Red Nichols’ Early Years: A Clipping Archive (1911 – 1926)

Red Nichols’ Early Years: A Clipping Archive
(1911 – 1926)

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Ogden, Utah, March 1911

 

Ogden, Utah, December 1920

 

Ogden, Utah, September 1921

 

Brigham City, Utah, February 1922

 

Brigham City, Utah, September 1922. Nichols’ 1922 stay with Paul Whiteman is virtually undocumented, and there is no evidence that he made any recordings with the band at that time. He rejoined Whiteman in 1927 but left after approximately five weeks.

 

Fort Wayne, Indiana, January 1923. The Syncopating Five made several Gennett specials in Richmond, Indiana, in November 1922 (private recordings paid for by the performers and not listed in the Gennett catalog). “Dore” is Clyde Doerr, whose orchestra made some unremarkable Victor records in 1922.

 

Indianapolis, May 1924. The personnel listed here differ somewhat from the listing in Brian Rust’s Jazz Records and derivative works, which don’t cite their sources.

 

Scranton, Pennsylvania, January 1925 (with Lanin’s name  misspelled). Among the members of the Scranton Sirens was clarinetist Jimmy Dorsey, whom Nichols tapped for his Five Pennies in 1926.

 

Nichols with the Earl Carroll’s Vanities orchestra (Pittsburgh, September 1925). This was the band’s initial line-up; personnel changed considerably over the course of the show’s run.

 

Hartford, Connecticut, July 1926. There had been frequent personnel changes in the Vanities band by this time, including the substitution of Don Voorhees for Ross Gorman as director. Nichols’ first Five Pennies line-up was drawn largely from this group (note the misspelling of Miff Mole as “Miff Molso”).

 

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Some Early Red Nichols Favorites

 


CALIFORNIA RAMBLERS (as VARSITY EIGHT): Charleston

New York: May 13, 1925
Cameo 741 (mx. 1448 – C)

 


RED & MIFF’S STOMPERS: Stampede

New York: October 13, 1926
Edison 51854 (mx. 11246 – C)

 


RED NICHOLS & HIS FIVE PENNIES: That’s No Bargain

New York: December 8, 1926
Brunswick 3407 (mx. E 20995)

 

Collectors’ Corner (MP3): Some January Finds – Sophie Tucker, Fletcher Henderson, Curtis Mosby, Wingy Mannone, Jelly Roll Morton, Luis Russell

Collectors’ Corner (MP3): Some January Finds – Sophie Tucker, Fletcher Henderson, Curtis Mosby, Wingy Mannone, Jelly Roll Morton, Luis Russell

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Some good jazz and personality pickings in January, plus another bumper-crop of cylinders that we’ll get around to posting when time allows. In the meantime, here are a few electrical-era favorites from this month’s finds:

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SOPHIE TUCKER: I Never Can Think of the Words (EE-)

London: October 1930
Broadcast Twelve 5195 (L-0763 – 1)
With Ted Shapiro (piano) and the Winter Garden Theatre Orchestra (Sydney Baynes, cond.)

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FLETCHER HENDERSON & HIS ORCHESTRA (June Cole, vocal):
Sweet Thing (E- to V++)

New York: December 13, 1926
Columbia (British) 4417 (W 143125 – 6)

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CURTIS MOSBY & HIS DIXIELAND BLUE BLOWERS (Henry Starr, vocal):
In My Dreams (I’m Jealous of You)
(V++)

Los Angeles: October 14, 1927 (Pacific Coast regional release, June 1928)
Columbia 1191-D (mx. W 144763 – 3)

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CURTIS MOSBY & HIS DIXIELAND BLUE BLOWERS: Weary Stomp (E- to V++)

Los Angeles: October 14, 1927 (Pacific Coast regional release, June 1928)
Columbia 1191-D (mx. W 144761 – 2)

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JOE [WINGY] MANNONE’S HARMONY KINGS (Mannone, vocal):
Ringside Stomp
(V++)

New Orleans: April 11, 1927
Columbia 1044-D (mx. W 143952 – 2)

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JELLY ROLL MORTON & HIS RED HOT PEPPERS: Georgia Swing (V+)

Liederkranz Hall, New York: June 11, 1928 (released February 22, 1929)
Victor V-38024 (mx. BVE 45619 – 2)

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LUIS RUSSELL & HIS ORCHESTRA (as Dixie Jazz Band): The Way He Loves Is Just Too Bad (E- to V+)

New York: September 13, 1929
Oriole 1726 (American Record Corp. mx. 9007 – 1, as control 2533 – 1)

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

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

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

St. Louis: November 1924
Okeh 40378

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

Camden, NJ: September 7, 1928
Victor 21693

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

Camden, NJ: September 7, 1928
Victor 21693

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THE MISSOURIANS: Missouri Moan  (E)

New York: June 3, 1929
Victor V-38067

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THE MISSOURIANS: Market Street Stomp  (E)

New York: June 3, 1929
Victor V-38067

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WILLIAM McCOY: Mama Blues  (EE-)

Dallas: December 6, 1927
Columbia 15269-D

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

Dallas: December 6, 1927
Columbia 15269-D

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

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

Memphis: June 6, 1930
Victor V-40297

 

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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The Playlist • Victor in the South — Hot Bands (1925 – 1928)

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FATTY MARTIN’S ORCHESTRA: End o’ Main

Houston: March 19, 1925
Victor mx. B 32111 – 2 (commercially unissued on 78)

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FATTY MARTIN’S ORCHESTRA: Jimtown Blues

Houston: March 19, 1925
Victor mx. B 32111 – 4 (commercially unissued on 78)

Above two titles from c. 1960s custom vinyl pressings of the original stampers. Takes 1 and 3, respectively, were issued on Victor 19700 (released 1925, deleted 1926).

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ROSS DE LUXE SYNCOPATORS (Margaret Miller, vocal): Skad-o-Lee

Savannah: August 22, 1927
Victor 20961 (mx. BVE 39823 – 2)
Released: December 16, 1927 – Deleted: 1929

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ROSS DE LUXE SYNCOPATORS (Frank Houston, vocal): Florida Rhythm

Savannah: August 22, 1927
Victor 20961 (mx. BVE 39827 – 2)
Released: December 16, 1927 – Deleted: 1929

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MEMPHIS RAMBLERS: Hold It Still

Memphis (Auditorium): February 4, 1928
Victor 21270 (mx. BVE 41841 – 2)
Released: April 20, 1928 – Deleted: 1931

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WILLIAMSON’S BEALE STREET FROLIC ORCHESTRA: Scandinavian Stomp

Memphis (McCall Building): February 27, 1927
Victor mx. BVE 37959 – 1 (commercially issued on Victor 21410)
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WILLIAMSON’S BEALE STREET FROLIC ORCHESTRA: Midnight Frolic Drag

Memphis (McCall Building): February 27, 1927
Victor mx. BVE 37960 – 2 (commercially issued on Victor 21410)

Above two titles from c. 1960s custom vinyl pressings of the original stampers. Victor 21410 was released July 20, 1928, deleted in 1930, and sold 4,819 copies according to the production-history card.

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Discographic data from the original Victor files, courtesy of John Bolig and the Discography of American Historical Recordings. Sales figures were entered on the Victor production-history cards at an unknown time by an unknown person, and are of questionable accuracy.

The Playlist • Walter Barnes & his Royal Creolians (1929)

MSP_bwk-4480_C-3941

The Royal Creolians were a fixture at the Chicago Cotton Club in the late 1920s. The band was led by Walter Barnes, a diminutive saxophonist with an oversized ego, who was dubbed “The Midget Maestro” by The Chicago Defender. Barnes also took over Dave Peyton’s “Musical Bunch” column in the Defender in the late 1920s, and he continued to write for that paper for the next  decade. His columns are a treasure-trove of tour listings, biographical tidbits, and band personnel changes, often with a healthy dose of self-promotion tossed in.

In the off-seasons, the Royal Creolians toured widely. Like many other black bands in the 1920s, one of their stop-overs was Denver, which probably explains why these fairly scarce records have turned up here surprisingly often over the years. (Lest anyone be tempted to pack their bags for Colorado, a quick reality-check: The state was a goldmine for rare and unusual records of all kinds when we arrived here 25 years ago, but those days are long-gone. You might still find an occasional rare gem with some persistence and luck, but the unexpectedly rich pickings we enjoyed in the 1990s are pretty much just a memory.)

The 1928–1929 Brunswick sessions comprise Barnes’ total recorded output. After the Depression hit, he spent much of his time touring the Southern states, eventually renaming the band Walter Barnes and his Kings of Swing. He died in Natchez, Mississippi, on April 23, 1940, at age thirty-four, in a dance-hall fire that claimed 209 lives. His adventures on the road, and his tragic end, are beautifully recounted in The Chitlin’ Circuit and the Road to Rock ’n’ Roll, by Preston Lauterbach (W. W. Norton, 2011) — a great read.

 

WALTER BARNES & HIS ROYAL CREOLIANS: Buffalo Rhythm

Chicago: February 27, 1929
Brunswick 7072 (mx. C 3009 – )

 

WALTER BARNES & HIS ROYAL CREOLIANS: Third Rail

Chicago: February 27, 1929
Brunswick 7072 (mx. C 3010 – )

 

WALTER BARNES & HIS ROYAL CREOLIANS (with uncredited vocalist): Birmingham Bertha

Chicago: July 25, 1929
Brunswick 4480 (mx. C 3942 – )
Identification of May Alix as the vocalist in some discographies is based on aural evidence; the vocalist is not credited in the Brunswick files or on the labels. An alternate version (mx. C 3942 – G) was recorded without vocal, for export to Germany.

 

WALTER BARNES & HIS ROYAL CREOLIANS: If You’re Thinking of Me (When I’m Thinking of You)

Chicago: July 25, 1929
Brunswick 4480 (mx. C 3941 – )

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Three takes were recorded for each selection (two, in the case of C 3941); the selected takes are not indicated in the Brunswick files or on the pressings. At least two takes of C 3010 are known to have been issued, although the differences are rather insignificant. Personnel listed for these records in Jazz Records and other discographies are undocumented; they are not from the Brunswick files.

The Playlist • Gennett in Birmingham, Alabama (Summer 1927)

MSP_gnt-birmingham-composit

A sampling from Gennett’s summer 1927 trip to Birmingham, Alabama. A temporary studio was set up in the Starr Piano Company store at 1820 Third Avenue. It was an exceptionally productive stay from a historical (if not commercial) standpoint, preserving a rich cross-section of Birmingham’s musical heritage.

MSP_gnt-ledger_770-772

Many discographies show incorrect recording dates for these sessions because their compilers misunderstood the Gennett ledger sheets. The dates given in the ledgers (in the “From N.Y.” column, which was used regardless of the actual origination point) are those on which the masters were received at the Richmond, Indiana, facility. Masters — the original waxes (indicated by a “W” in the ledgers) rather than metal parts, in the case of the Birmingham sessions — were shipped in batches by rail, so the actual recording dates, with allowance for packing, transport, etc., are probably at least a week prior to the Richmond receipt dates.

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REV. J. F. FOREST & CONGREGATION:
Revival for Sinners

Birmingham: August 1927 — Mx. receipt date not entered (c. August 29)
Silvertone 5143 (Gennett mx. GEX 849 – A)
Estimated receipt date based on entered dates for other mx’s

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JAYBIRD COLEMAN (as Rabbits Foot Williams):
Man Trouble Blues

Birmingham: July–August 1927 — Mx. received in Richmond August 5
Champion 15379 (Gennett mx. GEX 771 – [replacing rejected GEX 694])
The pianist is not credited in the Gennett ledger

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GEORGE H. TREMER: Spirit of ’49

Birmingham: July–August 1927 — Mx. received in Richmond August 8
Champion 15436 (Gennett mx. GEX 779 – A)

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FRANK BUNCH & HIS FUZZY WUZZIES (as New Orleans Strutters): Fourth Avenue Stomp

Birmingham: August 1927 — Mx. receipt date not entered (c. August 20)
Champion 15398 (Gennett mx. GEX 832 – A)
Estimated receipt date based on entered dates for other mx’s

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TRIANGLE HARMONY BOYS (as Alabama Harmony Boys): Chicken Supper Strut

Birmingham: August 1927 — Mx. receipt date not entered (c. August 20)
Champion 15398 (Gennett mx. GEX 838 – A)
Estimated receipt date based on entered dates for other mx’s

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DUNK RENDELMAN & HIS ORCHESTRA (as Down Home Serenaders): Mean Dog Blues

Birmingham: August 1927 — Mx. receipt date not entered (c. August 29)
Champion 15399 (Gennett mx. GEX 852 – A)
Estimated receipt date based on entered dates for other mx’s

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EVA QUARTETTE (W. J. Smith, organ; as Ellington Sacred Quartette): You Can’t Make a Monkey Out of Me

Birmingham: August 1927 — Mx. received in Richmond August 11
Challenge 404 (Gennett mx. GEX 792 – A)
An anti-evolution song. This is one of the few Birmingham sides that is relatively easy to find, appearing on seven different labels under various names.

The Playlist / Discographical Update: Correct Date and Personnel for George E. Lee’s Meritt 2206

MSP_lee-wonder-orch

George E. Lee’s Singing Novelty Orchestra, with Julia Lee (piano)
and George E. Lee (saxophone)

 

Another update to the Meritt label data: Rust’s Jazz Records and derivative works date George E. Lee’s very rare Meritt 2206 as “c. 1927,” which puts them in the right general vicinity — But with help from one of Dave Peyton’s weekly columns in The Chicago Defender (“The Musical Bunch,” April 30, 1927, p. 6), we can narrow that down a bit:

MSP_CD-04-30-1927-p6_lee-me

Based on our ongoing study of the Defender’s own record-release reports vs. confirmed company-reported release dates on other labels, we know that the Defender new-release reports during this period generally lagged the actual release dates by 3–4 weeks, making early April 1927 the most likely release date for Meritt 2206. Subtract the usual 4–6 weeks for master processing, pressing, and shipping, and we have a likely recording date of late February or early March 1927.

According to Winston Holmes’ widow, in her interview with John Randolph, the recordings were made in Holmes’ own Kansas City studio. The exact address is uncertain; Mrs. Holmes recalled that the store moved from 1636 E. 18th Street to 1704 E. 18th Street at some point in 1927, but she did not give a specific date. (In the same interview, Mrs. Holmes also reported that some unissued George E. Lee masters had been stolen from her several years earlier — In case anyone’s seen these…)

Which brings us to the dreaded “Who Says?” Department. The late Brian Rust, up to and including the latest edition of Jazz Records, credited Jesse Stone as pianist and arranger on these sides, with no source cited (nor master numbers, for some reason). However, after a thorough search of the Defender and other period publications, we’ve found no mention of Stone (who had his own band at this time) working with Lee in the spring of 1927; as far as we’ve been able to establish with any degree of certainty, Stone did not join the Lee band until 1929. Then there are the primitive “arrangements” (if they can even be called that), which certainly don’t suggest the work that Stone was doing with his own band.

The current consensus is that Julia Lee, not Stone, is the likely pianist on this session. If anyone out there has credible, primary-source documentation that proves otherwise, please be sure send us the evidence (anyone citing Lords, Wikipedia, and the like will be awarded a digital dunce-cap).
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MSP_meritt-2206A

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GEORGE E. LEE & HIS NOVELTY SINGING ORCHESTRA (George E. Lee
& Julia Lee, vocals):
Down Home Syncopated Blues

Winston Holmes Music Co., Kansas City: c. Late February — Early March 1927
Meritt 2206 (mx. 578)

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GEORGE E. LEE & HIS NOVELTY SINGING ORCHESTRA: Meritt Stomp

Winston Holmes Music Co.: Kansas City: c. Late February — Early March 1927
Meritt 2206 (mx. 579)

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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.

The Playlist • Okeh Jazz Odds-and-Ends (1923–1926)

MSP_OK-8217-A_creath.

CHARLES CREATH’S JAZZ-O-MANAICS (Floyd Campbell, vocal):
I Woke Up Cold in Hand

St. Louis: March 1925
Okeh 8217 (mx. 9018 – A)

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GEORGE McCLENNON’S JAZZ DEVILS: New Orleans Wiggle

New York: May 1924
Okeh 8150 (mx. S 72524 – B)

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GUYON’S PARADISE ORCHESTRA (Jules R. Herbuveaux, director):
Henpecked Blues

New York: May 1923
Okeh 4862 (mx. S 71514 – B)

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BUDDY CHRISTIAN’S CREOLE FIVE: Sugar House Stomp

New York: March 1926
Okeh 8342 (mx. 74059 – A)

 

Discographical Update • Re-Dating the Kid Ory “Sunshine” Recordings (1922)

MSP_sunshine-3003-B

KID ORY’S CREOLE JAZZ BAND (as Ory’s Sunshine Orchestra): Society Blues

Santa Monica, CA: c. Late May, 1922
Sunshine 3003 (label pasted over Nordskog 3009)

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Kid Ory’s Nordskog / Sunshine title are important as the first issued recordings by a black New Orleans band. For decades, they have been listed in the standard discographies as the product of a single June 1922 session (others list 1921, which will be ruled out below). However, evidence in The Chicago Defender suggests that there were actually two dates involved: One session, c. early April 1922, for singers Ruth Lee and Roberta Dudley, accompanied by Ory’s band; and a second session, c. late May 1922, for the two Ory band sides.

There have been many conflicting anecdotal accounts of the business arrangement between the Spikes brothers and Nordskog. What is known for certain is that the records were pressed a continent away, at the Arto Company plant on Orange, New Jersey. A portion of the pressing run was allocated to the Nordskog label; the balance (5,000 copies, according to Reb Spikes’ recollections) were to have Sunshine labels pasted over the Nordskog originals, for sale by the Spikes Brothers’ music shop in Los Angeles. All three Sunshine releases also appeared in the Nordskog catalog, using Nordskog’s own catalog numbers and artist credits (Ory’s band became “Spikes Seven Pods of Pepper Orchestra” on Nordskog)  — rebutting the assertion in at least one classic-jazz history that all of the Nordskog specimens are simply Sunshine issues from which the Sunshine label have fallen off. (The Sunshine labels often do peel away to varying degrees, particularly at the edges, but not very cleanly.)

Several published accounts have claimed that Andrae Nordskog  made the Ory recordings during a single session in his living room in 1921 — a colorful tale, but nothing more. The 1921 date has long-since been debunked, with 1922 now well-established, and Nordskog’s storefront Santa Monica studio was operating by that time. Reb Spikes recalled in a 1951 interview that the Ory recordings were made in that studio.

Local cabaret-blues singers Ruth Lee and Roberta Dudley appeared on the first Sunshine releases, backed by members of Kid Ory’s Creole Jazz Band from the Creole Cafe in Oakland, California. The Chicago Defender for May 22, 1922, confirmed that Lee and Dudley had already recorded “Maybe Someday” and “Krooked Blues,” respectively, which the paper reported were expected to release on or about June 1. [1] We know from comparing confirmed Arto recording dates (listed in Ed Kirkeby’s logs) to those records’ release dates that the Arto pressing plant’s usual production cycle was six to eight weeks from receipt of masters to release (about average for the period). Add another five or six days for master shipment by rail from LA to New Jersey, and five or six more days for return of the finished pressings, and early April 1922 becomes the most likely recording date.

The projected June 1 release turned out to have been an accurate prediction. The Defender reported that on June 2, the Spikes Brothers hosted a gala event at the Gaumet Auditorium in Los Angeles to celebrate the first two Sunshine releases. After a lengthy program, the Sunshine artists finally took the stage. Ragtime Billy Tucker, the Defender’s California correspondent, reported:

“Hon. Frederick M. Roberts, member of the California legislature, thanked the audience on behalf of the Spikes Bros. while the stage was being set for Kid Ory’s famous Creole band, which made the first records for the Spikes Bros. The band offered a number from the pen of Mr. Ory, entitled, “Ory’s Creole Trombone.” Then they played “Maybe Some Day,” which was successfully featured by Miss Ruth Lee, who is after the laurels of Mamie Smith… Dainty little Roberta Dudley was the next little “mite” of personality to grace the boards. She rendered the “Krooked Blues”… She started a panic with her number, and it was a long time before she could break into the song, the applause came so fast.” [2]

Note that although the title of one Ory band releases is mentioned (“Ory’s Creole Trombone”), there’s no mention of it having yet been recorded. The reason can be found in a May 27 Defender report that the Spikes Brothers a week earlier had “sent to Oakland for ‘Kid Ory’s Famous Creole Jazz Band’ to make their first records,” presumably meaning the first records in their own right, rather than in just an accompanying role. (The same article repeats that Dudley and Lee had already recorded their numbers — further proof that these could not have been June recordings).

The earliest mention we’ve found of the Ory band release (Sunshine 3003) is in the Defender for July 29, 1922. [3] Using the same turnaround time outlined above, that fits perfectly with a late May recording session. In addition, there was a production error on this release that did not occur with the earlier releases (the Sunshine labels were not applied at the factory, requiring the Spikes brothers to apply them by hand), suggesting the records were not pressed at the same time as the two vocal releases.

Based on the above evidence, we feel that two separate sessions were involved for the 1922 Ory recordings, for which the following are more accurate dates than the customarily cited June 1922:

Santa Monica, CA: c. Early April 1922 (released June 1, 1922)
Roberta Dudley, acc. by Kid Ory’s Creole Jazz Band:

Krooked Blues / When You’re Alone Blues
Nordskog 3007, Sunshine 3001

Santa Monica, CA: c. Early April 1922 (released June 1, 1922)
Ruth Lee, acc. by Kid Ory’s Creole Jazz Band:

Maybe Someday / That Sweet Something, Dear
Nordskog 3008, Sunshine 3002

Santa Monica, CA: c. Late May 1922 (released August, 1922)
Kid Ory’s Creole Jazz Band:
Ory’s Creole Trombine / Society Blues
Nordskog 3009 (as Spikes Seven Pods of Pepper Orchestra)
Sunshine 3003 (as Ory’s Sunshine Orchestra)


[1] Tucker, Ragtime Billy. “Coast Dope.” Chicago Defender (May 27, 1922), p. 8.
[2] Tucker, Ragtime Billy. “Coast Dope.” Chicago Defender (June 24, 1922), p. 8.
[3] Tucker, Ragtime Billy. “Coast Dope.” Chicago Defender (July 29, 1922), p. 6.

The Playlist • Bill Brown & his Brownies: Complete Recordings (1927, 1929)

MSP_brown-b_composite(Top) Chicago Defender ad for the Vocalion version of “Bill Brown’s Blues” (sic; the possessive form doesn’t  appear on the labels or in the Brunswick files). The Vocalion uses the same master as the Brunswick release (renumbered as E 6444, assigned on September 9, 1927), but has a different coupling.

(Bottom) The very rare alternate take of “Hot Lips” (mx. E 21990), showing the telltale “90” at the three-o’clock position.

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BILL BROWN & HIS BROWNIES: Bill Brown Blues

New York: March 17, 1927
Brunswick 7003 (mx. E 21986)

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BILL BROWN & HIS BROWNIES: Hot Lips [-89]

New York: March 17, 1927
Brunswick 7003 (mx. E 21989)

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BILL BROWN & HIS BROWNIES: Hot Lips [-90]

New York: March 17, 1927
Brunswick 7003 (mx. E 21990)
This very rare take is shown in error as unissued in Laird’s Brunswick Records Discography (Greenwood Press), although listed correctly in Rust’s Jazz Records. We found this copy a few years ago in an Englewood, Colorado, thrift store.

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BILL BROWN & HIS BROWNIES (Ovie Alston, vocal): Zonky

New York: December 26, 1929
Brunswick 7142 (mx. 31743 – A or –B*)

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BILL BROWN & HIS BROWNIES: What Kind of Rhythm Is That?

New York: December 26, 1929
Brunswick 7142 (mx. 31744 – A or –B*)

*The selected takes are not shown in the surviving Brunswick files or on inspected pressings.

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The Playlist • Snooks Friedman’s Memphis Stompers (1928)

VIC-21270


THE MEMPHIS STOMPERS: Hold It Still

Memphis Auditorium: February 4, 1928
Victor 21270 (mx. BVE 41841 – 2)
Released: April 20, 1928 — Deleted: 1931

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THE MEMPHIS STOMPERS: Memphis Stomp

Memphis Auditorium: February 4, 1928
Victor 21641 (mx. BVE 41840 – 1)
Released: October 19, 1928 — Deleted: 1930

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THE MEMPHIS STOMPERS: Goofer Feathers Blues

Memphis Auditorium: February 11, 1928
Victor 21641 (mx. BVE 41883 – 1)
Released: October 19, 1928 — Deleted: 1930
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Discographical data are from the original Victor recording ledgers and production files at the Sony archive (New York), courtesy of John Bolig. All of the above are marked as “Race” releases in the Victor files, although the band was white.