Ed Kirkeby’s Freelance Artist Bookings (1921 – 1923)

Ed Kirkeby’s Freelance Artist Bookings (1921 – 1923)

By Allan Sutton

 

Wallace Theodore (Ed) Kirkeby is remembered today primarily as the manager of the California Ramblers, one of the most popular and prolific hot dance bands of the 1920s. But he began his career as a freelance talent broker, securing recording sessions for the likes of Fred Van Eps, Arthur Fields, and Charles Harrison.

In 1922, Kirkeby began booking occasional sessions for the Original Memphis Five and the Superior Jazz Band. (These were not the same band, contrary to some discographies; see Mainspring’s Bell and Arto Records: A History and Discography for a discussion of the evidence contained in the Kirkeby materials).

Kirkeby booked his first “Negro recordings” in 1923, with Pathé, using several singers affiliated with Perry Bradford and Clarence Williams. In the meantime, his California Ramblers had begun to attract national attention, and in late 1923 he began dropping his freelance artists to concentrate almost exclusively on the band.

Kirkeby’s 1921–1923 booking activities (excluding the Ramblers sessions) are summarized below. This is not a complete list, but it will give you a good idea of the wide scope of Kirkeby’s work in the three years before the Ramblers zoomed to national prominence. His logs (of which Mainspring Press owns copies that were transcribed and annotated by Perry Armagnac in the 1950s, under Kirkeby’s personal supervision) also provide valuable insights into how studios were booked or leased, and how masters were shuttled around, during the early 1920s.

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A. C. GILBERT CO. (Bob-O-Link children’s records, by NYRL)

Charles Harrison, 1921; The (Merry) Melody Men, 1921

 

THE AEOLIAN CO. (Vocalion)

Broadway Quartet, 1922; Everett Clarke, 1922; Charles Harrison, 1921–1922; The Melody Men, 1921; Reed Miller, 1922; Original Memphis Five, 1922; Shannon Four, 1921; Stellar Quartet, 1921; Nevada Van Der Veer, 1921–1922

 

THE ARTO CO. (Arto, Bell, et al.)

Al Bernard, 1922; Everett Clarke, 1922; Vaughn De Leath, 1922; Arthur Fields, 1921–1923; Arthur Hall, 1922; Sister Harris, 1923; Charles Harrison, 1921–1923; The (Merry) Melody Men, 1921; Harold Miller, 1922; Original Memphis Five, 1922–1923; Reed Miller, 1922; George Reardon, 1921; Superior Jazz Band, 1922; Nevada Van Der Veer, 1921–1922; Herbert Wiley, 1922

 

CAMEO RECORD CORP. (Cameo, Muse, et al.)

Arthur Fields, 1922

 

COLUMBIA PHONOGRAPH CO. (Columbia, Little Wonder)

Broadway (probably Stellar) Quartet, 1921; Arthur Fields, 1921–1922; Charles Harrison, 1921–1922; Original Memphis Five, 1922–1923; Nevada Van Der Veer, 1922

 

THE COMPO CO.(Canada; Apex, et al.)

Monroe Silver, 1921; possibly others, client listed as just “Canada”

 

CRITERION LABORATORIES (Clarion, Cardial, et al.; also masters for Arto, q.v.)

Vernon Dalhart, 1921; Dorothy Dodd, 1921; Arthur Fields, 1921; Charles Harrison, 1921; The (Merry) Melody Men, 1921; Stellar Quartet, 1921; Van Eps Quartet, 1921

 

EMERSON PHONOGRAPH CO. (Emerson, Regal, et al.)

The Adler Trio, 1921; Everett Clarke, 1921; Arthur Fields, 1921–1922; Charles Harrison, 1922; The (Merry) Melody Men, 1921; Fred Van Eps, 1921

 

FEDERAL RECORD CORP. (Federal, Resona, et al.)

Vernon Dalhart, 1921; Dorothy Dodd, 1921; Charles Harrison, 1921–1922; The Taylor Trio, 1921; Nevada Van Der Veer, 1921

 

GREY GULL RECORDS (Grey Gull, Radiex, et al., from commissioned masters)

Grey Gull Quartet, 1922; Arthur Fields, 1922; Charles Harrison, 1921–1922

 

INDEPENDENT RECORDING LABORATORY (masters for Arto, q.v, and the Plaza Music Co. group)

Arthur Fields, 1922; Original Memphis Five, 1923

 

J. K. REYNARD STUDIO (masters for Arto, q.v.)

Nevada Van Der Veer, 1921

 

MARKER LABORATORY (masters for Arto, Cameo, et al.)

Arthur Fields, 1922

 

NEW YORK RECORDING LABORATORIES (Paramount, et al.; also masters for Grey Gull, q.v., and the Cardinal group, q.v. at Criterion)

The Adler Trio, 1921; Everett Clarke, 1921; Arthur Fields, 1921; Sam Ash, 1921; Broadway Quartet, 1922; Dorothy Dodd, 1921; Gilbert Girard, 1921; Charles Harrison, 1921–1922; The Melody Men, 1921; Monroe Silver, 1921–1922; Nevada Van Der Veer, 1921; Van Eps Quartet, 1921; Beaulah Gaylord Young, 1921

 

OLYMPIC DISC RECORD CORP.  (Olympic)

Arthur Fields, 1921; Charles Harrison, 1921; The (Merry) Melody Men, 1921; Stellar Quartet, 1921; Nevada Van Der Veer, 1921; Fred Van Eps / Van Eps Quartet, 1921

 

PATHE PHONOGRAPH CO. (Pathé, Perfect, et al.);

Frank Banta (accompaniments), 1923; Flo Bert, 1923; Carroll Clark, 1923; Ruth Coleman (“Clarence Williams’ girl”), 1923; Emma Gover, 1923; Fletcher Henderson (accompaniments), 1923; Arthur Fields, 1922; Sister Harris & The Nubian Five, 1923; Charles Harrison, 1921–1922; Mary Jackson (“Negro recordings”), 1923; “Jazz Band” (uncredited), 1923; Lucy Jameson (“Negro recordings”), 1923; The (Merry) Melody Men, 1921; Mitchell Brothers (issued as “McGavock & Tillman”), 1923; Original Memphis Five, 1922–1923; Gladys Rice, 1922; Nevada Van Der Veer, 1921–1922

 

PLAZA MUSIC CO.see Independent Recording Laboratory

 

STARR PIANO CO. (New York studio only) (Gennett)

Arthur Fields, 1921; Charles Harrison, 1921; The (Merry) Melody Men, 1921; Stellar Quartet, 1921

 

STRONG RECORD CO. (masters for Arto)

Original Memphis Five, 1923

 

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Some of these company or studio names look unfamiliar?
You’ll find their stories, along with more than 1,200 other detailed and fully documented entries, in American Record Companies and Producers, 1888–1950 — a limited edition available from Mainspring Press while supplies last.

 

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.

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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

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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

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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

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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.

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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.

 

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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.

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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.

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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.

 

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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