A friend of mine recorded the last week's telecast of the TCM program on Johnny Mercer (Clint Eastwood was the executive producer).

The famous photo of Bix is shown on the screen whilte Johnny Mercer talks about Skylark,

"Hoagy had this tune and I couldn't think of what to write because it has this front line which is so pure and kind of classic and bucolic, and in the middle there is straight Bix Beiderbecke."

During the program several musicians with connections to Bix were mentioned, Louis Armstrong, Hoagy Carmichael, Bing Crosby, Benny Goodman, Gene Krupa, Jack Teagarden and Paul Whiteman.

Albert 

I thought that people would not be that familiar with the next four bands, so here are some links with useful information.

Ballyhoo Foxtrot Orchestra

http://showcase.netins.net/web/dixiefest/page9.html

Firecracker Jazz Band

http://www.firecrackerjazz.com/

Buffalo Ridge Jazz Band

http://www.jazztrek.com/

New Red Onion Jazz Babies

http://www.newredonionjazzbabies.com/

Looks like an excellent line-up. Thanks for all the work you and the board of the Bix Society are doing to keep the Bix flame burning bright.

Albert

There are several mentions of the tune Ida, Sweet As Apple Cider, many of them minor. I copied citations with useful information regarding the authorship of the tune. Eddie Munson is not mentioned anywhere in the book.

From the section where Leonard lists the tunes he composed.

I wonder what authorship is given in the two copyright documents.

Here is what Leonard writes regarding the circumstances surrounding his first performance of the tune.

A quote from a newspaper (included in the autobiography) regarding Leonards procedure for composing tunes.

Unfortunately, Leonards autobiography throws no light about Eddie Munson.

I found another composition by Eddie Munson, from

http://www.gettextbooks.ca/search/?isbn=B0000D0962

Go Take A Walk and Dont Come Back, lyrics by Fred Clark, music by Eddie H. Munson. Publisher M. Witmak and Sons, 1903.

Thats all I was able to dig out.

Albert

A few comments.

1. Charters cites the influence of Goldkette musicians (somehow, he misspells Goldkette's first name). However, I point out, as discussed at length in my article "Copying Bix" that the influence of Bix goes back to his Wolverine days.

2. Arrangers are sometimes (or perhaps, often?)  neglected in analyses of recordings, but Charters appropriately points out the importance of the great Bill Challis.

3. Charters mentions Bix imitators in Europe and in dance bands, and thus reiterates a point (worth reiterating) that has been discussed in detail in past postings in the forum, as well as in CDs by the producers of Bix Restored and by Nick in his CD set on the influence of Bix in Europe and the US.

4. I am not aware of examples of Bix's solos being played by saxophone sections of Henderson and McKinney Cotton Pickers. If memory serves, Henderson scored Trumbauer's solo in Singin the Blues for a sax section, but Bix's solo was taken up by Rex Stewart alone. Does anyone know of a McKinney's Cotton Pickers recording where a Bix solo is scored for an entire sax section?

Albert  

Arnold Shaw is the author of an excellent book "The Jazz Age: Popular Music in the 1920s." [Oxford University Press, 1987]. Mr. Shaw received the 1988 ASCAP Deems Taylor Award for this book.

I present a quote from the book.

It will be seen that Mr. Shaw deems the subject of sufficient importance to be included in his book, and that Hoagy Carmichael has som,e comments about Bix's personal appearance.

Of course, the music that Bix created is of essence, but a study of his music does not preclude researching other topics associated with Bix - what music did he listen to, what books did he read, did he enjoy sports, what was his personality, what did he look like, who were his friends, etc. It is not either his music or his life, it is both. And from the time I launched the Bixography website and the forum, my purpose was clearly defined.

This site is dedicated to the preservation and dissemination of  information about Bix Beiderbecke, the musical genius from Davenport, Iowa. [I highlight the word dissemination; that is the purpose of the Bixography website].

A vehicle for Bixophiles and other interested individuals to ask questions, make comments and exchange information about Bix Beiderbecke and related subjects.

Certainly, the music is paramount. Why do I have 169 WBIX programs where I have played dozens and dozens of 1920s recordings, by Bix and by his contemporaries musicians?

The Bixography website and its satellites (WBIX, the forum) represent my decade-long effort via the powerful medium of the internet to preserve and disseminate the legacy of Bix Beiderbecke. If I may say so, it has been a phenomenal success. Thousands of visits to the Bixography, the Forum and WBIX everyday attest to the success. I receive hundreds of messages from people (outside the forum) seeking information about Bix, a good number from high school students writing papers on Bix and/or 1920s music. I respond to every one of them. The forum is just the tip of the iceberg. The amount of effort, time, and work I devote to Bix is unparalleled, and I am confident that via the Bixography website and its satellites I have planted seeds around the world that have born fruit and will continue to do so in the future.

Albert Haim

1. Demand  the  correspondents who fill your inbox with garbage to take you off their mailing lists.

2. Use the tool in your mail server to block the undesirable individuals who bombard you with unwanted messages.

Albert Haim

You write, "We're sending cartoons of each other via email! " No, we are not. Two individuals waste their and other people's time sending cartoons of me, period.

Albert Haim

From Don Rayno's biography of Paul Whiteman.

Sidney Eastwood Lane (b. Nov 22, 1879, Brewerton, NY; d. Jan 22, 1951, Central Square, NY), composer studied at Syracuse University but dropped out after three and a half years, preferring instead to concentrate on his own private piano studies. His first major work, In Sleepy Hollow, was published in 1913. Subsequent compositions included Five American Dances (19191), Adirondack Sketches (1922), The Blue-Robed Mandarins (1922), Sea Burial (1925), Persimmon Pucker (1926) and Fourth of July Suite (1935). Whiteman recorded Sea Burial, arranged by Ferde Grofe, in 1928, and he remains the only orchestra leader to have recorded any of Lanes works. Whiteman also played Grofes arrangements of Persimmon Pucker amd A Minuet for Betty Schuyler on his 1924-25 concert tour. Though largely unrecognized, Lane was a gifted and original composer who greatly influenced key musical figures such as Bix Beiderbecke." 

From http://www.notecloud.com/bio.htm#BIX

"Bix was first exposed to Eastwood Lane in 1923, when Bix took piano lessons from Priscilla Holbrock of Hamilton, Ohio. Later he coaxed jazz pianist-composer Dud Mecum into playing Lane's somewhat daunting modernist pieces for him, and eventually developed a friendship with Lane himself and delighted in listening for hours to Lane's playing of his own music. When Beiderbecke developed his own moody piano style, it was based on unfettered 1920s jazz and a subtle, introverted impressionism much like Lane's. His favorite Lane work was Land of the Loon, a quiet, haunting picture of solitude in nature. Bix's four late-1920s piano compositions, In a Mist, Candlelights, Flashes and In the Dark, were noodled out at the keyboard while one of Whiteman's resident arranging geniuses, "Bill Challis." carefully transcribed them. They are all titled after visual experiences, "states of light and sight," and evoke ambiguous feelings in more than their titles. They are twilit compositions, in which quiet dimness, a persistent crepuscular indistinctness, is pierced by rays of light, an alternation of lyrical calm with pure jazz energy."

Listen to the tune Eastwood Lane written by Dave Frishberg (who wrote Dear Bix) and trombonist Don Barrett.

http://www.youtube.com/watch?v=zfziAzbkark&feature=related

Get a load of the introduction to the recording (and also at the end), the interlude of In A Mist. The youtube video mentions John Pizzarelli. Speaking of Pizzarelli, Bill Challis was arranging Lane's Adirondack Sketches for five guitars, but as Bill was losing his sight, he could not finish it. Bucky Pizzarelli recorded Bix's piano compositions arranged for five guitars by Bill Challis.

On June 21, 1926, the Trumbauer orchestra had a broadcast over WSBT, South Bend, IN. The band played a three-part program. In the second part, Bix played The Legend of Lonesome Lake from Lane's Adirondack Sketches. Did someone (Dud Mecum? Priscilla Holbrock? ) play Lane's composition for Bix and he memorized it (and if Mecum or Holbrock, remembered it three years later), or was Bix able to read the sheet music, slowly, but well enough to learn the piece or at least refresh his memory?

And if you have not done so already, don't fail to hear and watch the excellent videos by forumite Lisa with background music by Eastwood Lane,

Hudson Lake (The Legend of Lonesome Lake)

http://www.youtube.com/watch?v=zemsSZuMTAg

and Hudson Lake 2 (Down Stream)

http://www.youtube.com/watch?v=GoxhlJWnfpU

Albert

... NPR McPartland-Sudhalter-Beiderbecke program is

http://www.npr.org/templates/story/story.php?storyId=98960166

Albert

Mike, Your post has no content. Please, post again.

Thanks.

Albert

.... for a speedy and complete recovery!.

Bill Saunders was very secretive and did not want to share any of his material about Bix. I remember that way back I called him and asked him, just as a simple courtesy on my part, permission to post a short review of his articles about Bix in Lake Forest Academy. He was upset that someone (Rich Johnson?)  had given me his phone number, and he did not want to talk. As a said, it was a courtesy on my part. Once anyone publishes an article in the open literature, reviews can be written and published without permission from the author.

Too bad that some strange (and others who are nasty as well as liars) individuals are attracted to the field of Bixology.

Albert

I will leave tomorrow morning, Nov 3 and will return late in the evening on Nov 11.

Please be patient with your postings. I will check the forum from time to time and will upload what you send. It may be several hours between the time you write your posting and the time it appears on the forum page.

For Vince: I just got a message from the Interlibrary Loan Department. The copy of "What A Life, I'm Telling You" by Eddie Leonard is ready to be picked up. I doubt that I will be able to get the book  this afternoon. Most likely, I will get it on Nov 12 and will report. 

Enjoy yourselves.

Albert

I appreciate your wishes. See you next week.

Albert

There is an excellent web page about Peggy English in Dave Garrick's great website.

http://www.jazzage1920s.com/peggyenglish/peggyenglish.php

Albert

I don't know what happened.

Albert

Thanks to the generosity of Nick, I just uploaded a 12-page article about Don Murray, "Don Murray - The Early Years (1904-1923)" by Warren Plath. Published in Storyville 122. Here is the link to the Articles in Magazines page.

http://ms.cc.sunysb.edu/%7Ealhaim/ArticlesinMagazines.htm#DonMurray

Thanks, Nick. Fascinating article.

Albert

Albert

Chapter 4 of "The Bungalow: The Production of A Global Culture" by Arthur D. King begins with a quote from the lyrics of "Our Bungalow of Dreams."

<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> 

Credit is given to Bix on an RKO recording.  Interesting, because the recording was made by Frank Trumbauer and His Orchestra for OKeh.

"Our Bungalow of Dreams" was also recorded by  the Broadway Bell-Hops on Dec 23, 1927

http://www.redhotjazz.com/songs/bellhops/ourbungalow.ram

Who is the trumpet soloist after the vocal? And the trombonist who follows the trumpet player?

Is there a reissue of the Bix and Tram Our Bungalow of Dreams recording on an RKO label?

Albert

"Another uneducated question by the Litte [sic] Professor:

"Is there a reissue of the Bix and Tram Our Bungalow of Dreams recording on an RKO label?"

Mr. Haim - there is no such a thing as an "RKO label".  RKO was a Hollywood film studio;they did not produce commercial records.

Why can't you, for once, find something out for yourself instead of blindly asking stupid questions?

Hans Eekhoff

Eekhoff is so anxious to prove me wrong, that he goes into a frenzy without even bothering to do a little googling.

Yes, Eekhoff, there was such a thing as RKO records.

From

http://www.bsnpubs.com/nyc/rko/rko-unique.html

"Unique Records started life as Unique Records in New York City in 1955.  It was first located at 1697 Broadway.  By 1957, the label was acquired by RKO Teleradio Pictures, Inc., and had moved to 1440 Broadway, where it was billed as RKO-Unique.  In November, 1958, the label headquarters moved to 11-17 E. 45th Street in New York, where it operated until the label closed up shop in 1960."

There are lots of web pages with information. Not only is Eekhoff hopelessly ignorant, but he does not even bother to do a little research. Of course, without doing any reading or research, he ends up making a spectacle of himself, as was the case recently with his laughable claim of a discovery of a Trumbauer vocal.

What a sad and pathetic life that guy must lead. Lurking the forum with the hope of finding something he can write about to dozens of people. Eekhoff should stop wasting everybody's time with his ridiculous mass mailings.

Albert Haim

Just to show the unbelievable extent of Eekhoff's  ignorance, there is a also a French label called "RKO Records."

From http://www.rkorecords.fr/

"RKO records est un label indépendant de créations musicales originales, créé en 1989 par Dom Kevarkoff, Fred Kerdekachian, JP, et Ian Doray. "

Let's listen to John Wilsons favorite Bix recordings.

Whiteman's Mississippi Mud

http://www.jazz-on-line.com/a/rama/VIC41696-3.ram

Goldkette's My Pretty Girl

http://www.jazz-on-line.com/a/ramc/VIC37587-1.ram

Bix's In A Mist

http://www.jazz-on-line.com/a/rama/OKE81426-B.ram

Even after repeated listening, these recordings sound so fresh!

Albert

http://www.youtube.com/watch?v=raZm-uxcVdA&feature=response_watch

Thanks to Lisa for alerting me to this inferior (see below) response to her magnificent video.

Someone whistles over Bix's solo (and Eddie's guitar accompaniment) and speeds up the piece without changing pitch.

The whistler gets the notes right, but in my opinion, this is the desecration of a masterpiece. I wish the person had used his/her own acccompaniment. Then, I would not have complained, I would have praised the skill of the whistler.

I know some of you will be p .... at my opinion. [As Clint said in his film "Dirty Harry", "Opinions are like a..., everybody has one"] .We went through something similar in the case of Bix Beiderbecke's "Sorry" with Tsugaru shamisen superimposed over the original recording. The same person did it also with "Since My Best Gal Turned Me Down.." I wish people would leave the masterpieces alone.

Albert

I commented on the section in the June issue in

http://www.network54.com/Forum/27140/message/1242946853/

An excellent biographical and discographical account with great graphics. You can find additional excerpts in

http://www.jazzedit.org/Traveling-blues.html

At the time of the publication in the IAJRC Journal, the authors were seeking a publisher. Obviously, in the interim, they went for self-publishing, which is becoming more and more prevalent.

One of the great innovations is the offer of a CD containing mp3 files of all 189 recordings of Tommy Ladnier. I think this is the way to go in the publication of musicians' biographies. After all, music is the essence of the life of a musician.

Albert

PS Program WBIX # 21 consisted of   Recordings by Fletcher Henderson's Orchestra with Tommy Ladnier and Joe Smith. Here is the link

http://bixography.com/wbix21.ram

 Radio Program # 168. (loaded on 10/29/09)   Bix's Fellow Musicans: Lennie Hayton, part 2. (part 1 is  # 114) 60.54 min

Real Audio      

http://www.bixography.com/wbix167.ram   Download file.   14.9 MB   

mp3 files  

Streaming mp3 file http://bixography.com/wbixmp3/wbix168.m3u

Download file     58.5 MB

My Blue Heaven. Don Voorhees and His Orchestra. Sep 9, 1927. Vocal by Lewis James.
Baby's Blue. Don Voorhees and His Orchestra. Sep 10 1927. Vocal by Irving Kaufman (as Frank Harris)
Riverboat Shuffle. Red Nichols and His Five Pennies. Aug 15 1927.
Ecccentric, Red Nichols and His Five Pennies. Aug 15 1927.
Five Pennies. Charleston Chasers. Sep 6, 1927.
Sugar Foot Strut. Charleston Chasers. Sep 6, 1927. Vocal by Craig Leitch.
Mine All Mine. California Ramblers. Dec 15, 1927. Vocal by Ed Kirkeby, Sammy Fain and Artie Dunn.
Changes. California Ramblers. Dec 15, 1927. Vocal by Ed Kirkeby, Sammy Fain and Artie Dunn.
Rain. Don Voorhees and His Orchestra. Sep 7, 1927. Vocal by Irving Kaufman.
Dawning. Don Voorhees and His Orchestra. Sep 7, 1927. Vocal by Irving Kaufman.
Feelin' No Pain. Red Nichols and His Five Pennies. Aug 15 1927.
Ida, Sweet As Apple Cider. Red Nichols and His Five Pennies. Aug 15 1927.
Contemporary Musicians: Dick Hyman plays "Candlelights" from his CD "Thinking About Bix," Reference Recordings CRR116.

WBIX #169 will be uploaded on Nov 27, 2009.

Albert

Albert

You are absolutely right, Laura. After a gig followed by an all-night drinking episode, I am pretty certain that musicians did no have their jackets on, and that, earlier in the evening, after their gig, they had untied their ties and unbuttoned their collars. And not just Bix, but probably most guys.

I agree with you that an occasional lapse is completely different than being sloppy, which is a permanent state of affairs for some individuals. As you said, Bix had a good upbringing and good habits are ingrained. So it is not surprising if, occasionally, a photo does not show Bix at his best. But I view these instances as infrequent departures from his normal good habits (as demonstrated by his neat appearance in most photos) rather than the manifestations of a sloppy individual.

Albert

In his pathetic attempts to discredit me, Eekhoff goes into a tirade, both in mass mailings and in the yahoo Bix group, about my posting.

I used the word "all" in the phrase "in all photos of Bix." when I should have used, "most." Eekoff quotes two exceptions out of the dozens of known photos of Bix seen well-dressed and with neatly combed hair.

Further, Eekhoff makes he point that "The Little Professor apparently doesn't realize that Bix's sloppiness (as often described by several of his contemporaries) would be much more evident in his later life when Bix was a hardened alcoholic and cared less for his personal appearance. ".

Eekhoff is obviously unaware of reports of Bixs sloppiness in early stages of his life. For example, Fred Bergin, who managed the Blue Lantern in Hudson Lake, He cared nothing about his clothes. This is 1925. And Ralph Berton in Remembering Bix talks a lot about Bixs personal hygiene (or lack of it) and this was 1924.

Clearly, the reports of a sloppy Bix are not restricted to the last years of his life, as wrongly assumed by Eekhoff. And the photos certainly do not support the notion of a sloppy, disarrayed Bix. As usual, Eekhof writes foolish statements without bothering to check the facts.

Albert Haim

From the Victor Record Review (vol. 1, no. 9, p. 7).. 

I believe that this is a Victor publication, and therefore it is not surprising to see the amazing praise. Let me hasten to add that the praise is well deserved. Flashes is misspelled, as it is on the record sleeve and the record label.

Listen

In the Dark   http://www.jazz-on-line.com/a/ramc/VIC030338.ram

Flashes         http://www.jazz-on-line.com/a/ramc/VIC030169.ram

Davenport Blues    http://www.jazz-on-line.com/a/ramc/VIC030170.ram

In A Mist    http://www.jazz-on-line.com/a/ramc/VIC030168.ram

Candlelights     http://www.jazz-on-line.com/a/rama/VIC030171.ram

The scan of the article comes through the courtesy of Rob. As I said in my earlier posting, forumites are among the most generous people on the planet. Thanks a lot, Rob.

Rob wonders if the "Bunny plays Bix" date arose to capitalize on the success of Dorothy Baker's novel. Interesting and plausible speculation. My speculation in my Bix piano article is somewhat different, although not contradictory. In fact, both interpretations could well be correct: an opportunity as well as a tribute. Here is a preview of what I wrote.

"Candlelights was first recorded by Bunny Berigan and His Men (Irving Goodman, t; Ray Conniff, tb; Murray Williams, Gus Bivona, George Auld, rds; Joe Lippman, p,a; Hank Wayland, sb; Buddy Rich,d)on Nov 30, 1938, Victor 26122.

On that day, the group also recorded In A Mist, Flashes, and  Davenport Blues. The next day, they recorded In the Dark. All of Bunny Berigan's recordings of Bix's compositions were collected in Bunny Plays Bix, a 1954 10-inch extended play 45 RPM album, RCA Victor EPAT-434.

Bunny Berigan's recordings of Bix's compositions must [on re-reading, a bit strong; could be viewed would be better] be viewed as a Berigan tribute to Bix. It is noteworthy, moreover, that Bunny Berigan included three of Bixs compositions (In A Mist, Flashes, and Davenport Blues) in his booklet Bunny Berigan Modern Trumpet Studies.

Albert

Indeed, Bix and Bunny were together in college dates. In my Bix piano compositions article, I point this out.

"Bix and Bunny knew each other. They played the Senior Hop at <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Amherst College on March 14, 1931 with the Dorsey Brothers Orchestra. Other musicians in the band were Glenn Miller, Arthur Schutt and Carl Kress. According to the Amherst College student newspaper, The music was furnished by two bands, one led by Bix Beiderbecke who alternated with the Dorsey Brothers orchestra under the supervision of Tom Dorsey. The smaller of the two, Beiderbecke's, is considered one of the best five piece outfits in the country.[12] Bix and Bunny played again with the Dorsey Brothers orchestra at the Beta Theta Phi House, Yale University on May 15, 1931."

Albert

According to the doctor jazz web site,

On 22nd September 1915, Will Rossiter, the Chicago music publisher, copyrights ORIGINAL JELLY-ROLL BLUES. The registration number is Class E 372536 and the Catalogue of Copyright Entries lists this as for piano. Unfortunately the copyright deposit itself is missing, so we cant be sure whether this is the manuscript Morton produced when Henri Klickmann was unable to notate the piece, or the printed piano music. [MJR 150]

The illustrated cover of the published version is shown above as THE JELLY ROLL BLUES. In addition, Rossiter went on to publish a version of this for band and orchestra.

Mortons composition was recorded under both names, Original Jelly Roll Blues and Jelly Roll Blues. A terrific composition. The first time I heard it was by the Yerba Buena Jazz Band. Here is a list  of the orchestral recordings of the tune in the 1920s and 1930s.

Recordings as Jelly Roll Blues.

1. The first orchestral recording (either title) was, as you tell us, by the Original Memphis Five, Sep 22, 1923.

http://www.jazz-on-line.com/a/rama/EDI9173.ram

2. The next recording was by Lemuel Fowlers Washboards Wonders, Apr 6, 1926.

3. The California Rambles chimed in on Aug 12, 1927. Chelsea Quealey at his best, and, as noted by Ate van Delden in the liners for Timeless CBC-1090, a quote from Davenport Blues in the coda.

http://bixography.com/JellyRollBluesCalifRamblers.ram

4. Finally (for the 1930s) Bunny Berigan on Nov 22, 1938.

http://www.jazz-on-line.com/a/rama/VIC20-1502-A.ram

Recordings as Original Jelly Roll Blues.

Only one in the 1920s and 1930s, the definitive version by Jelly Roll Mortons Red Hot Peppers, Dec 16, 1926.

http://www.jazz-on-line.com/a/rama/VIC37256-2.ram

I noticed you recorded the tune with Jim Dapogny in the 1990s.

Enjoy the music, whether you heard these before or not. A great tune and terrific recordings.

Albert

From the booklet with Timeless CD CBC-1090.

"A theme from Bix's Davenport Blues can be heard twice during Rollini's solo in Farewell Blues and again in the coda of Jelly Roll Blues.

Albert

According to Arthur Schutt's obituary in the Feb 2, 1965 isssue of the New York Times,

"His [Schutt's] chorus on Paul Specht's recording of "All Muddled Up" in 1922 is thought to be the first improvised paino solo ever recorded."

The recording can be heard on youtube,

http://www.youtube.com/watch?v=zg772soHXTs

According to Rust, "All Muddled-up" was recorded on Oct 11, 1922 by Paul Specht's Society Serenaders, .Frank Guarente-Donald Lindley-t/Ray Stilwell-tb/Harold Saliers-cl-bcl-as/Johnny ODonnell-cl-as/Frank Smith-cl-ts/Al Monguin-bsx-a/Arthur Schutt-p/Russell Deppe-bj/Joe Tarto-bb/Chauncey Morehouse-d. (three connections to Bix). The recording was issued on Col A-3740. Here is an image from Dave Garrick's terrific jazz age website.

According to

http://www.mgthomas.co.uk/dancebands/American%20Visitors/Pages/Paul%20Specht.htm

"The Specht band had come over here to play at the opening of the new Lyons Corner House in <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Coventry St, London, and this establishment duly opened on May 30th, 1923. Variety for June 7th reported Paul Specht and his band opened at Lyons Cornerhouse (sic) Restaurant May 30 and were enthusiastically received. The restaurant has been packed continuously from morning until closing hour since the orchestra opened. Variety further reported on July 19thPaul Specht s band did 27 minutes in the vaudeville programme Monday at the Alhambra. Its selections rangedfrom pops to classics. The band got eight recalls and was a big success.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Although some recordings were made in London by the full orchestra, the title All Muddled Up was actually cut in America the previous year. Messrs. Lyons had a quantity of single-sided records made of this title. Bearing a special Lyons Corner House label, these were presumably on sale at the Corner House as souvenirs."

I believe the source for the information in the obituary about the first improvised solo comes from the Biographical Encyclopedia of Jazz by Leonard Feather and Ira Gintler. Do you think that the solo is improvised? How can one tell?

Albert  

http://www.bbc.co.uk/programmes/b00nf0pm

Albert

Albert