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FLETCHER HENDERSON & HIS ORCHESTRA: Sensation (E)

New York: March 19, 1927
Brunswick 3521 (mx. E 22029)

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EARL HINES & HIS ORCHESTRA: Grand Piano Blues
(E- to V++, with label damage)

Chicago: October 25, 1929
Victor V-38096 (mx. BVE 57322 – 2)
This master was later dubbed for reissue on Bluebird and British H.M.V., being stripped of much of its bass in the process. The inferior dubbed version was also used on RCA’s various LP reissues.

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LUIS RUSSELL’S ORCHESTRA (as RED ALLEN & HIS ORCHESTRA): Funny Feathers Blues (E)

New York: September 24, 1929
Bluebird B-6588 (mx. BVE 55853- 2)

Vocal by Victoria Spivey. Henry (Red) Allen, director, per the Victor files. October 1936 original-stamper reissue of Victor V-38088.

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LOUIS ARMSTRONG & HIS SEBASTIAN NEW COTTON CLUB ORCHESTRA: You’re Driving Me Crazy! (What Did I Do?) (E-)

Los Angeles: December 23, 1930
Okeh 41478 (mx. W 404418 – B)

Vocal by Louis Armstrong; opening dialogue by Armstrong and Lionel Hampton.

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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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